On release, though, they swiftly recombined to establish the overriding consensus: good idea or bad, the film is just terrible.
Perfect though I feel the original to be, I had no particular problem with the concept (and the casting of Nastassja Kinski in Simone Simon's role seemed especially promising), but the finished film is neither atmospheric nor excting, and it's not even all that sexy.
Sadly, because the potential was there, the film never stops making mistakes. The plot has been altered almost beyond recognition, and in silly ways that totally undermine the point and the tension of the original story. The elements that should have proved most inspiring are replaced with new and vastly inferior alternative ideas, while well-worn highlights, like the darkened swimming pool scene and the mysterious woman who acknowledges Irina, are retained (and just tamely re-staged) even though they no longer make any sense in the revised narrative.
The inclusion of Malcolm McDowell as Kinski's incestuous cat person brother is on its own a disaster from which no production could recover, but just to make sure a bizarre mystic back story and the kind of ending that seems specifically designed to annoy audiences act as insurance. Add to this the inhumane use of real animals and a horrible Giorgio Moroder score (including a Moroder-David Bowie collaboration of the sort that comes along only once in a lifetime, or less if you're really lucky) and all is truly lost.
Even Kinski, set certain to compensate with her hitherto effortless erotic power, seems constrained by the eccentricities of the material, as well as drably styled and saddled with an unflattering short hairdo.