I did one of these last year for the “Five Films That Scare” me and when I made the short list for this year, I realized that I had a lot of overlap, especially since I only had three horror films on that list. I could easily put Tomie and the Gremlins on this list as well, but they are worthy of at least honorable mentions. Tomie is a long running series over in Japan and there are some pretty bizarre and monstrous versions of Tomie in some of the later movies, and who doesn’t love the Gremlins? But anyway, this year I’ve got an all-new list and it’s all tied to horror this time, no funny business.
5.) Ju-On: The Grudge
Ok so I lied, this list isn’t 100% all new since this made my honorable mention last year, and even though the girl/young woman with long black hair over her face is a bit of a cliché, at least in Asian horror, and Sadako from The Ring is often considered scarier, I like Kayako better as the vengeful spirit inhabiting the house she was murdered in before spreading out in the later movies. There are some great scares and images in the first English Grudge movie, not only that but the sound design on her haunting throat rasp is chilling. It’s hard to hear that sound and not get shivers down your spine. And Takako Fuji has a great presence herself with the way she moves, there’s a reason that the director brought her back for every installment of the movie, of which there have been many, I think three or four in Japan, as well as three in English.
This is my first, but not my last broad category of movie monsters. I’ve been a fan of the concept of werewolves since I was very young, and enjoyed reading many different sorts of stories about them. I’m disappointed that the main reason that I have this as a broader category, is that I have yet to see what I feel is the definitive werewolf movie. There are just so many bad ones out there, though I’m a little abashed to admit that I’ve missed one that’s considered a classic of sorts, American Werewolf in London. If I did have to choose, I would probably go with the werewolves in the Underworld series, especially Raze who was surprisingly played by the writer of the movie. Underworld is great because is makes the Lycans sympathetic without making them overly tragic, which is often the way they are handled.
3.) Jurassic Park‘s T-Rex
It’s been too long since I’ve seen Jurassic Park, but there is no substitute for the feeling that I got when catching that first glimpse of the T-Rex on the big screen. It’s visually impressive even by today’s standards, which is pretty amazing when you consider that most other CGI from this period doesn’t hold a candle to today’s movies. But Jurassic Park not only holds up, it’s even better than a lot of poor excuses for CGI monsters that they’ve churned out in recent years. The size of it, the detail, even the subtleties of using the ripples in the water to sell the incredible size and mass of this creature. Not only that, but the fact that it’s not just CGI, a lot of the time it’s an actual giant animatronic that’s physically there with the actors. And who doesn’t love a giant dinosaur?
This is another one where I had to make it into a broader category. There’s no way I can choose just one movie vampire as my favorite. The only downside of making this into a broad category is that there are plenty of movie vampires that I would want to exclude, including some recent angsty vampires that I refuse to even mention. Vampires have some of the best qualities to them, they can be sexy but also menacing, even downright terrifying in some cases. There’s so much you can do with the vampire mythos when you pick and choose which qualities you want to highlight. But it’s almost always about the mystery and allure of the night, the parallels of sensuality with caressing and sucking on the neck and the exchange of bodily fluids. There’s so much that can be done with it and so many great ones out there I can’t list them all but I will list a few of my favorites: The Lost Boys, Coppola’s Dracula, Rise, Vampire Hunter D, Underworld, Interview with a Vampire, and plenty more that are escaping my mind at the time.
1.) The Insane
Movie monsters like my previous four are all still really fantasy creatures, but when you come down to what’s really the most horrifying when you stop to think about it are the monsters that actually do exist in real life. The criminally insane, the monsters that are actual people driven to do horrifying things because of a mental instability or just general lack of morality. Hannibal Lector is the one that first comes to mind, but there are plenty others like John Doe from Seven, even someone like Jack Torrence from The Shining. It’s one thing to be scared of something that’s not real, it’s another to be scared of something that is.
Nathan Witrow aka Bubbawheat
Flights, Tights, and Movie Nights
To check out Bubbawheat’s celebrated website, click here.
by Steve Habrat
By the late 60s and early 70s, Hammer Films was beginning to loose some of the popularity that the studio once enjoyed. They started trying to compete with the wave of exploitation horror that was beginning to emerge, which led to the studio cranking up the sleaziness in their pictures. In 1971, one of Hammer’s final triumphs would be director John Hough’s Twins of Evil, the third installment in the Karnstein Trilogy, which also featured 1970’s The Vampire Lovers and 1971’s Lust for a Vampire. Steamy, seedy, extravagant, and violent, Twins of Evil is a hugely entertaining horror film that retains Hammer’s gothic visual style while upping the amount of sex, nudity, and graphic violence for a crowd craving some exploitation insanity. Starring an aging yet wickedly sharp Peter Cushing and the beautiful former Playboy Playmates Mary and Madeleine Collinson (who also happened to be real life twins), Twins of Evil is a thrilling combination of the vampire film, satanic horror film, and witch-hunt thriller, all expertly balanced by screenwriter Tudor Gates. It’s also extremely atmospheric and loaded with Hammer’s beloved castles, heavy fog, crucifixes, tangled woods, and rotting cemeteries.
Twins of Evil introduces us to innocent Maria (played by Mary Collinson) and rebellious Frieda (played by Madeleine Collinson), two identical twins who have traveled to the town of Karenstein to live with their uncle, Gustav Weil (played by Peter Cushing). As it turns out, Weil is the leader of a local witch-hunting group called the Brotherhood, who tracks down young girls who have been accused of witchcraft and burns them at the stake. As the twins settle in to their new home, they happen to hear about a wealthy local by the name of Count Karnstein (played by Damien Thomas), who is well known for practicing the dark arts and coming from a family of Satanists. One evening, Count Karnstein plays host to a satanic cult, and through a barbaric ritual, they happen to contact the spirit of Countess Mircalla (played by Katya Wyeth), who proceeds to turn Karnstein into a vampire. The next day, Karnstein is travelling through town when he bumps into Frieda, who has become smitten with Karnstein’s evil reputation. That evening, Frieda accepts an invitation to Karnstein’s castle, where she gets turned into a vampire and tortures a young girl with Karnstein. After Frieda attacks a member of the Brotherhood, Weil captures his niece and is forced to lock her up until he can decide her fate. His plans change when a local schoolteacher by the name of Anton Hoffer (played by David Warbeck) approaches him about the possibility of vampirism running rampant through the town.
Easily ranking as one of the most fun horror films that Hammer Films ever released, Twins of Evil is an exotic breed of vampire film. The first half is a witch-hunting horror film ripe with hair-raising scenes of Cushing’s Weil ruthlessly running down young girls, tying them to a stake, and burning them to a crisp. Though the film has a heavy B-movie vibe, Hough doesn’t hold back exploring the senseless brutality of these witch-hunts. After finding a man dying in a foggy graveyard from a vampire bite, Weil and his Brotherhood attack the first girl they spot wandering through the woods and drag her off to face a cleansing fire. It really makes for some alarming glimpses of religious extremity at its absolute worst. For a stretch, Hough lays off some of the witch hunting in favor of a satanic horror film set to growling organs, hooded high priests, human sacrifice, and a cry for Satan that would make the climax of Rosemary’s Baby blush. Hough uses the satanic pit stop to glide straight into vampire mayhem that is simultaneously bloody and sexy. The true strength of the film is the way it seems to be able to switch subgenres on us in the blink of an eye.
Performance wise, the actors and actresses seem to have been encouraged to have as much fun with the material as humanly (or inhumanly) possible. Cushing is at his absolutely cheesiest (that is meant as a compliment) as the perpetually serious Weil, an antihero willing to burn an innocent victim at the stake just for being in the wrong place at the wrong time. You’ll loathe him at first, but as the film progresses, you’ll be forced to admire the way he sticks to his beliefs. As far as the Collinson twins are concerned, they actually prove to be a pair of competent actresses for a pair of Playboy Playmates. The standout of the two would be Madeleine as the wicked Frieda, who enjoys flirting with the dark side. Hough seems pressured into showing off their bodies for the camera, something that I’m sure Hammer insisted on considering they have Playboy Playmates in the main roles, but the Collinsons don’t seem to mind too much. Damien Thomas gives a vile turn as the satanic Count Karnstein, who grins and snarls through a pair of vampire fangs and shrugs his shoulders in boredom over a satanic ritual that fails to impress him. He can pull off seductive, creepy, and charismatic like a real professional. David Warbeck also holds his own as the kindly schoolteacher Anton, who basically becomes the true hero of Twins of Evil.
While Hammer’s earlier horror films were stone-faced and relentlessly somber, Twins of Evil seems to have a sense of humor about itself. The soundtrack—while exceptional—is wildly over the top, resembling something you might have heard in an Italian spaghetti western. Its all mighty trumpets and ominous organs blasted for maximum effect. Visually, Hough sticks to Hammer’s gothic calling card, but at times he seems to be really laying it on thick, especially in the early scenes when stuffs a gigantic crucifix into a handful of shots. Then there are the overdramatics and the not-so-subtle symbolism that chew on the screen. Cushing screams and shakes his fists at the sky while yelling, “God has sent me TWINS OF EVIL!!,” and during a steamy make-out scene, one character suggestive strokes a nearby melting candle. These winking moments could have been a bit distracting, but Hough has a way of making them strangely charming. Overall, while it certainly drives a stake right through the heart of subtlety and its strongly self-aware, Twins of Evil is still a scrappy little horror movie with plenty of blood, sex, and nudity to go around. It’s a smooth blend of multiple subgenres that all compliment each other quite well in the end. Twins of Evil ranks as one of Hammer’s strongest films in their horror vault.
Twins of Evil is available on Blu-ray and DVD.
by Steve Habrat
In 1958, Hammer Films revived the gothic vampire film with Horror of Dracula, which is arguably considered one of the finest films the studio ever produced. Hammer would follow up Horror of Dracula with 1960’s The Brides of Dracula, a sequel that boasted the presence of Christopher Lee’s overlord vampire, but didn’t actually include a cameo from the head bloodsucker. In 1963, Hammer would release director Don Sharp’s Kiss of the Vampire, their second vampire film released before Lee returned in 1966’s Dracula: Prince of Darkness. Featuring an immensely strong opening sequence and presenting its vampires as a cult, the little-known Kiss of the Vampire is a unique entry within the vampire genre. It’s gracefully acted, stuffed with Hammer’s trademark gothic set design, and plenty eerie enough to entertain viewers when they have exhausted the Dracula series. Sadly, Kiss of the Vampire isn’t without its flaws, as the head vampire Ravna finds himself lost in Lee’s shadow, and the climax falls victim to some ludicrous special effects. It’s a shame to see the climax trip as badly as it does considering that Hammer consistently delivered strong finishes to their horror films.
Kiss of the Vampire begins with newlyweds Gerald (played by Edward de Souza) and Marianne (played by Jennifer Daniel) setting off on their honeymoon. They are traveling by car through the countryside when they run out of gas near a remote village. Unable to find fuel, the couple makes their way to a nearby inn and starts settling in for the evening. As they unpack, the owners, Bruno (played by Peter Madden) and Anna (played by Vera Cook), deliver an invitation to the couple from Dr. Ravna (played by Noel Willman), a wealthy local who wishes to have the couple dine with him in his lavish castle. Gerald and Marianne graciously accept the invitation and head up to meet Dr. Ravna and his two children, Carl (played by Barry Warren) and Sabena (played by Jacquie Wallis). After dinner, Dr. Ravna encourages Carl to demonstrate his talents as a pianist, but as he plays, Marianne seems to be falling into a trance. Convinced that all the action of the day his worn his wife out, Gerald decides to call it evening. Before he leaves, Dr. Ravna agrees to track down fuel for the happy couple. The next day, Carl and Sabena visit Gerald and Marianne to invite them to a masked ball they are throwing that weekend, but shortly after their arrival, they are scared off when the town drunk Professor Zimmer (played by Clifford Evans) approaches them. Ignoring Professor Zimmer’s warnings about the Ravnas, the couple attends the party, but as they mingle with the guests, they begin to suspect that there may be a wicked side to the seemingly polite family.
Before Sharp even rolls the credits on Kiss of the Vampire, he delivers the strongest and bloodiest scene of the entire film. He begins on a procession of mourners as they file through a graveyard under an overcast sky. At the head of the pack is a priest chanting in Latin over the sobs of loved ones. As they arrive at the grave, two mourners notice a man standing off in the distance. They whisper amongst themselves about how he is probably drunk when he suddenly starts making his way into the graveyard. As he approaches the coffin with fire in his eyes, he grabs a shovel and drives it straight through the wood. Sharp zooms in on the splintered wood as candle wax blood oozes through the gaping hole. Over the soundtrack, a piercing cry sends the mourners and the priest running for their lives as the coffin turns transparent and reveals a dying vampire. From here, Sharp and screenwriter Anthony Hinds allow the action to slowly build. We know there are sinister forces at play, but we’re unsure when they will make themselves known. After a number of teases, Sharp and Hinds let the evil run rampant at a masked ball where he finally lets us glimpse the undead cult.
With its slower pacing, Kiss of the Vampire allows the audience to really get to know the characters, which are all splendidly brought to life by the cast. Edward de Souza and Jennifer Daniel capture the friskiness and optimism of a young married couple ready to take on the world. They playfully tease each other and when they embrace for a kiss, the dinner table they agreed to sit down to in ten minutes is forced to wait another five minutes. When the undead wedge is driven between them, we root for de Souza to find a way to reunite with his hypnotized lover before her soul is consumed by the vampire cult. Noel Willman is gentlemanly early on as the suspicious Dr. Ravna, but at times his performance is on the dry side. There is no flair to his performance and there are only hints of menace that show through when he stands in front of his devoted followers. Just like David Peel’s head vampire in The Brides of Dracula, he is forever lost in Lee’s vampire bat shadow. Clifford Evans rounds out the cast as the drunken vampire slayer Professor Zimmer, a no-nonsense protagonist who makes Peter Cushing’s Van Helsing look like a softie. His disgust for the vampire sect he is hunting is white hot and he will make sure he finishes off his prey by any means necessary. It’s a shame that Willman wasn’t eager to get a bit darker with his role to really ramp up the battle between good and evil.
If there is one thing that Hammer Films could do, it’s end their horror films in the most satisfying manner possible. While there have been some truly classic finales (Horror of Dracula’s final showdown comes to mind), Kiss of the Vampire ends in the most lackluster way possible, a low for the studio. Our gruff vampire hunter conjures up a pack of bats to come flying to the rescue and it looks as cheap as special effects come. They bob through shattering stained glass windows and swoop down to feast on the flesh of the undead cult members, their white robes turning red with each new bite. The deaths are over dramatic and poorly timed as they shriek out through the rubber bats glued to their faces. Overall, Kiss of the Vampire begins with plenty of vigor as vampires are brutally slain right in front of horrified bystanders. From there it opts for a slow burn, but Sharp just can’t muster a fitting climax for what we have just seen. Extra credit is given for the solid performances, (especially from Evans), the cult angle given to the vampires, the bloody cross used to repel Ravna and his children, and the gothic set design that is turned up to eleven.
Kiss of the Vampire is available on DVD.
by Steve Habrat
In 1957, British film production company Hammer Films crossed the pond and spooked American audiences with The Curse of Frankenstein, a bloodier and far less buttoned-up interpretation of Mary Shelley’s classic novel. A year later, Hammer would follow up that Peter Cushing/Christopher Lee vehicle with another Cushing/Lee horror outing in the form of Horror of Dracula, arguably one of the finest vampire films ever made. Many have argued that the ultra-gothic Horror of Dracula is a much better film than The Curse of Frankenstein, mostly due to Lee’s commanding performance as Dracula. Despite what side you fall on, these films are the reason that Hammer Films became as popular as they did. In 1960, the company decided to make a sequel to Horror of Dracula. While Lee wasn’t game to come back for seconds (he wouldn’t return until Dracula: Prince of Darkness), the studio moved forward with The Brides of Dracula, another horror film that is perfect for a crisp October evening. Sexually charged, gory, and packing one hell of a satisfying finale, The Brides of Dracula only slips due to Lee’s absence. In the wake of his performance in Horror of Dracula, there was no way that the blonde baby-faced David Peel was going to be able to match his evil.
The Brides of Dracula begins with a young French schoolteacher by the name of Marianne Danielle (played by Yvonne Monlaur) traveling to Transylvania to take a new job at the Lady’s Academy of Bachstadt. After being left in a pub by her carriage driver, Marianne is invited to stay with Baroness Meinster (played by Martita Hunt), a wealthy local that the villagers seem very uneasy about. Upon arriving at Baroness Meinster’s castle, Marianne catches a glimpse of her son, Baron Meinster (played by David Peel), who is in chains and said to be insane. Marianne soon meets the Baron, who pleads with Marianne to unlock the chains around his ankle and let him go free. Marianne finds the key and frees the Baron, who then proceeds to confront his mother. All the action scares the innocent Marianne and she dashes off into the night, only to be discovered the next day by the kindly Dr. Van Helsing (played by Peter Cushing). Marianne attempts to recount her story, but she has a difficult time remembering all the details. Van Helsing agrees to escort Marianne to her new school, but on their way they make a pit stop to investigate the body of a young dead girl. Van Helsing discovers that she has two bite marks on her neck, which he immediately recognizes as the mark of the vampire. After Van Helsing witnesses the young girl claw out of her grave at night, he begins racing to track down and dispatch any vampires in the area. His quest leads him to the Baron Meinster, who is determined to find Marianne and make her his bride.
With a title like The Brides of Dracula, you’d immediately assume that ol’ Drac would make an appearance somewhere in the picture. For those who are getting their hopes up of catching a glimpse of Lee’s iconic vampire, you’re about to be very disappointed. Heck, the head vampire is barely even mentioned, only coming up twice throughout the entire film. With the role of head vampire vacant, Hammer recruited David Peel, who seems to be having plenty of fun in the role of the Baron, but he just can’t quite rise to the level of the baritone Lee. He swishes his cape around like a kid looking at his new Dracula costume in the mirror and he curls his lips to reveal his plastic fangs, but he’s almost too good-looking to really make your knees knock together. In an attempt to capture Lee’s crazed, bloodshot look, director Terence Fisher cuts to close-ups of Peel’s bulging eyes, but it’s just not the same. Far more memorable are the brides, who basically only watch as Van Helsing tussles around a windmill with the Baron. They may not be all that threatening, but just their ghostly appearance alone certainly sticks with the viewer. They call to mind the three terrors that snuck around Bela Lugosi’s castle and stalked Renfield in Universal’s Dracula.
While Peel’s performance may not have the impact that Lee’s did, Cushing and Monlaur certainly don’t disappoint as the heroes. Monlaur does most of the heavy lifting early on as Marianne, the beautiful schoolteacher who tries to do the right thing, but unleashes evil in the process. Her innocence and kindness makes us root for her when the Baron starts closing in to make her his bride. Cushing reprises his role as the relentless vampire hunter Van Helsing, a hero who seems capable of slipping out of the nastiest situations imaginable. He becomes almost a fatherly figure to the young Marianne, who enthusiastically tells him about her marriage. Like a proud father, he beams with delight—only to slowly become more horrified as she reveals who the man is that will be taking her hand. There is plenty of warmth in Cushing’s performance and you will find yourself holding your breath when Peel’s fangs bear down on his neck. Hunt’s Baroness Meinster is a mysterious piece of work as the Baron’s mother, who doesn’t seem too alarmed when he son finally comes calling. Also on board here is Andree Melly as Gina, Marianne’s jealous roommate who gets turned into one of the dreaded vampire brides.
In true Hammer fashion, The Brides of Dracula is heavy with misty forests, gothic castles, and moonlit graveyards—all things we have come to expect from the studio that successfully revived the classic monsters. Even the opening credits appear as bloody scribbled with a desolate castle looming ominously in the background. Director Fisher, who was the man behind Horror of Dracula and The Curse of Frankenstein, seemed to be getting more and more comfortable with the gothic aesthetic, as his frames are almost overflowing with crosses, coffins, knotted trees, and withered late falls leaves. In addition to the Halloween-heavy mood of the film, The Brides of Dracula also features a sequence in which Van Helsing shows off an extremely painfully way to treat and get rid of a vampire bite. Using a hot poker and some holy water, it really shows the fight that lies deep within our hero. Overall, with the ever-game Cushing at the wheel and Fisher working double time to make sure each and every scene is as atmospheric as it can be, The Brides of Dracula turns out to be an entertaining and solidly spooky sequel from Hammer. Come to catch a glimpse of the brides and stay for the thrilling windmill face-off.
The Brides of Dracula is available on DVD.
by Steve Habrat
There was a time when audiences feared the vampire. He wasn’t viewed as a sex symbol, a glittery pretty boy who pined after a pasty high school girl, drove a sports car like Vin Diesel, and (I shudder to even write this) went out in sunlight. No, there was a time when the vampire was a monster, a creature that leapt from the shadows of our nightmares and hovered over us while we slept in the dead of night. He was a representation of plague, disease, and unholy death, a dusty, bat-like spawn of Satan that rested his pale skin in a coffin lined with the soil from the Black Plague. This was even before Bela Lugosi’s cock-eyed Count, a gentleman who politely told his prey, “I vant to suck yer blahood,” while reaching a contorted hand out from the lid of his coffin. Many regard Universal’s 1931 gothic horror film Dracula as the original and definitive vampire film. Anytime someone mentions the name Dracula, the face that comes to mind is Lugosi’s curled smile, widow’s peak, and bulging eyes. While Lugosi may be the poster boy for “scary” and “serious” vampires, perhaps the most terrifying vampire of all is Max Shreck’s Count Orlok, the pointy-eared demon who stalked the mortals of F.W. Murnau’s 1922 German Expressionist masterpiece Nosferatu. Alive with a creeping supernatural atmosphere that slowly closes around the viewer, menacing shadow play, and a performance that reigns supreme over all other movie monsters, Murnau’s Nosferatu stands as the greatest interpretation of Bram Stoker’s Dracula.
Real estate agent Thomas Hutter (played by Gustav von Wangenheim) is sent by his boss, Knock (played by Alexander Grannach), to Transylvania to meet with Count Orlok (played by Max Shreck), who has recently purchased a home in the town of Wisborg. Saddened to leave his new wife, Ellen (played by Greta Schroeder), Hutter sets out on a lengthy trip into the country where he meets skittish locals, who all warn of “Nosferatu,” the undead that prowl the woods around Orlok’s castle. Ignoring their warnings, Hutter continues his trip to the castle, but as they get closer, Hutter’s carriage driver gets spooked and refuses to go any further. It doesn’t take long for another carriage to meet Hutter and he is ushered to the front door of the seemingly abandoned castle. Shortly after his arrival, Hutter meets with Count Orlok, a seemingly friendly enough individual who invites Hutter to sit down to a hot meal. As the hours pass within the darkened walls of the castle, Hutter begins to suspect that there may be supernatural forces at play. Meanwhile, Orlok has plans of his own for both Hutter and the new town that is expecting him.
Renamed due to not being able to obtain the rights to Stoker’s novel, Nosferatu is perhaps the most down-to-earth vampire film ever made. There are no undead bloodsuckers morphing into bats or wolves, just a misshapen ghoul with pointy ears and elongated fingers that wanders the empty halls of a dilapidated castle. Vampirism itself is presented as more of an apocalyptic plague rather than a satanic spell, as “plague” rats scatter in the diseased wake of Count Orlok. Every now and then, Murnau suggests that there are unseen supernatural forces at play, especially when Hutter nears Orlok’s secluded dwelling. At first, Murnau just shows animals scurrying about the brush and we get a few shots of what is supposedly a werewolf prowling around looking for prey. Once Hutter is picked up by Orlok’s phantom carriage, a handful of images are presented in the negative, almost like Murnau is ripping the shroud of normalcy off the film itself and showing the supernatural underbelly of the ordinary. He does this again later in film, when he shows us a close up of a spider stalking a tangled insect in its web, a symbolic reference to the spidery Orlok and his helpless prey unable to pull themselves out of his hypnotic web. As far as Orlok goes, the most fantastic aspect about him outside of his striking appearance is how he suddenly appears in front of people, manifesting almost of out thin air.
Then we have Shreck’s hypnotic and measured performance as the dreaded Count Orlok, a monstrous role that could be one of the most iconic in the history of horror. Shreck fills every single movement with malevolence, each rigid twitch of his finger or tilt of his head suggests a very long and hellish life as one of the undead. His fingers curl around like the legs of a spider, at one point jutting out from his waist as he skulks into Hutter’s room for a bloody treat. His ears resemble the ears of a bat and his eyes bulge out of his head, appearing to lack a pupil when viewed through the grainy black and white camera work. Then there are his fangs, which resemble the teeth of a rat as they jut out and hang over his lips. Muranu even compares his physical appearance to that of a Venus flytrap, which he does in a left-field lecture about the plant. There is nothing particularly gentlemanly about him as he hangs in a window and stares out of Ellen, whom he desperately wishes to have his way with. The two share a mesmerizing moment and they are not even in the same shot. Orlok closes in on a sleeping Hutter while Ellen, who is miles away, sees Orlok closing in on her dearly beloved in her nightmare.
While Shreck is actually more of a supporting player rather than top billing, he overshadows every other performer in Nosferatu. Gustav von Wangenheim overacts a bit as Hutter, but you suppose that he has to because he doesn’t have sound to fall back on. He’s the hero of the picture, one that falls victim early on in Orlok’s mansion of madness, but he tries his hardest to prevent the undead evil from spreading his plague. Greta Schroeder’s Ellen possesses a dark side as she suffers from horrific nightmares that cause her to wander the railing of her balcony. Alexander Grannach gets nuts as Knock, Hutter’s employer who snickers with glee over the arrival of his “master.” He has black circles around his eyes and he has a ring of frizzy hair that suggests that he has spent a night or two in the local loony bin. John Gottowt is also present as Professor Bulwer, the man who is basically responsible for pointing out the similarities between Count Orlok and the Venus flytrap.
While the lack of sound may turn many viewers away, those who stick with Nosferatu are in for a terrifying treat. There are a number of sequences that are iconic, especially the sequence aboard a ship that finds Count Orlok slowly picking off the sailors one by one. The sequence culminates in an image that is one of the most blood-curdling moments in horror history. Orlok’s stiff body bursts from a cracked coffin and reveals itself in all its bony glory, only to then make his way to the top deck and stalk the captain. Another sequence that rewards is the final moments of the film, with Orlok locked onto the neck of one of the main characters as the sun slowly shatters the night sky. If the repulsive Orlok doesn’t make you quiver, the seemingly abandoned gothic landscape will certainly make you tense. Atmosphere and architecture become major players in the film, especially the jagged, fang-like homes that comprise the Wiborg skyline and peer into Ellen’s bedroom like jaws waiting to bite into her flesh. Overall, as one of the original monster movies, Nosferatu is a surreal and haunting gothic horror film. The images that Murnau frames are guaranteed to stick with you the rest of your life and Shreck’s performance alone will give you a renewed fear of the dark. Nosferatu will forever remain that greatest and scariest vampire movie ever made.
Nosferatu is available on DVD.
by Steve Habrat
Despite how awesome the final sequence of Dracula Has Risen from the Grave was, Hammer Studios just couldn’t allow Christopher Lee’s Count Dracula to remain dead and bloody for very long. In 1970, the studio unleashed director Peter Sasdy’s Taste the Blood of Dracula, another satisfying but flawed entry in the delightfully gory vampire series. Picking up just a few moments after Dracula Has Risen from the Grave ended, Taste the Blood of Dracula is a bit racier than its predecessor and also a little bit more bizarre but that actually adds to its blood-chugging demonic charm. There is no doubt that Taste the Blood of Dracula is suffering from a weaker plot than what we have seen before and the scares are certainly not as spooky as they once were but its Lee’s presence and that welcome gothic chill that elevates the overall quality of this installment. If you can believe it, the film was originally not going to feature Lee’s legendary bloodsucker but at the last second, he joined the project and the filmmakers figured out a way to work him into the story. At times Lee seems unsure what to do with Dracula but his commanding presence is enough to make his fans go wild. While the film may lack the flirty romance and playful humor of the last film, Sasdy spices things up with exotic sights and sounds that certainly make Taste the Blood of Dracula a sexy slice of vampire pandemonium.
Taste the Blood of Dracula introduces us to three wealthy gentlemen, William Hargood (Played by Geoffrey Keen), Sam Paxton (Played by Peter Saccis), and Jonathan Secker (Played by John Carson), who get together once a month to indulge in sleazy debauchery in a back alley brothel. One evening, the three men are approached by the mysterious Lord Courtley (Played by Ralph Bates), who offers the trio a chance to participate in a satanic ritual that would bring Count Dracula (Played by Christopher Lee) back from the dead. The men accept the offer but when the ritual begins, they get cold feet when they learn that they have to drink goblets of Dracula’s blood. Courtley is the only one who drinks the blood and he promptly dies. As his body deteriorates away, Dracula emerges from the ashes and vows to track down Hargood, Paxton, and Secker for allowing his servant to perish. Dracula soon sets his sights on Hargood’s beautiful daughter Alice (Played by Cinda Hayden) and her boyfriend Paul (Played by Anthony Corlan). As Alice falls under Dracula’s spell, Paul races to figure out a way to save Alice from the clutches of evil.
The opening sequence of Taste the Blood of Dracula is certainly a fascinating set up as a husky businessman named Weller (Played by Roy Kinnear) stumbles upon Dracula impaled on the massive cross, the image we saw at the end of Dracula Has Risen from the Grave. As Dracula withers away and finally melts into a red sludge that quickly turns to reddish sand, Weller collects Dracula’s cape, blood, rings, and more. It certainly is a nifty way to connect both films and it is neat to see the sequence revisited as it is a chilling vision. It’s almost like Sasdy knew the climax of the previous film was such a keeper that he wanted to figure out a way to work it into his Dracula installment. Sasdy then works overtime to cook up something just as visually enticing as what we saw at the end of Dracula Has Risen from the Grave. What he comes up with is a smoky trip into a neon lit brothel where the men drool over an exotic lap dance that involves snakes and brief flashes of bare breasts. It certainly is a steamy and seductive sequence and finds Hammer embracing some of the sleaze of the 1970s. The rest of the film is all blood drenched confrontations that I’m sure pleased fans of the gritty hardcore horror that was becoming more and more popular at the time. The satanic ritual is certainly eerie enough but you get the feeling that this has all been done before and much creepier at that. Overflowing goblets of gore do make things just unpleasant enough but they just don’t make the heart pound like they should.
Then there is the acting, which is surprisingly forgettable for a Hammer horror offering. Lee is certainly enjoying himself as he slinks around the cobwebbed castle and bares his fangs. He doesn’t add anything new to the character but by this point, he really doesn’t need to. There are a few points where Lee’s vampire does seem a bit out of place and unsure what to do, especially in the final moments of the film. Bates also has a bit of devilish fun as Lord Courtley as he flashes his devil-may-care smirk at anyone who dares look at him. We don’t get much of him but what little we get is pretty entertaining. Then we have Keen, Saccis, and Carson, who all fly under the radar. We mostly see the action from Keen’s point of view but we have a hard time sympathizing with him because he is such a miserable old fart. There is also the disappointing Hayden and Corlan who don’t come close to matching the young couple in Dracula Has Risen from the Grave. It isn’t easy to see their young love wedged apart by the nasty old William but the two lovers have a hard time finding the spark between them. It is especially hard to buy Corlan’s heroics at the end of the film but you won’t notice because you will be too drawn to Lee.
The plotline of Taste the Blood of Dracula is fairly up and down with plenty of slinky insanity thrown in for fun. The climax is a mixed bag next to what we saw in the last film but you could never expect Sasdy to live up to those expectations. At this point in the Dracula series, it doesn’t take much to realize that the series was starting to run out of ideas and fast. However, it can be said that the film is fairly entertaining despite a choppy plotline and dry performances. I am still trying to figure out how Dracula never notices that he is hiding out in a desecrated church the entire time. I am still marveling at the fact that these three morons would decide to partake in such an outrageous ritual with a man they barely know. No matter, just marvel the thrilling vampire attacks and gothic cathedrals that that jut into the overcast sky. Dare to tremble when Dracula awakens from his deathly slumber and reveals deep red peepers that look like vats of blood (it is by far the most striking image in the film). Overall, it may not be the strongest film in the series and it is far from the worst but Taste the Blood of Dracula is trying to elaborate on a story that ended long ago. Somebody close the coffin lid already!
Taste the Blood of Dracula is available on DVD.
by Steve Habrat
After Hammer’s success with Horror of Dracula, the British studio began whipping up multiple sequels that found Christopher Lee’s snarling Count Dracula rising from the grave in some way, shape, or form. One of the better sequels is 1968’s Dracula Has Risen from the Grave, a snappy horror outing with plenty of blood dripping from Lee’s fangs and as much cleavage as you can handle. Hey, this is Hammer! With Hammer’s favored son Terence Fisher out of the director’s chair and director Freddie Francis taking control, there seems to be a reignited spark of enthusiasm throughout Dracula Has Risen from the Grave. Lee seems just a little more devilish than usual and the bloodletting is a tad more extreme than some of the previous offerings (the film is hilariously rated G but don’t be fooled). Francis injects a captivating storyline and mixes it with attention grabbing melodrama and likeable characters, all which give the film a morbid charm, much like the monster we all fear. Francis takes things to the next level with a number of iconic images and a climax that more than delivers. It’s a gothic image so startling that you will never be able to chase it from your mind. The only thing missing here is Peter Cushing, who is sorely missed!
Set after the events of Dracula, Prince of Darkness, a year has passed since Dracula’s (Played by Christopher Lee) death but the local villagers are still jumpy and whisper about vampirism. They are convinced that Dracula still watches them from his castle high in the mountains and that he still emerges at night to drink the blood of the living. Monsignor Ernst Mueller (Played by Rupert Davies) decides to perform an exorcism on Dracula’s castle to prove to the villagers that the evil is gone for good. The monsignor takes a local priest (Played by Ewan Hooper) with him up to Dracula’s castle but what he doesn’t know is that the priest is grappling with his faith. During the exorcism, the priest takes a nasty fall and cuts his head. The blood trickles down the rocks and finds its way through a crack in the ice. The blood flows into Dracula’s mouth and the evil one is revived from his chilly slumber. Unable to enter his castle due to a giant crucifix on the door, Dracula sets out to find the monsignor and make him pay for what he has done. He targets the priest and the monsignor’s beautiful niece, Maria (Played by Veronica Carlson), and her atheist boyfriend, Paul (Played by Barry Anderson).
Despite being a whole bunch of fun, Dracula Has Risen from the Grave does have one major gaffe near the end of the film. The scene finds atheist Paul attempting to drive a stake through old Drac’s heart but he refuses to pray so the attempt is useless and Dracula survives. It was news to this viewer that when one drives a stake through Dracula’s heart, you have to say a prayer or the vampire will survive. It may be goofy and completely out of place but the sequence does have tons of gore so that makes up for it. Other than this one flub, Dracula Has Risen from the Grave can be wonderfully funny, romantic, and terrifying. The opening sequence that finds a bloody dead body stuffed in the church’s bell tower is one to have you on the edge of your seat. The exorcism scene is also one that will give you chills as the winds pick up outside the gothic castle. Whenever Dracula’s presence is felt, Francis applies a filter that yellows the edge of the screen, an odd touch at first but as the film goes on, you may find yourself actually enjoying the effect as it suggests evil closing in around anyone who is near Dracula. And then there is the love story, a soft, melodramatic affair that will have the viewer rooting for young love.
Then we have the top-notch performances from Lee and the rest of the cast. Much like Horror of Dracula, we don’t see too much of Lee’s Dracula but when he does decide he is going to show up, he will have you trembling in your boots. When he sets his sights on a young gal he wishes to bite, his eyes turn that familiar shade of red and his lips curl in to a demonic sneer that spells death. When he approaches the crucifix that hangs from his castle doors, he commands one of his vampire slaves to get it out of his sight. The way he delivers the dialogue will send a chill, as he says it with heaping amounts of hate in his voice. Anderson is great as the honest and true Paul, who resists the seduction of a voluptuous bar maid named Xena (Played by Barbara Ewing). He just seems like such a good guy that you can’t help but root for him in his battle against Dracula. Carlson is easy on the eyes as Maria, a warm and innocent girl who sneaks out of her room at night and tip toes over the rooftops to check in on Paul. Then there is Davies as the stern monsignor who detests the fact that Paul is an atheist. Rounding out the cast is Hooper as the priest at odds with his faith. He is one of the first to fall under Dracula’s spell and he certainly is a sympathetic character. He can also seriously creep us out as he utters only snippets of dialogue and refuses to look anyone in the face.
The whole conflicted faith aspect of Dracula Has Risen from the Grave is certainly an interesting touch to a Dracula film. It seems fitting but sometimes it seems slightly neglected as a plot point. However slack this plot point may be, Francis guides it smoothly into one hell of a finish that features a gothic image that has to be the king daddy of nightmarish visions. It’s epic, gruesome, terrifying, and strangely beautiful all at once as it rests against an overcast sky. There are a few moments where Dracula Has Risen from the Grave can be a bit cheesy, especially when a sped up Dracula zooms along in his carriage (I’ll wait while you chuckle). As the Dracula films began to slowly fall apart, Dracula Has Risen from the Grave is a commanding Hammer vampire film that doesn’t hesitate to entertain us and then get right in our face so that we can smell the blood on its breath. And we can’t leave out Hammer’s famous gothic atmosphere, which is once running rampant right through the action. It certainly has a number of small flaws and one weird moment in the middle but Dracula Has Risen from the Grave is still a vampire film you will want to scare the living daylights out of you again and again. You may even crack a smile at a few points.
Dracula Has Risen From the Grave is available on DVD.
by Steve Habrat
Shortly after unleashing their bloody interpretation of Mary Shelley’s Frankenstein, Hammer Studios decided to tackle Frankenstein’s partner in crime—Dracula. While The Curse of Frankenstein is considered the film that introduced Hammer Studios to the world, Horror of Dracula is considered one of their finest films in their vault. Once again starring Peter Cushing and Christopher Lee, Horror of Dracula is a sexed up vision of the vampire, complete with plenty of cleavage to satisfy the male viewers. While adding a heavy layer of sexuality and allowing plenty of blood to flow in striking Technicolor, director Terence Fisher has been credited for laying the groundwork for the modern vampire film. It features a suave Lee as Dracula preying upon voluptuous women who all shriek in orgasmic terror as the legendary bloodsucker drains them of blood. There is plenty of seduction in Horror of Dracula, something that was only vaguely hinted upon in the Tod Browning’s Universal classic Dracula. Much like The Curse of Frankenstein, Horror of Dracula is very low budget, taking place primarily on two or three sets, which may have been left over from their previous offering, but there is plenty of misty atmosphere that would make Universal jealous. And then there is Lee as Dracula, who some argue gives the definitive performance as the iconic vampire.
Horror of Dracula begins with Jonathan Harker (Played by John Van Eyssen) arriving at Count Dracula’s (Played by Christopher Lee) castle, posing as a librarian. As he is taken into the gothic walls, a beautiful woman who is begging for help approaches Jonathan but is scared off by Dracula as he welcomes his guest. Dracula takes Jonathan to his room where it is revealed that Jonathan isn’t a librarian at all, but there to put an end to Dracula’s reign of terror. The next day, Jonathan is attacked by the same woman and bitten on the neck. Just as the woman is about to kill Jonathan, Dracula interrupts the attack and fights the girl off. Jonathan passes out from the attack and awakens the next day with strange marks on his neck. He slips down to the dungeon where he discovers Dracula and the woman in their coffins. Jonathan quickly dispatches the woman but Dracula wakes up and kills him. Shortly after the confrontation, Professor Van Helsing (Played by Peter Cushing) arrives at the castle looking for Jonathan and as he searches, he finds both the body of Jonathan and his diary. Van Helsing then sets out to deliver news of Jonathan’s death to his fiancé, Lucy (Played by Carol Marsh) and her brother, Arthur (Played by Michael Gough). But just as Van Helsing arrives to deliver the news, Dracula begins tormenting Lucy and Arthur.
Fisher’s Horror of Dracula doesn’t hesitate to jump right in to the action. There is no extended sequence of Jonathan traveling to Dracula’s gothic castle or whispers from the terrified villagers about the undead claiming the night. Right from the beginning, we learn that this Dracula is nastier and bloodier than anything we have seen before. Lee’s Dracula can be a gentleman one minute and the next; he is a red-eyed beast looking to tear the throat out of anyone who dares cross him. The first glimpse we get of the snarling Dracula certainly does shake the viewer up and it could very well be the most frightening scene of the entire film. The second half of the film finds Dracula largely absent from all the action and the main characters debating how to keep Dracula away from Lucy and Arthur’s wife, Mina (Played by Melissa Stribling). Many may deem this boring, especially since the middle section finds the characters pacing ornate dens while discussing vampire lore rather than tending to spurting arties. But it is these scenes that build the anticipation for Dracula’s return and in a way, make us fear him all the more. He could be anywhere, at any time, and we have no idea when he will choose to strike next.
Then there is the fantastic Cushing as Van Helsing, a mere mortal who resorts to tricks to fight the relentless vampire. It is difficult not to admire the way Cushing approaches each terrifying situation he encounters, as he is always cool, calm, and collected. Cushing has great chemistry with Gough, who is probably best remembered for his work as Alfred in Tim Burton’s 1989 gothic superhero film Batman. Cushing and Gough team up for a final showdown with Dracula that I promise will satisfy in every way imaginable. It is morbid and action packed but forced to remain restrained due to Hammer’s limited budget. We also can’t forget about the ladies, who also get their chance to really spook us throughout the course of the film. Marsh is the standout as Lucy, who nabs another one of the film’s more effective spooks. As a young girl wanders the woods, she is coaxed further in by the terrifying apparition of Lucy, who reveals a full set of razor sharp fangs to the young girl. It is another one of those scenes that catapult Horror of Dracula to the top of the list of horror movies perfect for Halloween night. Stribling gets a hair-raising encounter with the king vampire as he enters her bedroom and slowly makes his way in for the bite.
While Horror of Dracula may have plenty of terrifying moments to go around, the film has some surprising moments of humor, which does alleviate some of the tension. Yet when Fischer wants to scare the living hell out of you, he does it with a vengeance. Behold the scene where Gough and Cushing wander a misty tomb and come face to face with the undead Lucy. The final showdown in Dracula’s castle is also pretty gripping as a rattled Van Helsing starts to loose control against the demonic force he is facing. The film ends with some rickety special effects that have not aged well but are still appropriately disturbing. Incredibly influential and scary, Horror of Dracula is certainly one of the finest examples of vampires at their most sinister. The film deserves to stand alongside classics like 1922 silent German Expressionist nightmare Nosferatu, the legendary 1931 Universal/Lugosi offering, and Werner Herzog’s surreal 1979 Nosferatu the Vampyre. Overall, Horror of Dracula is a small but scrappy homerun for Hammer Studios. You may find yourself hanging garlic on your door and sleeping with a stake and crucifix next to your bed. Make it a double feature with The Curse of Frankenstein.
Horror of Dracula is available on DVD.
by Steve Habrat
The first legendary monster from Universal Studios, Dracula is one of the most iconic movie monsters ever put on the big screen. Played brilliantly by Béla Lugosi, the original film recieved three sequels and a chilling Spanish language version. Without further ado, here are Anti-Film School’s mini reviews of the Dracula sequels. Just make sure you hold your crucifix close and have Van Helsing speed dial. If you wish to read Corinne Rizzo’s review of Dracula (1931), click here .
Drácula (Spanish Version) (1931)
Young solicitor Renfield (Played by Pablo Álvarez Rubio) travels to Transylvania to meet the mysterious Count Dracula (Played by Carlos Villarías) about the Count’s recent purchase of a home in London. Upon Renfield’s arrival, he finds himself drugged and bitten by the Count’s trio of undead wives. With Renfield under his control, Dracula travels to London where he brings with him a plague of death and destruction. Shortly after his arrival, Dracula finds himself pitted against the cunning Professor Van Helsing (Played by Eduardo Arozamena), who is hell-bent on sending the undead terror back to his grave.
Shot at night on the same sets that Tod Browning and Béla Lugosi haunted, Drácula is a much more alive artistically than the rather comatose American version. Browning’s version was composed of multiple long shots that looked like the actors were performing on a giant stage rather than acting in a Hollywood motion picture. George Melford is much more sure of himself as he dares to move his camera around with the actors and in the process, wakes the film up from its dusty, cobwebbed slumber. Melford’s film also ends up being quite a bit longer than Browning’s, with a slower build up and a lengthier pay off than the sudden climax of the American version (this film is a whopping half-hour longer than Browning’s). It is blatantly apparent that this was made for an audience with a much longer attention span and a genuine love for character development. In addition to these touches, the film is much creepier than Browning’s, which ultimately gives it the upper hand. Your spine will tingle when Dracula’s brides emerge from their shadows and begin feeding upon the doomed Renfield and you’ll shiver when Dracula emerges from the dark depths of a ship braving stormy waters as Renfield roars with delight. The boat sequence was my personal favorite scene in the film. This one will give you nightmares, folks!
Then there is Villarías as Dracula and I must say, he comes dangerously close to toppling Lugosi but he just misses by a hair. The two have largely the same physical appearance but Villarías lacks the otherworldly gaze and the spidery fingers that Lugosi was so blessed with. However, Villarías has a curling lip and jagged sneer that makes him look like an unhinged madman who is seconds away from ripping out your jugular. He does have bulging eyes and a psychotic stare, which Melford likes to focus in on in extreme close-ups, but his gaze never really made my heart skip a beat. The rest of the actors and actresses do a fine job and match the American cast the entire way. Another standout is Rubio as Renfield, a man with a laugh that could wake the dead and a quiver that looks like the set temperature was below zero. It would have been perfect if Melford had included an equally hair-raising score but unfortunately, we don’t get one here. Still, Drácula is fully capable of giving you a few sleepless nights, that is, if you are one of the patient viewers. A stunning alternative that ranks as one of the best vampire films ever put on celluloid. Grade: A
Dracula’s Daughter (1936)
Picking up shortly after the events of 1931’s Dracula, the Hungarian countess Marya Zaleska (Played by Gloria Holden) emerges on the streets of London searching for the corpse of her father, Count Dracula. She is also searching for a way to rid herself of a mysterious curse that causes her to drink the blood of the living. With the help of her sinister manservant, Sandor (Played by Irving Pichel), Marya seeks out psychiatrist Jeffrey Garth (Played by Otto Kruger) in the hopes that he can cure her through scientific methods. Meanwhile, Professor Van Helsing (Played by Edward Van Sloan) is trying to convince Scotland Yard that there are vampires walking among the citizens of foggy London.
Exhibiting a much more artistic approach than Tod Browning’s original film, Lambert Hillyer’s Dracula’s Daughter is a creeping tale that draws you deep into its gothic atmosphere and slow building crescendo of tension. Rather than just a collection of stationary long shots of cobwebbed castles and misty gardens, Dracula’s Daughter is all damp, ominous streets and shadowy dens where Holden’s Marya grapples tragically with the curse that plagues her. The creepiest scenes come when Marya and Sandor slip around in the shadows and discuss ways to quench Marya’s unquenchable thirst. The film can also be relatively humorous, which does undercut some of the scares that generate, making Dracula’s Daughter a bit kid friendly, even more so than Dracula. Lengthy dry spots where thinly written background characters step into the frame and babble on, forcing us to drift out of the action until Holden reappears also trip up moments of Dracula’s Daughter.
Dracula’s Daughter is probably best remembered for the lesbian subtext that runs heavy through the second half of the film. This subtext is crystal clear in a sequence between Marya and a young girl named Lili (Played by Nan Grey), who is supposed to acting as a model for Marya. One thing is for sure, you have to see the scene to believe it. It is surprising that the scene made it past the production code authority but it actually makes Dracula’s Daughter all the more fascinating and thought provoking. It may not rank as one of the best Universal Movie Monsters sequels out there, but Dracula’s Daughter manages to be a smidgeon better than its predecessor, at least in construction. It would have also been nice to get a cameo from the legendary vampire himself but sadly, this film is Dracula-less. Overall, this gothic follow up will stick with you due to its dreary ambiance and nightmarish imagery that will have you switching the nightlight on before bed. Grade: B
Son of Dracula (1943)
After taking a trip to Hungry, the beautiful Kay Caldwell (Played by Louise Allbritton) returns to United States with a morbid curiosity with the supernatural. She returns to her family’s southern plantation with a gypsy fortuneteller named Madame Zimba (Played by Adeline DeWalt Reynolds) and the mysterious Count Alucard (Played by Lon Chaney, Jr.), who only makes select appearances after the sun has gone down. After Madame Zimba warns Kay that death looms over the plantation, several individuals close to Kay are discovered dead. To make matters worse, Kay informs her fiancé Frank (Played by Robert Paige) that she does not intend to marry him anymore. She instead plans on marrying Count Alucard, with the hopes of obtaining immortality.
Don’t be fooled by the title, there is no son of Dracula in Son of Dracula. I guess it was just a catchy title that everyone could agree on. The third installment in Universal’s Dracula franchise does find the legendary bloodsucker (thankfully) returning after his absence in Dracula’s Daughter but this time he is portrayed by Lon Chaney, Jr. Unlike Béla Lugosi, Chaney is never really able to own the fangs and it shows. Chaney lacks Lugosi’s horrific grin that just spelled pure evil and his piercing eyes, but he does an adequate job with the role. You are left wishing that Lugosi would show up and relieve Chaney of his duties here and sometimes, I got the feeling that Chaney was secretly hoping the same thing. His casting here has been widely considered one of the worst casting choices in the history of cinema and he does seem a bit awkward at times but he is aided by the stellar direction from Robert Siodmak, who ratchets up the eeriness with a relentlessly gloomy landscape.
More of a film noir with vibrations of terror, Son of Dracula has some superb moments of paranormal horror. Alucard drifts silently over the murky waters of a desolate swamp while another character chats with a ghost in a dingy jail cell as police officers murmur amongst themselves that the prisoner must be crazy. Dropping the comic relief that Dracula’s Daughter was fond of, Son of Dracula is done in by a thinly spread plot that ultimately got a bit monotonous for me. I did enjoy the somber tone and I have to say I really liked the scenes in which Alucard would transform from a bat into his human form. I also was quite fond of Allbritton’s distant femme fatale who has big plans for Chaney’s bloodsucker. I was thrown off by the idea that Dracu… I mean Alucard was looking to settle down and take a wife, especially after Dracula shows three of his wives slithering out of their graves. Overall, Son of Dracula plays things gravely serious and more power to it for that, but a bone-dry script and a dull monster cause the film to be a bit stiff. Grade: C+
House of Dracula (1945)
Count Dracula (Played by John Carradine) arrives in Visaria at the castle of Dr. Franz Edelmann (Played by Onslow Stevens) and asks the doctor to cure him of his vampirism. The good doctor agrees and just as he begins work on a cure, Larry Talbot (Played by Lon Chaney, Jr) comes knocking on his door seeking a cure him of his lycanthropy. As the doctor races to find cures for both monsters, he stumbles upon the ultimate discovery— Frankenstein’s Monster (Played by Glenn Strange). With all the ghouls together, Dr. Edelmann races the clock to protect his two assistants, hunchbacked Nina (Played by Jane Adams) and beautiful Milizia (Played by Martha O’Driscoll), from certain death, but Count Dracula has other plans for Dr. Edelmann, a plot that could unleash pure evil on the local villagers.
The lash hurrah for three of the most iconic movie monsters in Universal’s arsenal, House of Dracula does end with a big bang, lots of flames, and even a few fireworks. You’d think with three of the studio’s main monsters in the same picture, there would be plenty of murder and mayhem to go around but sadly, that is not necessarily the case. There is quite a bit of down time in House of Dracula and only some of it works. A scene where Count Dracula attempts to seduce Milizia is effectively frightening and a horrific vision by Dr. Edelmann is a hair-raiser but things are forced here. Screenwriter Edward T. Lowe, Jr really hopes for smooth sailing but some of these chance encounters are strained, especially the way Frankenstein’s Monster is discovered. Furthermore, the film lacks the unshakable gothic mood of some of the better Universal horror offerings, which further throws the film off. Luckily, this monster mash only goes on for a measly sixty-seven minutes.
As far as acting is concerned, Chaney is the only one reprising a role that he perfected. Béla Lugosi is replaced by John Carradine, who does more with the role than Chaney did in Son of Dracula but still lacks the allure of Lugosi. Glenn Strange steps in for Boris Karloff and has little to do as the Monster. He mostly just stays rooted to an operating table and flails his arms around in the film’s final minutes. It is Chaney’s Talbot/Wolf-Man who really steals the picture with his sympathetic performance of a man terrified of himself. Stevens also does an above average job with Dr. Edelmann and gets to really have some nasty fun in the home stretch when he descends into madness. The other memorable aspect of House of Dracula is the inclusion of female hunchback Nina, an unusual touch for a horror film at this time. As the last gothic gasp before the explosion of atomic terror and Cold War fears, House of Dracula attempts to send the terrifying trio back to the grave in grandiose style but ends up ushering them out with a big yawn and a faint snore. Grade: C
Drácula (The Spanish Version), Dracula’s Daughter, Son of Dracula, and House of Dracula are all available on DVD.