When a creature is so vile, so evil, so much an affront to the nature of the world and of God himself as is the vampire Count Dracula, there is no easy way to destroy him and keep him down. So it is that in every episode of man’s struggle against this infernal prince of darkness, we mortals seem to succeed in wholly destroying this spawn of Satan only to see him find some way to cheat death yet again, as he has for so many centuries now, so that he may once again rise up and cast his long shadow of terror and bloodshed across the countryside. It seems this notorious bloodsucker has any number of ways he can reverse the effects of his apparent destruction, but the most powerful one by far is making certain that his movie provides bushel baskets full of money for the producers.
For many, the first official sequel to Hammer’s groundbreaking Horror of Dracula, an oft-neglected film called Brides of Dracula, was little more than a pit stop on the road to this film, the second sequel but first to feature the return of Christopher Lee in the title role of Count Dracula. Hoping to avoid being typecast as Dracula, Lee resisted doing the sequel, and it was another eight years or so before he agreed to don the opera cape once again and reprise the role that made him famous. In that time, he’d built up a pretty solid and diverse career that would ensure he would not become “nothing but Dracula” to the audience. Of course, in the end, he was best known as Dracula, but what can you do? He would, I assume, remain cranky about people calling him Dracula until, some decades later, everyone just started calling him Saruman.
Whenever someone is promoting a film as either “getting back to the spirit of the original” or “the most faithful adaptation of the novel,” you know you’re going to be in trouble. They never recapture “the spirit of the original” even when the spirit of the original wasn’t that hot to begin with, and the more they crow about how faithful their adaptation is, the less likely it will be to stick to the source material.
Hammer Studio’s Horror of Dracula is, without a doubt (at least in my mind), the absolute best vampire film ever made, and quite simply one of the finest examples of proper Gothic horror that’s ever been filmed. It was a busy couple of years for Britain’s Hammer Studio. In 1955, their sci-fi/horror thriller based on the popular TV character Quatermass became a smash hit, and the studio soon learned it was because audiences were hungry for shocking, boundary-pushing films of the fantastic and horrible that still handled themselves with a degree of wit, intelligence, and dignity as would befit a rousing British tale of terror. Inspired by that film’s success, execs turned to studio director Terence Fisher to rework Mary Shelley’s classic tale of Gothic horror, Frankenstein. It was a risky move for any number of obvious reasons, not the least of which was the fact that Universal’s Boris Karloff version of the monster was practically a global icon. Hammer had to come up with a completely new approach to the monster’s appearance, since the Universal version was copyrighted, and they figured that while doing so, they might as well ratchet up the sex and violence and see just how much they’d be able to get away with in a horror movie.