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Night Creatures

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Although England’s Hammer Studio made a variety of films, the trio of Horror of Dracula, Curse of Frankenstein, and The Mummy solidified the direction of the studio and its identity with the public for the remainder of its life. And not without good reason. In their heyday, and even long after the studio had fallen into disrepair, Hammer showed a panache for producing lavish looking Gothic horror that was simply unmatchable. America’s AIP came close with Roger Corman’s Edgar Allen Poe inspired cycle of films starring Vincent Price, but no one could approach Hammer’s consistency and longevity in producing world-class horror. Starting in 1958 and continuing throughout the 60s, and into the studio’s final days in the first half of the 1970s, Hammer produced an unbelievable string of incredible horror films — almost every one of them a hit — buoyed by the one-two punch of venerated horror film icon Christopher Lee’s Dracula films and Peter Cushing’s Frankenstein series.

It’s understandable that Hammer would focus on the genre that helped define them as a major player on the global film production scene, but even as the monsters and madmen were overrunning the studio, Hammer was still doing its best to make non-horror fare, including some noir-style thrillers, war films, and a series of swashbucklers. Over the years, these films have been largely overshadowed by the horror product, and in fact most have been extremely difficult to get a hold of them, with very few being released on home video, at least here in the United States. Thus, they became all but forgotten, even though they often used the same directors, writers, and stars (specifically Cushing and venerated horror film icon Christopher Lee) as the horror films and were often films worth remembering.


With the bulk of Hammer horror films now released on DVD (with the exception of Twins of Evil and Vampire Circus, both of which remain curiously MIA in the United States), and with these releases bringing in some new fans and revitalizing interest among the older fans, distributors have begun dipping into the vast body of Hammer’s non-horror work. Over the past year or two, two volumes of Hammer noir and crime films were released, along with some of the more obscure psychological thrillers. And in early 2008, it was announced that Hammer’s collection of swashbuckling pirate movies was finally going to be released. With any luck, the near future will also see the release of Hammer’s war films and the remaining caveman adventures.

The first of Hammer’s pirate films to make it to DVD in the US was Captain Clegg, a curious beast of a film that got released first primarily because it was marketed in the US, at the time of its original release, as a horror film. Appearing under the title Night Creatures, the movie found its way onto a recent double feature release with The Evil of Frankenstein. And while Night Creatures does contain an element of horror, anyone who goes into it looking for scares is going to be confused.

Hammer’s dalliance with pirate films began in 1961 with the release of The Pirates of Blood River, starring venerated horror film icon Christopher Lee, 7th Voyage of Sinbad‘s Kerwin Mathews, and Hammer bit player Michael Ripper in a rare feature role. Hammer’s production values were never higher than they were in the first half of the 1960s, where seemingly everything they touched came out looking astounding, and The Pirates of Blood River benefits from Hammer’s attention to detail — not to mention from venerated horror film icon Christopher Lee in one of his best Hammer performances and a chance to see Michael Ripper doing more than playing “the suspicious barkeep.”


It also starred young Oliver Reed, for whom 1960-1961 was an exceptionally good year. His first film as the lead — Curse of the Werewolf — came out in 1960, and he was charged with the task of supporting the film entirely on his own, in the middle of a Hammer horror frenzy that was defined almost entirely by Cushing and venerated horror film icon Christopher Lee. For Oliver Reed, a totally untested leading man, to be trusted with the lead in Hammer’s first color horror film that didn’t star Cushing or venerated horror film icon Christopher Lee was both a tremendous opportunity and a huge gamble. It paid off, though, and although Curse of the Werewolf never attained the iconic status of the Dracula and Frankenstein films, it became one of the most respected. From there, Reed was paired with venerated horror film icon Christopher Lee for The Pirates of Blood River, and then, that same year appeared alongside Peter Cushing in Captain Clegg, the second of Hammer’s pirate outings. But while The Pirates of Blood River was a somewhat more traditional swashbuckler, Captain Clegg is a crazy mix of pirate, horror, and detective films.

Things start off piratey enough, with the mutilation and stranding of a crew member (big Milton Reid — one of those actors you know by sight if not by name) for attacking the wife of the captain, a mysterious and ruthless pirate by the name of Clegg. Leaving the dastardly crewman to his fate sans food, water, ears, or tongue, the film then skips ahead a number of years to the remote British town of Dymchurch, which is being visited by no-nonsense British Navy captain Collier (Patrick Allen and his magnificently manly chin — only Chuck Conners stands a chance against him) who suspects the small hamlet of being an offloading center for liquor smugglers. But Dymchurch hardly seems to be a den of smugglers and rapscallions, populated as it is by jolly coffin makers (Michael Ripper), upstanding squires (Derek Francis), upstanding squire’s sons (Oliver Reed), and the benign local parson, Blyss (Peter Cushing). Collier, however, is an experienced hand at flushing out smugglers, so he’s hardly taken in by innocent looks alone. However, a number of surprise inspections and raids lead to nothing but property damage and the ruffling of the town Squire’s feathers as Collier and his men accuse various townsfolk of ill doings only to come up empty handed every time. At this point, the film resembles a thriller or mystery far more than it does a pirate adventure.


Parson Blyss himself remains cordial with the captain, reminding the townsfolk that the man is just doing his job, but even the kindly parson is offput when he is attacked by one of Collier’s crew — the very man stranded and mutilated by Clegg, it turns out. Collier apparently discovered the man shortly after Clegg abandoned him, as Collier was hot on the trail of the pirate at the time. Since then, they’d kept him on as a crewman for heavy lifting, menial tasks, and amusement, even though the former pirate is prone to getting drunk and attacking people. Collier’s pursuit of Clegg, ironically enough, ended in Dymchurch, where the wily pirate was finally captured and hanged, Blyss himself delivering the final rites and convincing the local church to allow Clegg a proper burial in exchange for an apparent change of heart the pirate had while incarcerated. Plus, Blyss just likes to believe int he good of everyone.

Clegg isn’t the only dead man causing Collier. Legend has it that the marshes around Dymchurch are haunted by phantoms. In fact, a man was recently killed by them. Collier, ever the enlightened man of reason, sees little reason to believe in the phantoms, and in fact he is highly suspicious of them since the man most recently killed by them happened to be Collier’s own man, who had previously tipped the captain off to the smuggling going on in Dymchurch. And it isn’t very long before the viewer is clued in to the fact that smuggling is going on, and pretty much the entire town is in on it. Blyss is the brains behind the operation, coffin maker Mipps the operations man, and any daring-do that needs to be performed is handled by the Squire’s son and lookout, Harry Cobtree. Using a series of secret compartments and tunnels centering around the church and Mipps’ coffin shop, the town regularly runs illegal French wine, even under the very nose of Collier. The phantoms — glowing skeletal horsemen — are, naturally, just members of the local smuggling ring, who find the threat of ghostly marsh phantoms to be advantageous to the smuggling profession.

Things start to get complicated for our merry smugglers not just because Collier is so persistent in his investigations, but also because one of their member is lusting after a barmaid, Imogene (Yvonne Romaine), who is in love with Harry Cobtree. In a drunken rage, he attacks the young woman and, when rebuffed, reveals to her than she is actually the daughter of the notorious Captain Clegg, and that furthermore, he is willing to expose the smuggling operation to Collier. Imogene is terrified by the revelation that she is Clegg’s daughter, for fear that this knowledge will spoil her in the eyes of young Harry, who should already be forbidden from her on account of their different classes. But Harry is hardly phased by such outdated constraints, and Imogene discovers that he and Blyss already knew she was Clegg’s daughter. Blyss, sensing that Collier is close to unraveling their smuggling plot, begins arranging for Harry and Imogene to be wed then escape the town before the net is drawn closed around them. When Harry is wounded while serving as lookout for one of the operations, Collier launches an all-out attack on the smugglers, but Blyss and Mipps are his equal, and a game of cat and mouse ensues that comes to a dramatic end inside Blyss’ chapel.

Despite the fact that the revelation at the end of the movie is hardly a surprise, Night Creatures succeeds in being a cracking good yarn that draws its suspense not from the solving of the mystery — the smugglers are all named very early in the film — but by developing those people as characters then allowing you to revel in the race and maneuvering against Collier. Captain Clegg was originally meant to be called Dr. Syn, a remake of an earlier film which itself was based on Russell Thorndike’s novel, Dr. Syn. But by a strange coincidence, Disney happened to develop an interest in this otherwise forgotten novel and film from the 1930s at the same time as Hammer. Needless to say, Hammer wasn’t in a position to challenge Disney, who had already obtained the rights to the Syn title and character. However, Disney was willing to play ball with Hammer, and aside from requiring that they change the name of the title character, Disney was more than happy to allow Hammer to proceed with production.


Disney’s version, called The Scarecrow of Romney Marsh but also known as Dr. Syn Alias The Scarecrow, was released in 1963 and featured Patrick McGoohan (of The Prisoner fame, among other things) in the lead role. Being a made of television movie, it was decidedly more family-friendly than Hammer’s version, with its horse-mounted ghouls, exhumed bodies, mutilated pirates, and other such trappings. Still, there’s very little in Captain Clegg to prevent being a rip-roaring good time for young and old alike, and any foolhardy young lad such as I was would have been delighted by it (remembering, of course, that there was a time when children’s films could contain murder, shrieking ghosts, drunks, and Sean Connery punching people in the face).

I’ve not seen the Disney version, and I won’t dismiss it out of hand because Disney has been known to produce some damn fine pirate and adventure entertainment (such as the three Treasure Island films). Although Disney’s competing version kept Captain Clegg off the American radar, these days Hammer’s version is the one you can find on DVD, while Dr. Syn Alias The Scarecrow has become wickedly hard to track down. It was released on VHS a long time ago and played at some point on the Disney Channel (as bootlegs bearing the channel’s logo attest to). I know there has been some word of the old Wonderful World of Disney series — of which Dr. Syn was a part — finally finding their way on to DVD, so one can only hope that this little pirate adventure sees the light of day once again.

Night Creature‘s script by Anthony Hinds (one of Hammer’s most reliable producers-turned-screenwriters, having penned Curse of the Werewolf, Kiss of the Vampire, and a number of Frankenstein, Dracula, and Mummy movies) is expertly paced and hues closely to the original film. Even though it never really becomes a swashbuckling adventure (although Peter Cushing does get to swing from a chandelier) or a horror film, Hinds exploits the trappings of both genres to create a thrilling hybrid driven by strong characters and solid British acting. Although Cushing is the star attraction (and rightfully so), most Hammer fans are overly delighted that Michael Ripper gets such a meaty role. Ripper’s career is defined by tiny roles, almost always as a cranky innkeeper or barman who refuses to give our hero a room for the night, then makes a horrified face when someone says the name Frankenstein or Dracula. Despite the brevity of each of these roles, Ripper never gave anything that his absolute all. With Night Creatures, he gets a meaty role, and he makes the most of it. In fact, despite Cushing being the headliner, the bulk of the on-screen action is in the hands of Ripper and young Oliver Reed. Neither lets the film down, just as the script doesn’t let them down.

It’s hard to believe that Reed was so inexperienced an actor. He exhibits an easy charisma and likability that pulls you in and really makes you care about the character. Reed’s career was a rocky and uneven one, owing primarily to a fondness for the drink. In the 1960s, Hammer was hungry for someone young to augment the team of Cushing and venerated horror film icon Christopher Lee. Reed seemed to fit the bill perfectly, and indeed after turns in Curse of the Werewolf, The Pirates of Blood River, Captain Clegg, and some of Hammer’s psychological thrillers, it seemed like Hammer had a winner on their hands. Good looking, athletic, and possessed of abundant charisma that could be channeled with equal skill into warmth, intensity, and pathos, Reed was a star on the rise. He was even on the short list (which actually seems to have been very long, given the number of people that are always mentioned as having been on it) to replace Sean Connery as James Bond, and the thought of Oliver Reed in On Her Majesty’s Secret Service — well, I liked Lazenby, and I love that movie, but had Reed been allowed to bring that deadly combination of charm and smoldering intensity to the role, I think he would have done then what wasn’t really accomplished until Daniel Craig took over the role in Casino Royale.


Unfortunately for Reed, his professional successes were balanced with personal trials. Stormy marriages were one thing, but when Reed was forced to endure endless barrages of questions about his drinking. Such interrogation by TV hosts and reporters often lead to the actor losing his temper, and his reputation for a drunk and a hothead plagued him for years, even when he was still making quality films. Unfortunately for Hammer, Reed never became the pair of shoulders that could carry the studio through tough times, as he was by then on to different opportunities. The task of being Hammer’s “next big thing” then fell on the shoulders of Ralph Bates, who certainly had the chops. But by the time Bates was on the Hammer scene, it was too late, and nothing was going to stop Hammer’s collapse.

Reed enjoyed success throughout the 60s and into the 70s, but by the 1980s, his star had faded considerably. Reed seemed to take it in stride. Although he continued drinking, he seemed happy to settle down to a relatively quiet life with his wife, at least until 1999 when Ridley Scott came knocking and offered Reed a part in Gladiator. It ended up being one of those rare parts perfectly suited for reviving the career of an old hand who had gone through stormy times and emerged older and wiser, ready to take on the role of elder statesman. Sadly, it was not to be for Reed, and he died of heart failure during the making of the film. Still, it must have felt good to be in the saddle again, and although it is done so posthumously, his role in Gladiator ended up being one of his best.

Of course, none of this praise for Ripper or Reed is meant to sell the rest of the cast short. It’s just that, in the case of Peter Cushing, do you really need me to tell you how good he was? It’s Peter Cushing, for crying out loud! He was always good. As the resident piece of Hammer glamour (I spell it with a “u” for England), Yvonne Romain doesn’t have terribly much to do other than look pretty (which she does with ease — if not for Caroline Munroe, she might be the prettiest of all Hammer’s starlets), but I always found the Hammer beauties to be as able at acting as they were at being eye candy, and when she’s given something to do, Romain is as solid as the rest of the cast. She was already experienced with both period adventure films and horror, having appeared in such cult favorites as Circus of Horrors, Curse of the Werewolf (where she co-starred alongside Oliver Reed), episodes of The Saint (which, granted, pretty much every actor in England appeared in at some point), and Patrick McGoohan’s espionage series Danger Man.

And let’s not leave off poor ol’ square-jawed Patrick Allen as Captain Collier. It would have been easy for this film to make us root for the smugglers by making Collier a grade A jerk, but instead, Collier is ever noble, if a bit stiff, and the smugglers are forced to make us like them by force of their own character rather than depending on him as a foil. Collier is nothing other than completely honest and straight-forward, a model officer of the British Navy. And Allen is perfectly cast, not just because he has that incredible jaw and an air of authority. His accomplishments as an actor are too numerous to list, and long with Cushing, he’s probably the most experienced of the cast members. He even showed up in the Japanese sci-fi film Gorath!

Director Peter Graham Scott wasn’t a Hammer films regular, working primarily in television, but he does an excellent job here with a script that allows him to wander between creepiness (the marsh phantoms, the old windmill and the scarecrow) and adventure. This is really an actor’s movie, though, as many Hammer films were, and the chief function of the director in these cases was to know what he was doing and do it without getting in the way — which is exactly what Scott does. As such, he’s not a name a lot of people know, but sometimes the best director for a movie is the one who can make you completely unaware of the director. He does lend the film rather a unique look for Hammer films of the time by shooting on location and outdoors, rather than relying entirely on the Bray Studio sound stages.


I’m looking forward to the release of Hammer’s other pirate films, because while this one may be tangential at best to the swashbuckling genre, it still manages to be a superb adventure film with a real “boy’s own adventure” feel to it. What with long dead pirates, ghosts in the swamp, scarecrows, secret passages, and smugglers, it could have easily been a Hardy Boys adventure. I feel a bit guilty that I haven’t said more about Peter Cushing, but like I said, what more can you say? The man went into everything with total commitment, and Captain Clegg is one of his finest roles. The script plays wonderfully off Cushing’s slight appearance. When first we meet him in this film, he looks dainty and frail, and hardly the sort of man who could command a band of smugglers prone to dressing up like skeletons and galloping through the swamps. But when it comes time for him to take charge, the transformation is remarkable, and you absolutely believe him as the leader of men. “Absolutely believing him” is pretty much the very definition of Cushing’s film career, as he was remarkably gifted at making whatever was happening, no matter how outlandish, seem absolutely real.

Here, he benefits greatly from Hinds’ script, which affords him a degree of complexity and depth very similar to what he enjoyed and challenged audiences with in the Frankenstein movies. He is ostensibly the bad guy, heading up a smuggling ring, killing off informers, and foiling Collier’s attempts to do an honest man’s work. But if he’s a bad guy, Cushing’s Blyss is hardly evil, and his scenes with Oliver Reed and Yvonne Rainer allow him to radiate warmth and care. As with the movie itself, Cushing’s role here is not among his iconic performances, but it probably should be.

We’ll have plenty of chances to talk further about Peter Cushing. It’s not every day that you get to say more about Michael Ripper than, “he was excellent as the grumpy bartender.” Whether you call it Captain Clegg or Night Creatures is unimportant. By any name, it’s top notch adventure all the way around.

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Satanic Rites of Dracula

What a long, strange trip it’s been for Hammer Studio’s lord of the undead, the prince of darkness, the king of vampires, Count Dracula. When first we met him back in 1958, he was a snarling beast, a barely contained force of nature that ripped into his prey with lusty abandon and was explained by his arch-nemesis Dr. Van Helsing in purely rational, scientific terms. Dracula, and vampirism in general (as expounded upon by Van Helsing in Brides of Dracula), was nothing more than a disease, like any other disease, and what we regarded as “supernatural” was really nothing more than an explainable part of the rational world that humanity had simply not yet learned how to explain. As Hammer’s Dracula series progressed, however, Van Helsing faded from the picture and was replaced by a procession of forgettable guys named Paul, usually in league with some sort of religious authority figure. In Dracula, Prince of Darkness, we have a monsignor who seems to have some degree of faith in faith’s ability to defeat Dracula, but he’s far more reliant on his trusty bolt-action rifle than he is on the Lord Almighty.

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Dracula A.D. 1972

And so we enter the dire straights of Hammer Films in the final throes of a long, drawn-out death much like those experienced by Dracula himself. As has been detailed elsewhere and will be summarized here, by the 1970s, England’s Hammer Studios — the studio that pretty much defined and dominated the horror market through the 50s and 60s — had fallen on hard times. The old guard had largely retired or died, and the new blood was flailing about, desperately trying to find the direction that would right the once mighty production house. The problem was that everyone felt like they needed to update their image, but no one actually knew how. In retrospect, though they may have seemed painfully antiquated at the time of their release, many of Hammer’s releases during the 70s were quite good and often experimental (by Hammer standards, anyway). This movie isn’t really one of them, but it’s still pretty enjoyable in a completely ludicrous way.

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Scars of Dracula

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And we were doing so well! Most movie studios can’t sustain the quality of a film series beyond two films — and quite a few have problems even getting that far. It was no small feat, then, that Hammer managed to produce not one, but two consistently good series. Their Dracula and Frankenstein films set the benchmark for quality horror during the late fifties and throughout the 1960s. And you know, they almost made it to the finish lines with both of them. The Frankenstein series featuring Peter Cushing as the titular mad doctor lasted six films, with only the third film being a misfire, and not a very bad misfire at that. By the time Frankenstein and the Monster from Hell was released, it was clear that the series was at its end, both creatively and financially. Still, it managed to go out with a dash of class, and the final film features the second worst monster in the series (the honor of worst, in my opinion, goes to Kiwi Kingston’s shrieking slapdash Karloff wannabe from Evil of Frankenstein) but one of the best stories and finest performances from Cushing. Even if the final film was not a financial success, everyone involved could hold their heads up high and be proud of all six movies.

And then there was the Dracula series starring Christopher Lee.

Like Frankenstein, Dracula started strong and managed to maintain the course for five films. Had they stopped with Taste the Blood of Dracula, it too would have retired a successful and respectable series. It was clear, in fact, by the fourth film that no one had much of an idea left regarding what to do with the character of Dracula. Another film in which a group of travelers end up at Dracula’s castle and are preyed upon for the remainder of the film just wouldn’t cut it. With Taste the Blood, Hammer tried to go in a different direction and make a movie where Dracula was a presence without being an actual character. American distributors, however, refused to buy a Dracula movie that didn’t have Christopher Lee skulking about in an opera cape, and so the Count was forced into the story in a rather awkward fashion that gave him very little to do beyond stand in the shadows and count. And that’s not what his title is supposed to mean.


Still, Taste the Blood was quite a good film even if Dracula’s physical presence has little to do with the plot. Like I said, had they wrapped it up with this one, everything would have ended on a positive note. But where as the financial failure of Frankenstein and the Monster from Hell sealed its fate as the final film in the Frankenstein series, Dracula had the artistic misfortune of scoring yet another box office hit with Taste the Blood. And so it was that a sixth Dracula film was to be made, regardless of whether or not anyone had anything interesting to put forward.

Scars of Dracula isn’t an abominably bad entry into the series. It’s just completely derivative and pointless, falling back onto the tiresome “doomed souls visiting Castle Dracula” and trying to set itself apart by giving Christopher Lee’s vampire count more lines in this one movie than he’d had in all the others combined. They don’t fool anyone, though, and while Scars boasts some memorable moments, the gestalt experience is one best forgotten. We have yet another Paul in this film, as well as another Klove (Patrick Troughton, best known to sci-fi fans as the second Doctor Who, or the Hobo Doctor as I call him). I think that’s two Kloves to four Pauls, and add them to the three or four Hans’s from the Frankenstein movies. Okay, two Kloves is one thing, but what’s the deal with Paul? Didn’t someone look back and realize they’d named the last three stiffs (you can hardly call any of them heroes) Paul, and thus they should go for a different name this time out, like Steven perhaps, or Beauregard? Well, by the time this series is over, a preponderance of Pauls will be the least of our concerns.


The movie wastes no time in letting us know we’re in for a bumpy ride as we go immediately to the lamest Dracula reincarnation yet. Now, if you recall the finale of the last film, Dracula was transported to London then disintegrates in an old church, leaving nothing but his trademark little pile of dust. When this film begins, however, Dracula is lying in his coffin back at Castle Dracula. A floppy giant rubber bat wobbles awkwardly into the room on visible wires and proceeds to drool a little of blood onto Dracula’s dust. Voila! The prince of darkness rises again!

Now you know, even ignoring the horrid continuity between this and the previous films (which went to great lengths to connect itself logically to the end of Dracula has Risen from the Grave), there’s no way to ignore that the ragged-looking bat prop is one of the single worst special effects in the history of Hammer horror. Someone wanted lots of bats in this movie; the least they could have done is check to see if anyone at Hammer could create them in a remotely believable manner. No hyperbole here — this thing would be embarrassing in a teenage goth’s shot-on-video horror short. How it managed to flop and wiggle its way into an actual professional production is a mystery to me. Maybe if they’d stopped at one bat, things wouldn’t be so bad. But we’re going to get lots of them, and each one will somehow manage to be more pathetic looking than the last.


Astoundingly, the scene manages to get even worse as Dracula (Christopher Lee yet again) sits up and the bat begins squeaking at him while Dracula nods his head and listens intently. I expect this sort of thing in a Lassie movie, maybe even in a tender scene shared between Godzilla and Anguilas, but Dracula? “What’s that, lad? You say a busty wench is down in the churchyard? Let’s go!” I mean, yeah, they stop short of having Dracula jump up, yell “Alakazam!” then shrink down to action-figure size so he can ride the bat around, but I’m sure if it had occurred to them, that would have happened too. When Christopher Lee complained about how dumb Dracula films were, it was usually unjustified in my opinion. This time, though — well, it’s pretty easy to see his point with this one.


Well, Dracula gets his busty wench kill in for the day, but this angries up the blood of the local peasants, and for once they don’t just sit around in the tavern staring ominously at each other. In fact, one almost has hope when Michael Ripper, appearing as “Angry Barkeep” for the nine thousandth time, decides they should round up a good old-fashioned torch-wielding mob and kill Dracula off once and for all for the fifth time. Now, this is all right! A torch-wielding mob of peasants within the first ten minutes of a film? That’s something I can live with. Unfortunately, they prove to be the most incompetent torch-wielding mob of peasants in the history of horror films, as they proceed to storm angrily up to Castle Dracula and knock on the door. I mean, they do it firmly and with stern looks on their faces, but if you’re going up the mountain to kill a murderous vampire and burn his castle to the ground, stopping to politely knock on the door sort of undercuts your entire message. It gets even worse when, despite the fact that they must be aware that Dracula and/or his hairy servant Klove noticed the huge mob of torch-wielding peasants coming up the road, Michael Ripper knocks again and says, “Open up! I’m quite alone!”


Since Dracula is asleep, I assume this all takes place in the daytime, so really, brandishing the torches angrily in the air probably lost some of its effect as well. But when you’re the kind of mob that can be stymied in its rage by a butler who refuses to open the door, torches in the daytime are the least of your concern, though you should probably be concerned regarding the efficacy of trying to burn down a stone structure. When they do gain access to the castle (I can’t remember if Ripper pulled the old “Okay, I guess I’ll leave then,” and made fake footsteps like he was walking away so that Klove would let down his guard and open the door), Klove doesn’t seem especially upset. He may be a hairy hunchbacked servant, but even he knows that trying to burn down a stone castle with torches may damage a few tapestries, but that’s about it. Still, the mob seems to consider it a job well done even though both Klove and Dracula survive. And, umm, the castle is still standing, too. Bravo, gents! Now let’s all go down to the tavern for a pint! When they return from their glorious triumph of getting a few walls slightly sooty (Klove will be scrubbing them for days to get them clean again), they discover that Dracula took the opportunity to send more floppy fake bats down to the town to massacre every last woman and child. This sort of puts a damper on their gaiety for the evening, and one has to wonder how a trio of floppy bats managed to massacre so many people and pull out so many eyeballs.

The story then shifts to another town, where the movie solidifies its place in the pantheon of bad films by featuring a wacky comedy sequence in which the philandering Paul (Christopher Matthews) gets chased around by the angry burgomaster after being caught in bed with the burgomaster’s daughter. Thankfully, the film stops short of piping in Benny Hill music, but then maybe this entire painful sequence would have been better if they’d thrown in a little “Yakkity Sax,” sped the whole thing up, and allowed Paul to pause for a second to pat an old man on the head. The Scooby-Doo style chase eventually leads to the birthday party of young Sarah (Jenny Hanley), who loves that rascally Paul even though his far nicer, less whorish brother Simon (Dennis Waterman) loves her. Eventually, Paul ends up at Castle Dracula, and yes, we realize we’re going to get another one of those “Whatever you do, don’t go to the castle” movies where everyone goes to the castle.


And that’s just the first third of the film. It doesn’t get any better from there despite the fact that Christopher Lee gets so much more screen time than usual. He hisses and seethes and screams and snarls his way through a series of unmemorable lines as he engages in all manner of brutality, including branding Klove with a hot poker, stabbing someone with a sword, impaling people on pointy light fixtures, and going nuts with the whip (once again on Klove). In fact, this is the first Dracula film where you expect the Count is more likely to just haul off and punch someone in the face than flash his mesmerizing red eyes at them and bite them on the neck. He seems to forget for most of the movie that he actually has vampire powers, and instead acts like a schoolyard bully, albeit a schoolyard bully with a tendency to wear a big cape for no discernible reason. This means Scars of Dracula has more gory action in it than any of the previous films, but none of it has much of an impact. Where’s the fun of watching Dracula slap Doctor Who around? Okay, maybe that sounds a little fun. Dracula also stabs a female vampire with a dagger. For some reason, this kills her. At this point, though, I don’t even care. I guess if Dracula isn’t going to bite people like a normal vampire should, then other vampires can be killed with daggers and so forth. I guess some vampires fear a wooden stake, and others fear a wiggling rubber dagger.

On the hero front, what can you say? This film gives you a milquetoast lead in Simon, and a standard issue cowardly priest (Michael Gwynn, who played the “monster” in the far superior Revenge of Frankenstein). You keep waiting for the priest to rise to the occasion and stop collapsing in his pew aisles and weeping, but that’s about all he ever does. The Dracula series had been following an interesting trajectory, starting with Van Helsing’s explaining Dracula in purely rational terms as a social disease to an increasingly supernatural demon to be combated not with science and reason, but with faith. Here, however, even that is chucked out the window in favor of having Dracula be nothing more than some asshole who happens to command a fleet of shaky rubber bats. Simon sort of drifts from one scene to the next until he eventually finds himself standing on the roof with Dracula, about to be killed until a bolt of lightning shows up to do his dirty work for him. Boy oh boy, we’re a long way from Van Helsing, aren’t we?


I did say that this film had some memorable moments, didn’t I? I mean, memorable because they’re good, not because they’re so awful. I guess what I meant to say is there’s the one scene worth remembering. One of the most notable sequences from the Bram Stoker novel involves Jonathan Harker observing Count Dracula entering and exiting the tower of Castle Dracula by crawling up and down the wall like a spider. For one reason or another, this scene had never been included in any theatrical version of the story, so scriptwriter Anthony Hinds and director Roy Ward Baker figured now would be as good a time as any. It does show, if nothing else, Dracula has learned the benefits of putting his crypt in an impenetrable tower with no entrance or exit save for the one window way up high that only a guy with spider climbing abilities can get to. It certainly makes more sense than keeping it on the ground floor with an unlocked door, as was his practice in previous films. Of course, once Christopher Lee went crawling up and down walls, there was no stopping Dracula. Frank Langela did it in hazy slow motion with billowing cape and romantic string music playing. Gary Oldman did it all herky jerky while wearing a big red robe. It just goes to show you that a scene of Dracula scurrying around don the wall may be cool, but it can’t save the whole movie.


Even the trademark Hammer look isn’t on display here, as cheap budgets make for cheap sets. Fire damage explains away the spartan appearance of Dracula’s castle, but that doesn’t make it interesting to look at. More than ever, the people who made fun of horror movies with cardboard characters and cardboard sets had plenty of ammo for their attacks. It can be fun, but you never once forget you’re watching a substantially lower quality movie than previous Dracula entries. There’s a reason this emerged as the goriest of all Dracula films, and one of the goriest Hammer films, period: they had to cover up the threadbare production with something.

Scars of Dracula isn’t quite a disaster, but it’s everything bad about Hammer films, and everything that critics unjustly accused Hammer films of being — only this time, there was no defending the product. Hammy acting, clumsy comedy, wretched special effects, weak characters — heaving bosoms is about all this one has going for it, and you can get those in any Hammer film, even the good ones. 1970 was simply not a good year for Hammer, with this, the awful Horror of Frankenstein (not part of the actual Frankenstein series, and not starring Peter Cushing), Creatures the World Forgot, and Lust for a Vampire overshadowing the studio’s two good films from that year: the wonderful Vampire Lovers and the acceptable Lady Bathory exploitation film, Countess Dracula. Scars of Dracula ends up being a highlight reel for anyone who ever wanted to showcase the lowest common denominator Hammer film.

Hinds was a good scriptwriter, and Baker was a more than competent director. So what went wrong? It can only be that, in the end, no one but the accountants gave a damn about making another Dracula movie. Unfortunately, it didn’t stop there. Scars of Dracula once again made money, which meant that, impossible though it may be, yet another Dracula film would inevitably be made. Fans grew hopeful when they heard Peter Cushing was back in the game as Van Helsing. They grew suspicious when they found out Dracula would be visiting the year 1972.

That's it! I'm transporting Dracula to 1972!
That’s it! I’m transporting Dracula to 1972!
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Taste the Blood of Dracula

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Last time we saw the prince of the undead, he was impaled on a cross and turned into that pink sawdust bus drivers sprinkle on the floor when kids throw up. For just about anyone, even the common vampire, that would signal the end, once and for all. But this is Dracula we’re talking about, and if Dracula Has Risen from the Grave proved to be a financial success for England’s Hammer Studio, then you could bet good money on the fact that they’d find yet another way to bring the Count back from the dead, even if he’d been impaled on a cross and even if series star Christopher Lee was back out on the streets again telling anyone and everyone who would listen that the Dracula movies were awful and he would absolutely, positively, under no circumstances ever play Count Dracula again. Anyone who knows the cycle knows that means that the next film in the cycle, Taste the Blood of Dracula, stars Christopher Lee as the titular count, and that in turns means we’d have to read even more quotes from Lee about how he was practically forced to do this film, but that he’d sure as heck never do another one.

There are two common paths of thought regarding Lee’s frequent and increasingly irritating complaints about Hammer’s Dracula movies. The first is that, well, Christopher Lee is just sort of cranky and overly pompous about the whole thing. The second is that he made these statements with the full blessing of Hammer and with every intention, despite what he was saying, of reprising the role so long as the movies proved profitable. Having the star of a film out there talking about how horrible it all is and how he never wants to do another one is a surefire way to get people curious. Certainly Hammer seemed to have suspiciously peculiar luck with convincing Christopher Lee to go back on his bold proclamations. So either Lee is was a talker who never lived up to his own assertions, or he’s just a cog in a clever Hammer marketing ploy, or Hammer has some bundle of pictures or other bunch of material that they use to regularly blackmail Lee.


In fact, Taste the Blood of Dracula was originally scripted by Anthony Hinds on the assumption that Lee would make good on his boasts and refuse to appear. Much like Brides of Dracula before it, Taste the Blood of Dracula was going to employ the threat of Dracula and his disciples without actually featuring the bloodsucker himself. As originally written Taste the Blood was going to be a showcase for Hammer’s great young hope, Ralph Bates, the man they hoped would serve as the banner star for a new era of revitalized Hammer output. It seemed like a good idea. Christopher Lee was becoming more difficult by the day, and one has to assume that despite the man’s marquee value, Hammer would be happy to just move on without him for a spell. And Ralph Bates was certainly an able man around which to structure the faltering studio. Where as Cushing and Lee and the previous generation of Hammer actors had represented an older, more distinguished presence, Bates was young and handsome and would appeal, Hammer hoped, to the younger kids who were fast becoming the bread and butter of the movie industry.

As the studio entered the 1970s, they were beginning to feel the weight of a faltering British film industry, a dearth of ideas for new movies that would keep Hammer fresh, and most of all, the feeling that Hammer films were simply outdated and old-fashioned. Behind the scenes, Hammer was rudderless and without any real leadership or idea of where the studio was going. As a result, Hammer’s output during the 1970s was notoriously uneven, though several high points managed to rise above the widening pool of substandard Hammer fare. One of the keys to Hammer succeeding in the 1970s involved a serious update of the stodgy and old-fashioned reputation. This meant, among other things, more daring scripts, less naive looks at life, and above all, some new blood in the acting department that would appeal to existing horror fans as well as those shaggy-haired hippies and burn-outs with their bell bottoms and their Sergeant Pepper albums.


Unfortunately Warner Brothers, who distributed the films in the important US market, wasn’t going to buy any of this. They didn’t know who Ralph Bates was, and more importantly, they didn’t care. If Hammer wanted their Dracula film distributed in the United States, then it damn well better have Dracula in it. American audiences wouldn’t put up with a bait and switch (the success of Roger Corman and Al Adamson disproves this assertion), and if Warner couldn’t have Christopher Lee in the film, then the film couldn’t have distribution in the United States. Hammer scrambled to appease Lee in the same way but for much less money than the producers of the James Bond films begged and bought Sean Connery back into the Bond series (at roughly the same time. Diamonds Are Forever came out in 1971, but given the speed with which Hammer films were made versus the more liberal schedule of a Bond film, it’s likely this sort of desperate buying back of established stars was happening at around the same time). With Lee on board again, under protest as he couldn’t stop reminding people, a hasty rewrite of the script was in order so that Dracula could actually appear in the film to see who it was that going around tasting his blood.

Taste the Blood begins with a clever intro that signals the film’s intention to put more work than usual into the process of reviving Dracula. A merchant traveling via coach with a couple of your standard issue gruff, superstitious villagers is bragging about the rare wares he has acquired during his recent antiquing sojourn through the Carpathian hills. While he may be proud of his knick-knacks, the villagers aren’t as impressed, and when the merchant mentions a certain village, they just haul off and kick him out of the coach. Stranded in the woods at night, the merchant begins to hear the standard “stranded in the woods at night” sound effects. Owls, scurrying, and a howl that may or may not be Oliver Reed from Curse of the Werewolf. When a blood-curdling shriek fills the air, the merchant realizes that some seriously foul things are afoot in this cursed forest. By and by he falls off a ledge and comes face to face with the thrilling climax of Dracula Has Risen from the Grave. Once that movie finishes up, the merchant twists up his courage and sneaks down to collect the remaining artifacts, which include, as the title suggests, the blood of Dracula, or at least the powdered “just add water” variety we’re used to seeing once Dracula finishes dying.


Some time later, we meet three upstanding citizens of Queen Victoria’s England, and as you can guess, all three of them aren’t nearly as pious as they pretend. Ring leader William Hargood (Geoffrey Keene, who appeared in Cromwell every James Bond films beginning with The Spy Who Loved Me in 1977 and concluding with The Living Daylights) is the most despicable of the bunch as he beats and berates his daughter for smiling at a boy and engaging in other acts of harlotry while, the very same night, gathering his cronies together for a night of exotic pleasures at the local brothel. Hargood and his fellows form sort of a mini Hellfire Club, though their indulgences in the forbidden pleasures of the world consist almost entirely of going to same brothel every month under the guise of “charity work” and then sitting in a room, drinking liquor, and watching foreign women dance naked. I’m not saying that isn’t a fine night out on the town, but as far as experiencing the taboos from the farthest reaches of the globe go, it’s pretty pedestrian stuff.

Hargood seems to realize this, and their boredom with their panty-waist sin leads them to seek out eccentric dandy Lord Courtley (Ralph Bates), who is one of those broke counts who gads about town in the finest high society frippery, scamming free meals from expensive restaurants and mooching off exquisite looking women of loose morals and poor judgment as he twirls his walking stick, doffs his top hat, and snaps his hankie about. In other words, a perfectly fine role model. Courtley is rumored to have dabbled in the black arts of Satanism or voodoo or something sinister, and so the three upstanding gentlemen seek out his company, though they never stop insulting him — which seems to me a poor way to treat the madcap young fop you’re asking to initiate you into the next level of debauchery. Courtley sees in the gentlemen the perfect opportunity to get enough money to do something he’s always wanted to do: namely, visit that merchant from the pre-credit sequence, buy Dracula’s stuff, and mount a ritual to return the count to life. Reason? For the hell of it, it seems, which is as good a reason as any, I suppose.


As one would imagine, the ritual goes awry when Hargood’s friends balk at actually guzzling down the thick, foaming blood of Dracula milkshake with which Courtley presents them. The ensuing argument results in Courtley’s murder as he thrashes and writhes about after drinking the blood himself. Hargood and Co. high tail it out of the ruined old building in which the fun was taking place, and Courtley, not surprisingly proves to be just the vessel Dracula needs to return from the dead once again to wreak his unholy vengeance upon those who murdered his assistant, which doesn’t make a whole heck of a lot of sense when you remember that Dracula has no idea who Courtley is, and that Courtley’s death was necessary for Dracula to return to the land of the living. But what do you want when the script gets rewritten at the last minute?

The remainder of the film sees Dracula (Christopher Lee) gaining control over the sons and daughters of the three men against whom he bears this grudge, so that he can have them murder their own parents, which frees Dracula up to stand nearby in the shadows and count down the number of people against whom he has successfully extracted his revenge. Considering there’s only three of them, it’s not much of a countdown.


One of the things that sets this film apart from previous Dracula films is that Dracula is arguably the hero of the film. Though we still have to see him destroyed in the end, there’s little doubt that he’s no more vile than the men he’s hunting. When he manipulates Hargood’s battered daughter Alice (Linda Hayden, Blood on Satan’s Claw) into smashing her wretched father’s head in with a shovel, one almost feels like cheering, especially since this comes after a grotesque scene in which a drunk and leering Hargood viciously beats his daughter and looks on the verge of flat out raping her. Previous Dracula films have had gray characters — the self-righteous blowhard Monsignor from the last film springs immediately to mind — but those characters always had redeeming qualities. Hargood possesses no such qualities. He is despicable from beginning to end, and the audience has no problem feeling that he got what he deserved. The only thing wrong with his death, as I see it, is that it’s the first, leaving the other two far less revolting characters to carry the plot when, if you ask me, Hargood’s death should have been the climax of the story. Instead, we get Dracula hunting down the remainder of Hargood’s cabal while milquetoast Paul (yet another Paul — nearly as many of these in Dracula films as there are Kloves, or Hans’s in the Frankenstein movie) tries to save the soul of his beloved Alice Hargood and, in the process, send Dracula back from whence he came.

Taste the Blood represents a more savage critique of Victorian society than any previous Dracula film. There has always been an undercurrent in the films of the ongoing struggle between enforced morals and repression and the wild animalistic abandon represented by Dracula. But in previous films, the scripts always came down on the side of society, preferring its ordered repression to the lust and passion of Dracula. Here, however, the tables are turned and if Dracula’s lifestyle isn’t exactly championed, it’s at least shown as being no worse than the hypocrisy and deceit of modern society. The point is made in rather a heavy-handed fashion, but so it goes. Although a more counter-culture, youth-friendly message about freedom triumphing over repression was nothing new in 1970, Hammer was still a relative neophyte studio when it came to tapping into the anti-authoritarian trends that had defined and all but escaped Hammer during the 1960s. With Taste the Blood, they’re attempting to play a bit of catch-up, so one can forgive the ham-handed way in which they deliver the message.


Dracula is, once again, little more than a supporting player, a sort of shadowy puppet master with very little screen time who does precious little more than lurk in the shadows rattling off the body count like the Count from Sesame Street. But then at the same time, he doesn’t have any less screen time or involvement in things than he did in most of the previous films. What Taste the Blood does is the same thing that Horror of Dracula and Prince of Darkness attempted to do, which is to keep Dracula constantly present as a threat, an ominous atmosphere of dread, even when Christopher Lee himself is nowhere to be seen. Only in the finale, which is admittedly half-baked, does Lee get to do his crazed thrashing about, though one has to wonder if the lord of the undead couldn’t think of a better way to fight off a weak opponent like Paul than standing on a balcony and throwing garbage at him. It’s just one step away from having Dracula swoop down and whack Paul on the head, then flutter up into the rafters to taunt him.

The rest of the cast is spectacular. Paul (Anthony Higgins, Vampire Circus as well as a small part in Raiders of the Lost Ark) is more boring than the previous Paul, but no more boring than any of the other straights we’ve had on parade. Linda Hayden acquits herself well as the other half of the boring romantic couple. The real strength of the cast lies in everyone else, an impressive assembly of solid character actors that perform above and beyond the call of duty, with Geoffrey Keen and Ralph Bates in the lead. For the couple scenes where he’s allowed to spring to life, Christopher Lee is as good as he always is. Michael Ripper, who seems to have appeared in just about every movie Hammer ever made, gets promoted from the role of “suspicious barkeep” to “lackadaisical inspector.” It’s probably one of the best casts ever assembled for a Dracula film, and although it’s common to bemoan the lack of Peter Cushing as Van Helsing, there’s really no place for him thematically in this film, where the humans are generally so contemptible. Van Helsing’s compassionate authority figure would have stood out like a sore thumb.


Taste the Blood continues to take Dracula further and further away from Van Helsing’s theory that Dracula is is a perfectly explainable creature well within and soundly defeated by the powers of human reason. In fact, by Taste the Blood, Dracula is hardly even a vampire any more so much as he is some kind of supernatural demonic force. If ever he was the human-made monster, you wouldn’t know it at this point. The more secular means of dispatching a vampire — garlic, running water, so on and so forth — that were previously employed have, by this movie, been dispatched almost entirely in favor of religious iconography. Although Taste the Blood is as steeped in religious imagery as Dracula has Risen from the Grave, it doesn’t have any particular comment to direct toward religion the way that previous film did. Religion is simply a matter of necessity as Dracula has become less the prince of darkness and more the Antichrist himself. Or wait, are those the same? Whatever the case, Taste the Blood again presents us with a monster which, unlike Dracula as we knew him in the first couple of films, exists entirely within a religious — or sacreligious — realm where bravery and reason have less to do with destroying him than do faith and Christ.

Despite the weak ending, Taste the Blood is an exceptional entry into Hammer’s Dracula oeuvre. Director Peter Sasdy eschews the ultra-vivid palette that characterized the Terence Fisher films and goes for a more subdued hue to the film, something more akin to reality and less stylized. Buildings and street are dark rather than brightly lit, and there is a palpable sense of decay in everything. Even Christopher Lee grudgingly admits that it turned out to be a good film, though to this day he won’t stop going on about how corny the title is — and at least on this, one kind of has to agree with him, though I’d pay good money to see something under the same title debut on the Food Network.

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Dracula Has Risen from the Grave

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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.

With the power to produce so much green, it was a given that Hammer Studio’s Dracula would find a way to resurrect himself after being trapped under the ice at the end of Dracula, Prince of Darkness. Death by running water seemed a more easily circumvented fate than actor Christopher Lee’s emphatic statements regarding his unwillingness to portray the caped one again. Lee made a big name for himself with his turn as the undead ghoul in Hammer’s ground-breaking Horror of Dracula, but he was determined that the name he made wouldn’t be Dracula. So he bowed out of the sequel, Brides of Dracula, and didn’t return to the role until he was comfortable that he’d established himself as something more than the vampire count. But 1967′s Dracula, Prince of Darkness proved that audiences were still bloodthirsty not just for Dracula, but for Christopher Lee as Dracula. That people were so quick to revert to identifying him solely with Dracula made Lee squeamish about reprising the role yet again, though the outstanding success of Prince of Darkness meant that Hammer could hardly pass on making another film.


So would begin a long and sometimes irritating cycle of Christopher Lee making a Dracula movie for Hammer, complaining about what crap the film was and how he would absolutely never, ever do it again, then appearing in Hammer’s next Dracula film a year later. Although Lee did have his viable points for being dissatisfied with the role — chief among them that it grew increasingly unlike anything portrayed in the original Bram Stoker novel — in the end his continuous complaining coupled with the fact that he’d always show up to do another one “under protest” kind of makes you want to tell Christopher Lee to shut the hell up. Hey, I like me the Christopher Lee, but it’s not like the man built for himself some legacy of impeccable artistic integrity. He did show up in Chuck Norris films and other things far worse than even the least of his Hammer Dracula films. But that’s Christopher Lee for you. Sometimes he’s just a bit of a blowhard, but that doesn’t make his turn in these films any less enjoyable.

So obviously, despite Lee’s public bellyaching, Hammer managed to sign him on for a sequel to Prince of Darkness. There was really no reason to tinker with a winning formula, and so they figured they might as well bring back Terence Fisher to direct and Jimmy Sangster to do the screenplay. Things didn’t quite work out that way though, and when Fisher was injured in an auto accident, Hammer turned to Freddie Francis to fulfill the directorial duties. Additionally, Anthony Hinds ended up writing the screenplay (under his frequent pseudonym of John Elder). As good as the Sangster-Fisher team was, there was nothing to mourn in having Francis and Hinds working on the picture. Both were solid company men with a lot of good work to their credit. In fact, Freddie Francis’ tendency to experiment more with dreamlike, experimental set-ups would be a nice change from Fisher’s meticulous concentration on realism and detail.


The film lets you know right away that it isn’t going to mess around, although this warning turns out to be a bit of a fib since the movie does end up messing around a bit. But we begin with one of the finest opening sequences Hammer would devise for a Dracula movie, as a young boy goes to fulfill his duty as the local church’s bell ringer only to find the corpse of a young woman, drained completely of blood, dangling inside the bell. It’s a fantastic image in a film whose main strength is going to be in its imagery. This all occurs, we are led to understand, sometime during the events depicted in Prince of Darkness. The film then picks up some months after that one ends, with the local priest a hopeless drunk and the church abandoned. When a loudmouth, obnoxious monsignor rides into town, he berates everyone for still being afraid of Dracula even though the fiend was indisputably destroyed by that rifle-toting monk in Prince of Darkness.

To prove his point, the Monsignor insists on dragging the parish priest up to Dracula’s now-vacant castle to exorcise the grounds and scatter assorted religious iconography about the place. Unfortunately, while he’s doing this, the drunken depressed priest takes a tumble off a ledge and cracks open his head right on top of the ice beneath which lies the perfectly preserved corpse of Dracula. As blood from the priest’s head trickles through cracks in the ice, it touches Dracula’s lips and, well, there you go. Instant vampire resurrection. This process of reviving the count seems a little, you know, unimaginative. Last time, someone had to be strung above his ashes and completely gutted before Dracula was revived, but this time it just takes a couple drops of blood and a convenient ignoring of the fact that, blood of a disillusioned priest or not, Dracula was still trapped beneath running water and should have just died again instead of being able to burst forth from his icy tomb to wreak terrible vengeance upon the world.

This method of bringing Dracula back would, however, look positively inspired by the time the series got to Scars of Dracula, where the count is brought back to un-life when a random rubber bat flies into his crypt and drools some blood on him without any sort of build-up at all.


The first thing one notices about this whole opening, which is really one of the best procession of images in any Dracula film, is the pervasiveness of religious imagery. Well, I guess the first thing you might notice is how the drunk priest’s head is gushing blood in one shot and is entirely healed mere seconds later in another shot. But the religious imagery is strong too, and indeed Risen from the Grave will emerge as one of the most potently religious of the films, continuing the progression of the series from the relatively secular adventures of Van Helsing (he pays lip service to God, but his primary faith is in science and reason, and he sees vampirism in terms of being a disease) to the “I’m religious but I’ll trust my gun to do the Lord’s work” view of Father Sandor in Prince of Darkness, and now into the realm of Dracula not as a plague, but as a supernatural force that exists apart from and in defiance of the laws of a rational universe.

The Van Helsing-esque voice of the enlightened man of reason comes, somewhat more pathetically than with Van Helsing, from the character of Paul, a student and avowed atheist who is in love with the Monsignor’s niece, though the Monsignor is none too thrilled to have a Godless screwball courting a member of his family. The battle between the forces of secularism and religion is almost more prominent than the battle against Dracula, who eventually discovers that the Monsignor has stuck a big golden cross on the castle door and thus seeks ruthless revenge on the Christian defiler by enslaving the weak priest and moving into the basement of the inn where Paul works. If you’re thinking this is kind of a lame ultimate revenge against all mankind, then you’d pretty much be right. But Dracula also enslaves a buxom bar wench, so it’s not a total wash-out.


Dracula plans to eventually get around to making a vampire out of the monsignor’s niece, but he doesn’t seem to be in any big hurry, which means that while he gets to spend a lot of time hanging around in the cellar being illuminated by eerie green lights, we have to spend a lot of time watching him hang around the cellar being illuminated by eerie green lights. It does indeed make for some frighteningly effective imagery, which seems to be the entire point of this film, but a procession of eerie images doesn’t necessarily assemble into a completely enthralling or entirely coherent film. Things do drag a bit in the middle as we watch Dracula push around the wench and the priest while Paul and his love engage in late-night rendezvous on the rooftop. We know that eventually Dracula is going to kidnap her and there will be a scene of horses wildly pulling a carriage toward Castle Dracula. We just wish there wasn’t so much dead time before that happens.

This movie does contain one of the scenes that really set Christopher Lee off to ranting about how awful all the films are. Paul manages to drive a stake — and quite a large one at that — through Dracula’s heart, which Dracula proceeds to yank out and throw at Paul. Turns out you have to stake the vampire, yeah, but it’s meaningless unless you also pray while you are doing it. Paul, being an atheist or perhaps somewhat versed in vampiric lore, refuses to pray. Who’s heard of such a thing? You just slam the stake in, cut the head off, and then you’re done for the day. This particular scene drove Lee nuts. He still brings it up even today. Everyone knows that once you drive a stake into a vampire’s heart, he’s done for, prayer or no.


Gaffs like that aside, this is really rather a better entry in the series than Christopher Lee would have you believe. The story, though uneven, benefits from greater depth than usual, with the battle between secularism and Christianity adding some real meat to the non-Dracula bits. Of course, any attempt to extract some sort of final message from the film is bound to be confusing. It’s religion’s fault that Dracula gets resurrected. If the Monsignor had listened to the superstitious peasants, none of this would have happened. And it’s Paul the atheist who must come in and save the day when Christianity fails to get the job done. But Paul also winds up perhaps more open to belief in Christ by the end of the film, which is full of redemption and vampires getting impaled on big golden crucifixes. So I guess the overall religious message of Dracula Has Risen from the Grave is, “don’t be an asshole.” Don’t be intolerant or a zealot, because then you just open the door for Christopher Lee to go stand on your roof while enveloped in purple mist. And while it may be cool to have Christopher Lee on your roof for a while, eventually he’s going to start asking about eating some of your chips and stuff like that.

Appearance-wise, Risen from the Grave is the best looking of all the Dracula films to date, and really one of the best looking films Hammer ever produced. The atmosphere in the film seems to be heavily influenced by the more phantasmagoric look of Mario Bava’s films, and the result is a Dracula film awash in otherworldly colors and swirling camera filters. It gives the movie a more dreamlike, hallucinogenic mood, which is perfectly fitting to mark the series’ move toward more supernatural, less “man of reason” fare. The next in the series, Taste the Blood of Dracula (it’s salty!), would contain even more overt references to Dracula not as some sort of social disease that can be explained with and combated by science, but as a creature straight from Hell imbued with the powers of Satan himself and able to be both resurrected and defeated through a series of religious or sacrilegious rituals.


Lee’s appearance, likewise, is even more ghoulish than previous incarnations. Each film sees him get more pallid and cadaverous, while his eyes get more bloodshot. He’s in snarling animal mode here, throwing people around wildly and smashing windows. He even gets a few lines this time around. It was watching this movie that I finally had my little epiphany about Dracula’s behavior. I’m slow, so you’ll have to forgive me if this was obvious to everyone else long ago. I was always a bit annoyed by the fact that although he is four or five times stronger than a regular man, Dracula’s answer to a fight is to turn tail and run. I mean, Paul isn’t exactly an imposing figure. Then it hit me, and well, all I can say is “duh.” Dracula is a vicious beast, but a beast never the less, and even the most vicious beast in nature is more likely to turn around and run away than fight. It’s a simple animal reaction to being challenged. Unless he’s really hungry, Dracula would rather take off. Not that I’d recommend combating all vampires by waving your arms in the air and yelling, “shoo!” but it seems to work sometimes. Dracula is only fierce-acting around people he already knows are weaker than him.

Dracula Has Risen from the Grave is a nice Gothic horror despite some slow spots. It’s got a decent cast, though as always Peter Cushing is sorely missed. It has a tremendous look, smart direction, the usual great James Bernard score, and a script that shoots for more meaning than usual. Lee is less of a presence here than in the last film, and his shadow doesn’t seem to loom as powerfully over everything when he’s not present as it did in Prince of Darkness. But when he does show up, he looks exquisite. Although Lee himself runs down these later films in the series, this one is actually quite good, and the next one would be even better.

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Dracula, Prince of Darkness

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.

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Brides of Dracula

When people talk about the sequence of films that make up Hammer Studio’s “Dracula” series, a good many of them make the eight-year leap from the first film, 1958′s Horror of Dracula to Dracula, Prince of Darkness in 1966. It’s quite a jump, indeed, but one that seems to land you just about where you need to be, with the latter film beginning with a quick recap of the climax from the former. What gets lost in between the two films is the actual first sequel to Horror of Dracula, which is a shame because it’s one of the best in the series, and one of the best vampire films Hammer ever produced.

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The Mummy

Ahh, Sangster and Fisher. If you want my opinion, and you must or else you’d go read a much better website that this, that screenwriter-director team is as integral to the success of the Hammer horror films as the Cushing-Lee acting team. When you make a list of the best films Hammer produced, the Fisher-Sangster duo comes up quite frequently. The whole quartet is at it again with this, Hammer’s third reimagining of a classic Universal Pictures horror icon. By now, there was no real gamble involved in the Hammer formula. Curse of Frankenstein and Horror of Dracula had proven the effort, and Hammer’s only challenge now lie in maintaining the high standards set by those two films. With two Universal legends left, those being the mummy and the Wolfman, Hammer decided to go all old Egypt and bring the bandaged avenger of desecrated tombs into the Technicolor world of Hammer horror.

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Horror of Dracula

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.

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