In 1958, Dracula would return in name but not with the familiar face of cinema’s best-known and most beloved Dracula, Bela Lugosi. Bela would return to the screen several times as a vampire, but never again as Dracula. So Dracula returned in Return of Dracula without Bela, and Bela returned in Return of the Vampire, without Dracula. Granted, Return of the Vampire pushes Bela’s character, Armand Tesla, as close to Dracula territory as it possibly can without getting slapped with a lawsuit, but that’s all part of the fun of vamping in the aftermath of Universal’s 1931 landmark Dracula, to say nothing of the need to occasionally satisfy/pay the estate of Bram Stoker. And Dracula or not, Return of the Vampire feels like the legitimate sequel to Dracula, even if intellectual property says it isn’t. Disentangled from all that, however, we are still left with an exceptionally enjoyable horror film with a unique setting and interesting lead character.
If you were one of the few who followed the joint Magic Lizard Twitter-thon that involved The Cultural Gutter, Die Danger Die Die Kill, WtF-Film, and Teleport City, you might recall that proclamations of Magic Lizard‘s status as the worst movie ever made were challenged — legitimately — by The Cultural Gutter, who maintained that even the deepest of wounds inflicted by Magic Lizard were mere surface abrasions when measured against the to-the-core cutting of Bela Lugosi Meets a Brooklyn Gorilla, a cheap and lazy starring vehicle for Martin and Lewis copycats Duke Mitchell (yes, the same Duke Mitchell who later went on to make Massacre Mafia Style) and Sammy Petrillo (yes, the same Sammy Petrillo who later went on to star in Doris Wishman’s Keyholes are for Peeping). The movie had previously been experienced as one of Drive-In Mob’s Tweet-alongs. And as you might guess from the title, Bela Lugosi shows up (though he barely seems cognisant of the fact) to earn himself a little more morphine money and does indeed encounter a gorilla from — but not in — Brooklyn. While the Cultural Gutter’s Carol boasts writing about comics as her primary forte, she’s no slouch when it comes to cinema, and so I did not take her challenge to Magic Lizard‘s throne lightly. In fact, I’d been hearing for years how awful Brooklyn Gorilla was from people possessed of substantial strength when it comes to tackling the very worst cinema has to offer.