THE HORROR JAR: Genre Films Where PETER CUSHING Did NOT Play A Doctor/Scientist/Professor

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Peter Cushing and the Skull in THE SKULL (1965), a horror film in which Cushing did not play a doctor.

 

Welcome back to THE HORROR JAR, that column where we look at lists of odds and ends pertaining to horror movies.

Up today, my all time favorite horror movie actor, Peter Cushing.

When you think of Peter Cushing, his two most famous roles immediately come to mind, Baron Frankenstein and Dr. Van Helsing, two characters who were also both doctors.  In fact, a lot of Cushing’s roles in horror movies were of medical doctors, professors, or scientists.  So much so, that I thought:  when did he not play a doctor?

Turns out— many times.

Here’s a look at those roles, the times Peter Cushing starred in a horror or science fiction film but did not play a doctor or scientist.

THE HOUND OF THE BASKERVILLES (1959) – Sherlock Holmes.  Technically not a horror film, but that being said, Hammer Films added plenty of horror elements to their rendition of the Sir Arthur Conan Doyle tale.  Directed by Terence Fisher, with Cushing as Sherlock Holmes and Christopher Lee as Sir Henry Baskerville.  Superior little movie, atmospheric and full of thrills, with Cushing’s energetic Holmes leading the way.

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Cushing as Holmes in THE HOUND OF THE BASKERVILLES (1959).

 

NIGHT CREATURES (1962) – Rev. Dr. Blyss – even though the character is identified in the credits as “Dr. Blyss” he’s really the vicar of the small village of Dymchurch— check that, he’s actually the infamous pirate Captain Clegg, hiding out, posing as the vicar, while secretly smuggling rum in this rousing adventure/horror tale by Hammer Films.  Cushing at his energetic best.

Peter Cushing - Night Creatures

Peter Cushing delivers one of his best performances, as Captain Clegg/Dr. Blyss in NIGHT CREATURES (1962).

 

SHE (1965) – Major Holly – lost cities, a supernatural woman, and lots of action in this fantasy adventure by Hammer Films.

THE SKULL (1965) – Christopher Maitland – plays a private collector interested in the occult who purchases the skull of the Marquis de Sade with deadly results.  Christopher Lee co-stars as Cushing’s rival in this fine horror film by Hammer’s rival, Amicus Productions.

TORTURE GARDEN (1967) – Lancelot Canning – another film by Amicus, this one an anthology film featuring five horror stories based on the works of Robert Bloch.  Cushing appears in the fourth segment, “The Man Who Collected Poe,” once more playing a collector of the macabre.  Jack Palance co-stars with Cushing in this segment.

THE BLOOD BEAST TERROR (1968) – Inspector Quennell-  One of Peter Cushing’s worst movies.  In fact, Cushing himself considered it his worst.  Produced by Tigon Films, a company that tried to join Hammer and Amicus as a voice in British horror but ultimately failed.  The monster is a woman who turns into a giant moth that preys on men’s blood, and Cushing plays the police inspector (in a role originally written for Basil Rathbone) who tries to stop her.

SCREAM AND SCREAM AGAIN (1970) – Major Heinrich Benedek – pretty much just a cameo in this film, famous for being the first time Peter Cushing, Christopher Lee, and Vincent Price all starred together in the same movie.  A bizarre flick, perfect for 1970, but ultimately a disappointment as Cushing and Lee only appear briefly, while Price gets a bit more screen time.

THE VAMPIRE LOVERS (1970) – General von Spielsdorf – Cushing finally appears in a vampire movie where he’s not a doctor or a professor!  This time he’s a general, but he’s still hunting vampires in this atmospheric and very sensual vampire film from Hammer, starring Ingrid Pitt as the vampire Carmilla.  The first of Hammer’s “Karnstein” vampire trilogy.

THE HOUSE THAT DRIPPED BLOOD (1971) – Philip Grayson – Another anthology film by Amicus.  Cushing stars in the second segment “Waxworks” and plays a retired stockbroker who runs afoul of a nefarious wax museum.  Director Peter Duffell once said in an interview that Peter Cushing’s entire segment in this film was simply a contrivance to place his head on a platter, which remains one of the more shocking images from the film.

TWINS OF EVIL (1971) – Gustav Weil – Cushing is excellent (as he always is) in this vampire film from Hammer, playing a different kind of vampire hunter.  He leads the Brotherhood, a fanatical group of men seeking out witches in the countryside, a group that is every bit as deadly as the vampires.  As such, when the vampire threat becomes known, and the Brotherhood turn their attention to the undead, it makes for a much more interesting dynamic than the typical vampire vs. heroes.  It’s one of Cushing’s most conflicted roles.  There’s a scene where he laments that he only wanted to do the right thing, that really resonates, because for most of the film, he’s been doing the very worst things.  The third “Karnstein” vampire film.

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Peter Cushing as the fanatical Gustav Weil in TWINS OF EVIL (1971).

 

I, MONSTER (1971) – Utterson – plays a lawyer in this version of the Dr. Jekyll and Mr. Hyde tale by Amicus, which changed the names of Jekyll and Hyde to Marlowe and Blake, played here by Christopher Lee.

TALES FROM THE CRYPT (1972) – Arthur Edward Grimsdyke – famous Cushing role in yet another anthology film by Amicus.  Cushing appears in the third segment, “Poetic Justice” where he plays an elderly junk dealer who is terrorized into suicide by his neighbors, but a year later, and this is why the role is famous, he returns from the grave.

DR. PHIBES RISES AGAIN (1972) – Captain – cameo in this Vincent Price sequel.  Blink and you’ll miss him.

ASYLUM (1972) – Smith – appears in the segment “The Weird Tailor” in this anthology film by Amicus.

FEAR IN THE NIGHT (1972) – The Headmaster – plays a sinister headmaster, in this thriller written and directed by Jimmy Sangster, and also starring Joan Collins and Ralph Bates.

FROM BEYOND THE GRAVE (1974) – The Proprietor – plays the owner of an antique shop, and the man in the wraparound story in this Amicus anthology horror vehicle.

MADHOUSE (1974) – Herbert Flay – plays a screenwriter in this one, and best friend to Vincent Price’s horror actor Paul Toombes.  Toombes is having a rough go of it, as the character he played in the movies- Dr. Death – seems to be committing murders in real life.  A really interesting movie, not a total success, but definitely worth a look, mostly because Price and Cushing share equal and ample screen time in this one.

TENDRE DRACULA – Macgregor – bizarre ill-conceived French horror comedy, notable for featuring Cushing’s one and only performance as a vampire.

LAND OF THE MINOTAUR (1976) – Baron Corofax – plays the villain to Donald Pleasence’s heroic priest in this tale of devil worship and demons.

STAR WARS (1977) – Grand Moff Tarkin – aside from his work in Hammer Films, the role which Cushing is most known for.  As Tarkin, he’s the one character in the STAR WARS universe who bossed Darth Vader around and lived to tell about it.

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Peter Cushing as Grand Moff Tarkin in STAR WARS (1977).

 

SHOCK WAVES (1977) – SS Commander – Nazi zombies attack!    Nuff said.  With John Carradine.

THE UNCANNY (1977) – Wilbur – Cushing plays a writer who learns that cats are a little more “active” than he first imagined in yet another horror anthology film.

MYSTERY ON MONSTER ISLAND (1981) – William T. Kolderup – plays the “richest man in America” in this bizarre horror comedy.

HOUSE OF THE LONG SHADOWS (1983) – Sebastian Grisbane – famous teaming of Peter Cushing, Christopher Lee, Vincent Price, and John Carradine in the same movie for the first (and only) time ever, this really isn’t a very good movie.  It tries hard, and ultimately isn’t all bad, but could have been so much better.  Price and Lee fare the best.

SHERLOCK HOLMES AND THE MASKS OF DEATH (1984) – Sherlock Holmes – Holmes comes out of retirement to solve a case.   Again, not horror, per se, but since this film was directed by Roy Ward Baker, written by Anthony Hinds, and of course starred Peter Cushing, there is a definite Hammer Films feel about this movie.  John Mills plays Dr. Watson.

There you have it.  A list of genre films starring Peter Cushing where he did not play a doctor, scientist or professor.  Perhaps next time we’ll have a look at those films where he did don a lab coat or carry a medical bag.

That’s it for now.  Thanks for reading!

—Michael

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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IN THE SPOOKLIGHT: THE GORGON (1964)

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Hammer Films’ THE GORGON (1964) reunited stars Peter Cushing and Christopher Lee with director Terence Fisher for the first time in five years, as they hadn’t made a movie together since THE MUMMY (1959).

Yup, in the late 1950s, these three had taken the world by storm with their megahits for Hammer:   THE CURSE OF FRANKENSTEIN (1957), HORROR OF DRACULA (1958), and THE MUMMY (1959).  But in the years afterwards, Cushing and Lee largely avoided horror films, although Cushing made a couple, and while Fisher continued to direct quality horror movies for Hammer like THE CURSE OF THE WEREWOLF (1961) and THE PHANTOM OF THE OPERA (1962) neither of these films performed well at the box office.

So, when Hammer finally reunited its A Team, there were high expectations.  The result, THE GORGON, is a movie that comes oh so close to being another Hammer classic, and while it’s a very good horror movie, it falls just short of being a great one.

It’s funny, but the best and worst parts about THE GORGON are the same thing:  the gorgon!  The best part about THE GORGON is its subject matter, which for Hammer, a studio whose bread and butter had been its remakes of the old Universal horror movies, was a nice change.  Gone were Frankenstein, Dracula, and the Mummy, and in their place was a new monster, taken from mythology, the gorgon, who turns her victims to stone, and with this new monster the movie also told an original story.

But the worst part of THE GORGON is also the gorgon, and that’s because the special effects here are abysmal.  We don’t actually see the face of the gorgon until the end of the movie, but once we do, it’s laughable.  Supposedly, a woman with snakes on her head was too much for make-up artist Roy Ashton to pull off successfully, which is a real shame since the rest of the movie plays like a superior thriller, and then it comes to a crashing halt when you see the actual effect.  As Christopher Lee has been quoted as saying, “The only thing wrong with THE GORGON is the gorgon!”

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It’s also kinda hard to believe, since Hammer’s monster make-up had always been excellent— Lee as the Creature in THE CURSE OF FRANKENSTEIN, and Oliver Reed as the werewolf in THE CURSE OF THE WEREWOLF, for example.  You just don’t expect the monster to look so bad in a Hammer Film, especially in one where everything else about it is so very good.

THE GORGON takes place in the early 20th century in a small European village known as Vandorf, where a series of murders has occurred where the victims have all turned to stone.  Professor Jules Heitz (Michael Goodliffe), whose son was one of the most recent victims, arrives in Vandorf to investigate his son’s death, which has been reported as a suicide, a claim Heitz refutes.  Heitz’ investigation uncovers reports that a gorgon, Megera, had settled in the village years ago and legend has it that it still prowls the countryside at night turning its victims to stone.

Heitz visits an old acquaintance, Dr. Namaroff (Peter Cushing), a brain specialist who practices medicine in Vandorf, seeking his support, but Namaroff dismisses Heitz’ claims as pure fantasy. When Heitz himself falls victim to the gorgon, his second son Paul (Richard Pasco) arrives to seek answers about both his father’s and brother’s deaths, and he too is met with resistance from the town’s authorities and from Dr. Namaroff.  He does befriend Namaroff’s beautiful young assistant Carla Hoffman (Barbara Shelley), and she promises to help him learn the truth.

Paul receives more help when his professor from college, Professor Karl Meister (Christopher Lee) arrives in Vandorf to lend his support.  Together, they attempt to solve the mystery of the gorgon.

THE GORGON is a beautifully shot atmospheric horror movie, another gem by director Terence Fisher.  Its strength is its creepy atmosphere, especially the scenes inside the haunted castle overlooking the village of Vandorf, and its scenes of suspense, both expertly handled by Terence Fisher.  One of the more suspenseful scenes has Paul and Meister breaking into Dr. Namaroff’s home looking for evidence, and having to hide when Namaroff arrives.

The only thing lacking in this one is scenes of frightening horror.  Terence Fisher’s best horror films all have scenes like this— the Creature’s first appearance in THE CURSE OF FRANKENSTEIN, the staking of Lucy in HORROR OF DRACULA— but his lesser films tend to lack this visceral punch.  THE GORGON, as atmospheric and haunting as it is, lacks jolt and could really have used an infusion of terror.

For me, the best part of THE GORGON has always been the reuniting of Peter Cushing and Christopher Lee.  Their presence definitely lifts this movie.  With Dr. Namaroff, Cushing pretty much plays a variation of Baron Frankenstein.  He actually makes Namaroff even colder than Frankenstein, as in general, Cushing always instilled some saving charm for the Baron to keep him from being an outright villain, except for that one time in FRANKENSTEIN MUST BE DESTROYED (1969).  Here, Namaroff has no charm.  He’s actually quite the unlikable character.

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Christopher Lee and Peter Cushing in THE GORGON (1964).

Christopher Lee is cast against type, as he plays the energetic and very charming Professor Meister.  Under a gray wig and beard, he looks like Albert Einstein’s cousin.  It’s a fun role for Lee, and it’s definitely fun seeing him play the hero, going against not only the gorgon but Cushing’s villainous Namaroff.

The only drawback is Cushing and Lee don’t have a lot of scenes together in this one.  Had they been in this one together more, it would have been an even better movie.

Barabara Shelley, always a class act, is very good as Namaroff’s assistant Carla, the woman who means well in spite of her sinister secret.  Yikes!  Michael Goodliffe is also solid as Professor Jules Heitz.  He provides a strong presence early on, so much so that his early death comes as a surprise.  You have the feeling that he’s going to be in this story for the long haul, but then the gorgon had other ideas.

The rest of the cast is rather wooden and unforgettable, although Patrick Troughton shows up as Police Inspector Kanoff.

And again, by far, the appearance of the gorgon at the end of the movie is the weakest part of THE GORGON.  The rest of the film is seeped in seriousness, and then you see the monster and it looks like an amateur student special effect.  Both Terence Fisher and Hammer stumbled in a similar way several years earlier with their Sherlock Holmes movie THE HOUND OF THE BASKERVILLES (1959). HOUND is a fabulous superior movie, one of Hammer’s best, and yet in the film’s climax the “hound from hell” is incredibly fake looking and a major disappointment.  However, it’s not as damaging as the effects in THE GORGON, because HOUND was a Sherlock Holmes movie, and the hound, phony looking or not, was not the focus of that movie, which was dominated by Peter Cushing’s masterful performance as Sherlock Holmes.  The gorgon in THE GORGON was a major character and as such, its lackluster appearance really takes this one down several notches.

But back to the plus side, my favorite Hammer composer James Bernard provided another exceptional music score for this one.

As a fan of Peter Cushing and Christopher Lee and all things Hammer, I really like THE GORGON.  However, it’s not on the same level as Hammer’s initial hits nor is it one of the best horror movies of the decade.  But it is an atmospheric original horror tale directed by a master of the genre, Terence Fisher, and it stars Cushing and Lee.  You could do a lot worse than THE GORGON.

Just don’t expect to turn to stone when at long last in the film’s conclusion you finally behold the creature’s face.  If you’re reduced to anything, it’ll be tears from the laughter at seeing so goofy a visage.

—END—

 

 

 

 

SHOCK SCENES: DRACULA’S DEMISE- A Look at the Hammer DRACULA Endings- Part 2

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SHOCK SCENES:  DRACULA’S DEMISE- A Look at the Hammer Dracula Endings

Part 2

By

Michael Arruda

Welcome to Part 2 of our look at the endings to the Hammer DRACULA series, where we examine how Dracula met his demise in the various Hammer Dracula movies. In Part 1, we looked at the endings to HORROR OF DRACULA (1958) and THE BRIDES OF DRACULA (1960).  Now, it’s on to Part 2.

And remember, if you haven’t seen these films, there are major spoilers here, so proceed with caution.

 

DRACULA-PRINCE OF DARKNESS (1966)

Although THE BRIDES OF DRACULA (1960) was a sequel to HORROR OF DRACULA (1958), it didn’t feature Christopher Lee.  DRACULA-PRINCE OF DARKNESS did.

And that’s because Lee had avoided reprising the role of Dracula like the plague to avoid being typecast, but after years of unrelenting Hammer pressure, he finally gave in and agreed to play the role again, providing fans a chance to be terrified once more by their favorite blood-sucking vampire.

DRACULA-PRINCE OF DARKNESS was released eight years after HORROR and the story takes place ten years after the events of the first movie.  It was once again directed by Hammer’s top director, Terence Fisher.  DRACULA-PRINCE OF DARKNESS probably comes closest to any of the other sequels to duplicating the feel of the original, although it certainly lacks its potency.

Dracula is absent for the entire first half of the movie, as the film uses this time to build up the dramatic rebirth of Dracula.  This in itself is a good idea, but the problem is, once resurrected, he’s only in the film for about 20 minutes before meeting his demise once again.  To me, Hammer would have been better served not to destroy Dracula at the end of every movie.  After all, he had survived hundreds of years before Van Helsing finally caught up with him and destroyed him, so wouldn’t it make sense if he survived that long again?  Wouldn’t it make him scarier if it really were that difficult to stop him?  Of course it would!  Plus, when Van Helsing defeated him, it made sense because Van Helsing was a brilliant scientist, a one-of-a-kind adversary for Dracula, but in the subsequent movies Dracula’s opponents  are less and less impressive, yet they still destroy him.  But I digress.

The ending to DRACULA-PRINCE OF DARKNESS is actually very memorable, but not quite as powerful or as visually impressive as the ending in HORROR.  Once more, Dracula is chased back to his castle, this time by the knowledgable Father Sandor (Andrew Keir) and the dashing young Englishman Charles Kent (Francis Matthews) as they try to rescue Kent’s wife Diana (Suzan Farmer) from Dracula.

As Dracula’s coffin lay on ice by the castle, having fallen there from the back of the horse-drawn coach at the end of the exciting chase, Charles attempts to drive a stake through Dracula’s heart before the sun goes down, but he’s too late.  Dracula bursts from his coffin and engages Charles in a physical battle on the ice.  Diana urges Father Sandor to shoot Dracula, but he tells her it would do no good, because as we all know, bullets cannot harm vampires.  But Diana grabs the rifle anyway and fires a shot, which rips a hole in the ice, which gives Father Sandor an idea:  according to vampire lore, vampires cannot cross running water (who knew!) and in this movie, they can’t swim, either!  How convenient!

So, Father Sandor shoots around the ice, allowing Charles to escape but trapping Dracula on the quickly sinking slab.  Dracula tries to hold on, but slides screaming into the underwater grave beneath the ice of Castle Dracula.  While it doesn’t contain the eye-popping special effects from the HORROR OF DRACULA ending, it’s still a pretty unique and impressive ending to a Dracula movie.  And director Terence Fisher gives it style, as the last part of Dracula to fall into the ice is his cape in a dramatic last shot.  We even get to see Dracula submerged in his icy grave as the end credits roll!

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Dracula (Christopher Lee) slips into his watery grave in DRACULA-PRINCE OF DARKNESS (1966).

It would also prove quite convenient for resurrecting Dracula.  After all, Dracula was reduced to ashes which blew away in the breeze in HORROR OF DRACULA.  It took half of DRACULA-PRINCE OF DARKNESS to set the events in motion for his resurrection.  It would be much easier in the next film.  And there would be a next film because DRACULA-PRINCE OF DARKNESS made lots of money at the box office.  There would be no turning back now for Christopher Lee and Hammer.

As Dracula movie endings go, the conclusion to DRACULA-PRINCE OF DARKNESS is very, very good.  Definitely worth a look.

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DRACULA HAS RISEN FROM THE GRAVE (1968)

The third Christopher Lee Dracula film for Hammer was the aptly titled DRACULA HAS RISEN FROM THE GRAVE (1968).  Terence Fisher did not direct this movie, making it the first Hammer Dracula film that he did not direct.  In fact, Fisher wouldn’t direct any future Hammer Dracula films.  While he helmed HORROR OF DRACULA, THE BRIDES OF DRACULA, and DRACULA-PRINCE OF DARKNESS, from here on out Dracula would be in the hands of other directors.

For DRACULA HAS RISEN FROM THE GRAVE, it was Freddie Francis, a respected camera-man who also directed many horror movies.  While I’m not as big a fan of Francis’ work as I am Fisher’s, Francis struck gold here with DRACULA HAS RISEN FROM THE GRAVE.  In terms of style, it doesn’t come close to the Fisher Dracula films, but it boasts a strong script by Anthony Hinds in spite of it being a simple revenge story.

DRACULA HAS RISEN FROM THE GRAVE was so successful at the box office that it remains today Hammer Film’s biggest all-time money maker.  Dracula was Hammer’s bread and butter, and because of this, there would be four more Christopher Lee Dracula movies over the next five years.

Dracula (Christopher Lee) shows up much quicker this time around than he did in DRACULA-PRINCE OF DARKNESS.  A pair of priests go to Castle Dracula to perform an exorcism to keep Dracula’s spirit confined forever, but one of the priests, a cowardly sort, loses his way (literally and figuratively) and slips and falls on some ice, banging his head, cracking the ice where we see Dracula resting below.  The blood from the priest’s head wound seeps below the ice and makes its way to Dracula’s lips, reviving him.

While I do like DRACULA HAS RISEN FROM THE GRAVE a lot, its ending isn’t the strongest part of the movie.  It’s okay, but it certainly falls several notches below the endings in the previous movies.  This time the hero is young atheist Paul (Barry Andrews) who’s trying to rescue his girlfriend Maria (Veronica Carlson) from Dracula.

Dracula forces Maria to remove the cross by the door to his castle, placed there by the priests at the beginning of the movie. She throws it off a cliff, where it lands upright, which is about as realistic as having Dracula spend an entire movie chasing down Maria in the first place to get her to remove the cross from his front door when he could have hypnotized anyone from his neighborhood to do it in about a minute’s time.

Paul arrives, he scuffles with Dracula, and they both fall off the cliff.  Paul is fortunate enough to grab onto some bushes, breaking his fall, but Dracula is not so lucky, as he lands directly onto— you guessed it!— the cross sticking out of the ground.  Yup, Dracula is impaled on a cross.  Sure, it’s somewhate dramatic, although like I said, it’s rather far-fetched.  There’s lots of blood dripping from Dracula’s wound and eyes as the cowardly priest, who had been turned into Dracula’s slave, redeems himself by reciting a prayer to help destroy Dracula once again, and he is destroyed, this time being reduced— not to ashes– but to gallons of blood.

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Dracula (Christopher Lee) gets a bad case of heartburn in DRACULA HAS RISEN FROM THE GRAVE (1968).

Not a bad ending, but also not one of the best. Still, the rest of DRACULA HAS RISEN FROM THE GRAVE is excellent, and this one may be the most satisfying and entertaining sequel of the entire series.

Okay, that’s it for now.  Join me next time for Part 3, when we look at the endings to the next films in the Hammer Dracula series, including TASTE THE BLOOD OF DRACULA (1969).

See you then!

—Michael

 

 

 

 

 

 

SHOCK SCENES: DRACULA’S DEMISE- A Look at the Hammer DRACULA Endings- Part 1

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Dracula (Christopher Lee) screams in agony in the conclusion to HORROR OF DRACULA (1958)

SHOCK SCENES:  DRACULA’S DEMISE- A Look at the Hammer Dracula Endings

Part 1

By

Michael Arruda

Welcome back to SHOCK SCENES, the column where we look at famous scenes in horror movie history.  Up today, a look at the Hammer DRACULA series, specifically the endings, those scenes where Dracula meets his demise, which is a strange thing when you think about it:  the King of the Undead is an undead, immortal, and yet at the end of every movie he’s thrust back down into the world of ashes and dust.  It’s a wonder how he survived so long in the first place!

Anyway, we’ll be looking at the various endings to these Dracula movies to see how Dracula met his end in each one.  So, if you haven’t seen these films, be forewarned, there are spoilers galore, so consider this a major spoiler alert.  If you have seen these films, read on and enjoy!

Here we go:

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HORROR OF DRACULA (1958)

The first Hammer Dracula film, HORROR OF DRACULA (1958)  is widely considered to be Hammer Films’ best movie, as well as one of the finest Dracula movies ever made.  A big reason for this is the ending. Van Helsing (Peter Cushing) chases Dracula (Christopher Lee) into Castle Dracula.  They scuffle, and Dracula pins Van Helsing into a corner, but the clever doctor sees a sliver of sunlight shing through the curtains, and he climbs onto the long table, runs across it, and leaps up at the window, tearing the curtains down.

The sunlight knocks Dracula to the ground, and Van Helsing keeps him there by grabbing two candlesticks and using them to make a cross, forcing Dracula into the sunlight, where the shrieking vampire disintegrates into dust before our very eyes.

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This is one of those endings where once you see it, you never forget it.  Hands down, this is the best ending of any Dracula/vampire movie.  Ever.  Period.  Not even close.  If you have not seen HORROR OF DRACULA, you owe it to yourself to check it out.  The ending alone makes it worth it, and of course, fans know the rest of the movie is every bit as effective as its famous conclusion.

There’s lots to talk about here.  First off, the special effects, for 1958, are amazing.  Dracula’s disintegration looks horrific and authentic at the same time.  It’s all done with a series of cutaways.  The camera cuts back and forth between Dracula’s disintegration and Van Helsing’s reactions.  It’s all very quick, but effective.  The last stage is pretty much a dummy of a rotting Dracula head with red lights inside lighting up his eyes. It’s a really cool image.

Of course, for years, the original uncut ending was not shown to Western audiences, until just a few years ago (and I’ve written several blog posts on this along with the video links, so feel free to check them out.) when the uncut footage was discovered in a vault in Japan.  The footage, which shows a few more scenes of disintegration, as well as one very cool shot of Dracula clawing the flesh off his face— again, for 1958 these were some incredibly bold effects— was finally released to European audiences but for some reason has still not been included in U.S.versions.  That being said, I did include a link of this footage on my blog post so feel free to check it out.

Strangely, when Hammer chose to restore HORROR OF DRACULA several years ago and insert the “lost” scenes from the Japanese version, they didn’t include all the scenes. For some reason, there are still scenes from the finale in the Japanese version which did not make it into the recently restored print of the film.  I don’t know why they were not restored.  Anyway, if you check YouTube, you can sometimes find the complete ending from the Japanese version.

The other reason this ending stood out in 1958 was before this, the endings to the Universal DRACULA series had been pretty much anticlimactic.  Heck, Dracula was staked off camera in the original Lugosi DRACULA (1931) and none of the subsequent Universal films contained dramatic endings, but that’s a story for another column.

A few other items about the ending to HORROR OF DRACULA:  supposedly, it was Peter Cushing himself who suggested the infamous run across the table and leap to tear down the curtains from the window.  The original script had Van Helsing taking out a crucifix from inside his coat to ward off Dracula, but as Cushing once put it, he felt like a “crucifix salesman” pulling out crosses in nearly every scene, and so he suggested the more dramatic leaping from the table.

And as far as I know, since I’ve never read or heard otherwise, that is Peter Cushing himself and not a stuntman making that run and leap at the curtains.  If anyone out there has information to the contrary, I’d love to hear from you.

Of course, the ending takes liberties with the tradition of a crucifix warding off a vampire.  In this ending, rather than using a blessed religious crucifix, Van Helsing forms two candlesticks into the shape of a cross and uses that to fend of Dracula.  It probably shouldn’t work, but it sure makes for great cinema!  And it also has made it into vampire lore.  In one of my favorite lines from the vampire movie FROM DUSK TILL DAWN (1996) George Clooney asks the folks trapped with him by the gang of vampires what they know about vampires, and one guy suggests making crosses out of anything they can find.  When Clooney asks if that will work, the guy replies, “Peter Cushing does it all the time.

HORROR OF DRACULA not only contains the best ending in the Hammer Dracula series, but it’s also the most dramatic and memorable ending of any Dracula movie period.

It’s one for the horror movie history books.

 

THE BRIDES OF DRACULA (1960)

Christopher Lee declined to play Dracula again in Hammer’s proposed sequel to HORROR OF DRACULA from fear of being typecast.  Of course, he would change his mind several years later.

But in 1960 Hammer went ahead without Lee and made THE BRIDES OF DRACULA (1960), a film that in spite of its title did not feature Dracula, but instead one of Dracula’s disciples, Baron Meinster (David Peel).  Hammer did get Peter Cushing to return to play Van Helsing once again.

The ending to THE BRIDES OF DRACULA, while not as memorable as the ending to HORROR OF DRACULA, is very good.  The film was directed by Hammer’s best director, Terence Fisher, who also directed HORROR, and he goes all out with this one.  THE BRIDES OF DRACULA may be the best looking of the Hammer DRACULAS- it’s certainly the most atmospheric, and is one of the most atmospheric vampire movies ever made.  For some fans, THE BRIDES OF DRACULA is their favorite Hammer Dracula, and considering that Christopher Lee isn’t in the movie,that’s saying quite a lot.

The ending, as directed by Fisher, is every bit as atmospheric as the rest of the film.  One of my favorite shots is when Van Helsing (Peter Cushing) enters the old windmill in search of Baron Meinster.  Its shot with purple lighting, and Van Helsing is backlit, and it makes for an indelible image.  It’s also reminiscent of the scene in THE EXORCIST (1973) when Father Merrin (Max Von Sydow) first enters Regan’s home.  I’ve often wondered if EXORCIST director William Friedkin was influenced by this scene in THE BRIDES OF DRACULA.

van helsing entrance

One of the most memorable parts of the ending comes when Meinster and Van Helsing battle, and this time Meinster wins and actually bites Van Helsing, setting up one of the most memorable scenes in the film, where Van Helsing uses a hot poker to burn the bites on his neck before dousing them with holy water, in effect curing him of the vampire’s bite.  Once again, Hammer takes liberties with vampire lore, but it again sure makes grand horror cinema!

vh-burns-the-evil-out

Later, Van Helsing burns Meinster’s face with holy water, setting up the film’s dramatic conclusion, where Van Helsing leaps onto the wings of the windmill, using it to form a shadow of a cross which falls on Meinster and destroys him.  Terence Fisher purposely did not show the shadow of the windmill but only of the wings, and he did this for full dramatic cinematic effect.

BridesofDraculashadow

As Hammer Dracula endings go, this one is one of the more understated, as Meinster simply collapses, and we do not see him distintegrate.  For story purposes, this makes sense, since unlike Dracula who was centuries old, Baron Meinster had only been a vampire for a relatively brief time.

The ending to THE BRIDES OF DRACULA, like the rest of the movie, is wonderfully atmospheric and cinematic.

Of course, this wasn’t the original ending.  Originally, Van Helsing was to use a little black magic to conjure up the forces of darkness to unleash a barrage of vampire bats which would descend upon Baron Meinster and tear him apart.  Peter Cushing objected to this sequence because he felt it out of character for Van Helsing to turn to black magic rather than religion and science, and I agree with him. I’m glad they changed it.  Hammer would use a variation of the vampire bats sequence for the ending to their next vampire movie, KISS OF THE VAMPIRE (1964), which once more did not feature Dracula.

That’s it for now.  Join me next time for Part 2 of SHOCK SCENES:  DRACULA’S DEMISE- A Look at the Hammer Dracula Endings, when we’ll look at the endings of the next two Hammer Dracula movies, DRACULA-PRINCE OF DARKNESS (1966) and DRACULA HAS RISEN FROM THE GRAVE (1968).

See you then!

—Michael