It’s no surprise that Katy’s first-person narrative (written by a middle-aged man in the late 1960s) is the stuff of pure male fantasy. She’s a tall, sexy, tanned redhead, with in inner monologue that spends a lot of time dwelling on how fabulous her tits are.
For my money, the double whammy of Curse of Frankenstein and Revenge of Frankenstein represents the high water mark for Hammer horror productions. They’re simply wonderful films, perfectly connected to one another without the sequel being a derivative rehash.
The Ripper has struck again, prompting the drunk who finds the body to exclaim in his best RADA Cockney accent, “Gor blimey, the Ripper! ‘e’s done ‘er in!”
Callistratus is trying to find a combination of groups that can be transfused into a diseased subject to cure the condition. Pretty sure that’s not really how blood groups work, but never mind.
The Pirates of Blood River is still a solid adventure tale, with plenty of action, a dependable cast, and a look that fools you into thinking this is a much higher budget film than it actually is. It’s nice to see these old Hammer swashbucklers getting some attention.
It’s great to see Christopher Lee back in action again as the count, and really, that alone is enough to make this film enjoyable. Lee swore this would be the final time he’d play Dracula for Hammer. He was, naturally, back again as the count very shortly there after.
If Brides of Dracula is the forgotten Dracula film, I can’t imagine it will stay that way for very long. It’s simply too good. Maybe not quite as good as the original, but definitely the equal of the next sequel, Dracula, Prince of Darkness, which saw the return of Christopher Lee to the role of Dracula.
As is the case with both Horror of Dracula and Curse of Frankenstein, one can’t help but compare it to the old Universal film. I’m a big fan of Karloff’s The Mummy, and I’m a big fan of this one.
Hammer rushed out two more horror-scifi amalgamations, then in 1956 went to work on what was to be their first in a series of films that were, depending on who you are, either adaptations of classic works of British gothic horror, or remakes of old Universal Pictures horror films.