IN THE SHADOWS: FRANCIS MATTHEWS

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francis matthews

Welcome back to IN THE SHADOWS, that column where we look at character actors in the movies.

Today our focus is on Francis Matthews. If you’re a Hammer Film fan, you’re familiar with Matthews’ work, because of two key performances in THE REVENGE OF FRANKENSTEIN (1958) and DRACULA: PRINCE OF DARKNESS (1966).

With his distinctive voice, which sounds an awful lot like Cary Grant’s, Matthews made a lasting impression in these Hammer sequels.

Here’s a very brief look at the career of Francis Matthews, focusing mainly on his genre credits:

BHOWANI JUNCTION (1956) – Ranjit Kasel- Matthews’ first big screen credit is in this drama about English/Indian relations directed by George Cukor.  Stars Ava Gardner and Stewart Granger.

francis matthews peter cushing revenge of frankenstein

Francis Matthews and Peter Cushing in THE REVENGE OF FRANKENSTEIN (1958).

THE REVENGE OF FRANKENSTEIN (1958) – Doctor Hans Kleve-  Francis Matthews is memorable here as the new young assistant to Peter Cushing’s Baron Frankenstein, or as he is known in this movie since he’s supposed to be dead and is hiding from the authorities, Dr. Stein. Matthews and Cushing share a nice camaraderie in their scenes together, and it’s too bad the series didn’t continue with these two actors. The character of Hans is notable here because at the end of the movie he successfully transplants Dr. Stein’s brain into another body.

CORRIDORS OF BLOOD (1958) – Jonathan Bolton – co-stars with both Boris Karloff and Christopher Lee in this standard shocker featuring Karloff playing a doctor who becomes addicted to the powerful anesthesia he has created and as a result becomes involved in murder. Christopher Lee plays a grave robber named Resurrection Joe, and his supporting performance steals the show. The best part is Karloff and Lee’s climactic battle, pitting one “Frankenstein monster” vs. the other. Neat stuff! Matthews plays it straight as Karloff’s son and protegé.

francis matthews christopher lee dracula prince of darkness

Francis Matthews and Christopher Lee in DRACULA: PRINCE OF DARKNESS (1966).

DRACULA: PRINCE OF DARKNESS (1966) – Charles Kent – By far, my favorite Francis Matthews’ role. He plays Charles Kent, one of the four guests who find themselves spending the night in Dracula’s castle, and it’s Charles’ brother Alan (Charles Tingwell) who’s murdered by Dracula’s disciple Klove (Philip Latham) who then uses Alan’s blood to resurrect Dracula (Christopher Lee) in one of Hammer’s bloodiest and most gruesome scenes.

Charles then teams up with Father Sandor (Andrew Keir) to hunt down Dracula, but the vampire king complicates things by going after Charles’ wife Diana (Suzan Farmer) first.

This sequel to HORROR OF DRACULA (1958), arguably Hammer’s best shocker, is itself a really good movie, and its reputation has only gotten better over the years. Francis Matthews makes for a strong leading man, until that is, he has to face Dracula, which is as it should be. The later Hammer Draculas would stumble by having every random young hero best the vampire king when in all seriousness, that should have been something only the Van Helsings of the world could do.

Also, if you own the Blu-ray version of DRACULA: PRINCE OF DARKNESS, it includes a rare and very informative commentary by Christopher Lee, Barbara Shelley, Suzan Farmer, and Francis Matthews. All four actors sat down together for a screening of the film, and for most of them it was the first time they had watched the movie in years. All four actors add really neat insights. For instance, during the film’s pre-credit sequence, which begins with the ending of HORROR OF DRACULA, Lee was quick to point out that the ending they were watching was cut from the original version, and this commentary was recorded long before the recent restored version by Hammer.

The Blu-ray also contains rare behind-the-scenes footage on the set of DRACULA: PRINCE OF DARKNESS secretly filmed by Francis Matthews’ brother using an 8mm camera.

Sadly, of these four actors, only Barbara Shelley remains with us, as Lee, Matthews, and Suzan Farmer have all since passed away (Farmer in 2017).

RASPUTIN: THE MAD MONK (1966) – Ivan – shot nearly simultaneously as DRACULA: PRINCE OF DARKNESS, the film uses the same sets and much of the same cast, including Christopher Lee, Francis Matthews, Barbara Shelley, and Suzan Farmer.

THE SAINT (1964-1967) – Andre/Paul Farley – “To Kill A Saint”/”The Noble Sportsman” – appeared in two episodes of the popular Roger Moore spy show.

THE AVENGERS (1966-1967) – Chivers/Collins – “Mission – Highly Improbable”/”The Thirteenth Hole”- appeared in two episodes of THE AVENGERS TV show.

RUN FOR YOUR WIFE (2012) – Francis Matthews’ final screen credit is in this British comedy.

Francis Matthews has 106 screen credits, and I’ll always remember him for his two noteworthy performances in two of Hammer’s better sequels, THE REVENGE OF FRANKENSTEIN (1958) and DRACULA: PRINCE OF DARKNESS (1966).

Matthews was born on September 2, 1927. He died on June 14, 2014 at the age of 86.

Well, that’s all we have time for today. I hope you enjoyed reading about Francis Matthews, and please join me again next time on the next IN THE SHADOWS when we’ll look at the career at another great character actor in the movies, especially horror movies.

Thanks for reading!

—Michael

 

 

 

 

IN THE SPOOKLIGHT: THE BRIDES OF DRACULA (1960)

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THE BRIDES OF DRACULA (1960), Hammer Films’ second vampire movie, is so steeped in rich atmosphere you can almost feel the Transylvanian mist on your flesh.

It also ranks as one of the best vampire films ever made.

THE BRIDES OF DRACULA tells the story of young Marianne (Yvonne Monlaur) on her way to the Lang Academy at Badstein where she is to be a teacher.  Unfortunately, before arriving at the school, she spends the night at the Chateau Meinster where she meets the young dashing Baron Meinster (David Peel) who happens to be a vampire.

Doctor Van Helsing (Peter Cushing, reprising the role he played in HORROR OF DRACULA two years earlier) arrives in town to investigate the reports of vampirism in the area.  Van Helsing befriends young Marianne and discovers that Baron Meinster is the local vampire.  In a neat piece of drama, he is understandably shocked to learn that Marianne and the Baron are engaged to be married.  However, Van Helsing puts his personal feelings aside and pursues the vampire, eventually battling it out with Meinster in an exciting climax in a fiery windmill.

While THE BRIDES OF DRACULA is an excellent film, it’s not without its problems.  For starters, Dracula does not appear in the movie, so the title is a major misnomer and source of frustration for many fans.   Dracula is absent from the film because back in 1960 Christopher Lee refused to reprise the role for fear of being typecast.  And while David Peel performs admirably as Baron Meinster, he’s no Christopher Lee, and his performance lacks the powerful punch that viewers loved about Lee.

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David Peel as vampire Baron Meinster in THE BRIDES OF DRACULA (1960).

Also, the music score by Malcolm Williamson is so over the top in places it’s almost laughable.  James Bernard’s music is sorely missed here.

Still, there’s lots to like about BRIDES.

The cast is superb, led by Peter Cushing as Dr. Van Helsing.  Long before Hugh Jackman put us to sleep in the over-hyped yawn fest VAN HELSING (2004), Peter Cushing was THE film Van Helsing.  His performances in HORROR and BRIDES marked the first time the role was played as a younger action hero, rather than the old wise professor from Stoker’s novel.

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Van Helsing (Peter Cushing) fighting off a vampire in THE BRIDES OF DRACULA (1960).

The supporting cast is also very good, notably Martita Hunt as the Baroness Meinster, Baron Meinster’s mother, and Freda Jackson as Greta, Baron Meinster’s former nurse and current servant.  Jackson steals nearly every scene she’s in.

Jimmy Sangster, Peter Bryan, and Edward Percy all worked on the screenplay for THE BRIDES OF DRACULA.  Evidently, extra writers were called in and extensive rewrites were performed at the request of Peter Cushing who was unhappy with the original script.  For instance, in the original script, Van Helsing used black magic to fight off the vampires, and Cushing thought this was completely out of character for the doctor.

Director Terence Fisher gives the film its wonderful atmosphere by using rich colors and textures, elaborate sets and costumes, the whole bit.  It’s one of the reasons Hammer Films were so successful.  They always looked liked extremely high-budgeted movies when in fact they weren’t.

Fisher also creates some classic scenes in this film- Greta calling to the young vampire bride in her grave, the girl’s hand clawing its way out of the soil, Van Helsing burning the vampire’s bite from his own neck, and in the fiery climax, Van Helsing leaping onto the blades of the burning windmill to form the shadow of the cross on an adjacent building.

THE BRIDES OF DRACULA is an atmospheric gem, well worth sinking your teeth into.

—END—

(This column was originally published in the HWA Newsletter in November 2006.)

 

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

 Ebook version:  $4.99.  Available at http://www.neconebooks.com.  Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For The Love Of Horror cover

Ebook version:  $4.99.  Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.  

 

 

 

Happy Birthday, Bela Lugosi!

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bela lugosi - dracula

October 20 is Bela Lugosi’s birthday.

Lugosi was born on October 20, 1882.  And what better way to celebrate his birthday than by watching one of his movies this Halloween.  DRACULA (1931) is the obvious choice, but if you’re looking for something different, there is no shortage of classic Bela Lugosi movies, films like MURDERS IN THE RUE MORGUE (1932), WHITE ZOMBIE (1932) , and THE RAVEN (1935), with Boris Karloff, to name just a few.

You could watch him in his second most memorable role after Dracula, as Ygor in SON OF FRANKENSTEIN (1939) and THE GHOST OF FRANKENSTEIN (1942).

son of frankenstein ygor

Bela Lugosi as Ygor.

Or if you really want to have fun, watch Bela in one of the many Grade Z horror movies he made, films which would be long forgotten if not for Lugosi’s appearance in them, films where in spite of their non-existent budget, bad acting, and often silly writing, Lugosi would bring his “A” game and save the show.  Films like THE DEVIL BAT (1940), THE APE MAN (1943), THE CORPSE VANISHES (1942), or Lugosi’s only color film, SCARED TO DEATH (1947).

bela lugosi_scared_to_death

Bela Lugosi in SCARED TO DEATH (1947).

Or maybe you want to see Lugosi play a vampire in movies other than DRACULA.  In that case, check out MARK OF THE VAMPIRE (1935) or THE RETURN OF THE VAMPIRE (1943), two films in which Lugosi delivers memorable performances as an undead.

Or you could watch Lugosi’s only other screen appearance as Dracula, in the comedy classic ABBOTT AND COSTELLO MEET FRANKENSTEIN (1948).  Lugosi delivers a commanding performance here, and like his fellow horror actors in this one, remains dignified and scary throughout, allowing Bud Abbott and Lou Costello to get all the laughs, although truth be told, Bela does get to deliver a few comedic zingers here and there, and they work.

Whichever you choose, be sure to invite Bela into your home this Halloween.  Light some candles, eat some cake, make a wish, and settle in for a fun night at the movies with the Bela Lugosi movie of your choice.

Happy Birthday Bela!

 

—Michael

 

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

 Ebook version:  $4.99.  Available at http://www.neconebooks.com.  Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For The Love Of Horror cover

Ebook version:  $4.99.  Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.  

 

 

 

HALLOWEEN SPECIAL: Karloff, Lugosi, Chaney, Lee, Cushing, and Price Talk Horror

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The following mock interview uses real quotes spoken by horror icons BORIS KARLOFF, BELA LUGOSI, LON CHANEY JR., CHRISTOPHER LEE, PETER CUSHING, and VINCENT PRICE.  The quotes and answers, therefore, are real.

My interview, obviously, is not.

That being said, I hope you will read on as I “interview” these horror stars with questions on their thoughts on horror.

boris-and-bela

Bela Lugosi and Boris Karloff

MICHAEL ARRUDA:  Welcome to a special Halloween column.

Here with me today to discuss horror are six of horror movies’ biggest stars, BORIS KARLOFF, BELA LUGOSI, LON CHANEY JR., CHRISTOPHER LEE, PETER CUSHING, and VINCENT PRICE.  Thank you all for joining me tonight.

Let’s get right to it.  Your thoughts on the horror genre and horror movies.  Boris, we’ll start with you.

BORIS KARLOFF:  Thank you, Michael.

MICHAEL ARRUDA:  What does horror mean to you?

BORIS KARLOFF:  Horror means something revolting.

Anybody can show you a pailful of innards. But the object of the roles I played is not to turn your stomach – but merely to make your hair stand on end.

CHRISTOPHER LEE (to Karloff):  You’ve actually said you don’t like the word “horror.”  You’ve said the same thing, Lon.  (Chaney nods).  And I agree with the both of you.

MICHAEL ARRUDA:  They said that?

CHRISTOPHER LEE:  Oh yes.  Both Lon and Boris here don’t like the word “horror”. They– like I— go for the French description: “the theatre of the fantastique.”

LON CHANEY JR.:  But on the other hand, nothing is more natural to me than horror.

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Lon Chaney Jr. and Bela Lugosi

PETER CUSHING:  Strangely enough, I don’t like horror pictures at all. I love to make them because they give pleasure to people, but my favorite types of films are much more subtle than horror.

I like to watch films like BRIDGE OVER THE RIVER KWAI (1957), THE APARTMENT (1960), or lovely musicals.

VINCENT PRICE:  I sometimes feel that I’m impersonating the dark unconscious of the whole human race. I know this sounds sick, but I love it.

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Peter Cushing and Vincent Price

MICHAEL ARRUDA:  Second and final question tonight.  Your thoughts on the roles you have played?

BELA LUGOSI:  Every actor’s greatest ambition is to create his own, definite and original role, a character with which he will always be identified. In my case, that role was Dracula.

And Dracula never ends. I don’t know if I should call it a fortune or a curse, but Dracula ever ends.

CHRISTOPHER LEE:  There are many vampires in the world today – you only have to think of the film business.  (Everyone laughs)

Seriously, though, I’ve always acknowledged my debt to Hammer. I’ve always said I’m very grateful to them. They gave me this great opportunity, made me a well-known face all over the world for which I am profoundly grateful.

PETER CUSHING:  Agreed.  I mean, who wants to see me as Hamlet? Very few. But millions want to see me as Frankenstein so that’s the one I do.

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Christopher Lee and Peter Cushing

LON CHANEY JR.:   All the best of the monsters played for sympathy. That goes for my father,myself and all the others. They all won the audience’s sympathy.

The Wolf Man didn’t want to do all those bad things. He was forced into them.

VINCENT PRICE:  I don’t play monsters. I play men besieged by fate and out for revenge.

BORIS KARLOFF:  For me it was pure luck.

You could heave a brick out of the window and hit ten actors who could play my parts. I just happened to be on the right corner at the right time.

MICHAEL ARRUDA:  And often that’s really what it comes down to.  Being in the right place at the right time, and of course, being persistent.

Thank you gentlemen, for joining me this evening.

And thank you all for reading!

Happy Halloween!

—Michael

 

 

 

 

SHOCK SCENES: DRACULA’S DEMISE- A Look at the Hammer Dracula Endings – Part 4

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

Part 4

By

Michael Arruda

Welcome to Part 4 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. Previously we looked at the endings to the first six Hammer Dracula pics.  Here in Part 4 we’ll look at the rest of the series.

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

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DRACULA A.D. 1972 (1972)

Dracula meets the 1970s!

After the success of the Dan Curtis film THE NIGHT STALKER (1972), the movie that introduced reporter Carl Kolchak (Darren McGavin) to the world and had Kolchak hunting a vampire in present day Las Vegas, Hammer decided that for its next Dracula movie they would take Dracula out of the 19th century and put him in the heart of present day London, which at the time happened to be 1972.

DRACULA A.D. 1972 also marked the return of Peter Cushing to the series, as he played Lorrimer Van Helsing, a descendant of the original Van Helsing.  On paper, it  sounded like a neat idea.  In reality- mostly because “modern day” at the time was the groovin-yeah-baby year of 1972, the film really doesn’t work- at least not the way Hammer intended.  THE NIGHT STALKER, it ain’t!

However, that being said, in spite of it being lambasted by critics and doing poorly at the box office, DRACULA A.D. 1972 is actually a pretty fun movie.  I’ve always really liked this one.  The dialogue is so over the top and overdone, it’s a hoot!  It’s like watching an episode of SCOOBY-DOO.

It’s also a lot of fun seeing Peter Cushing return to the series as Van Helsing, even if he is playing one of Van Helsing’s descendants.  As usual, Christopher Lee doesn’t have a lot to do as Dracula, but he makes the most of his few scenes.

DraculaAD1972Lee

Jessica Van Helsing (Stephanie Beacham) isn’t doing her grandfather any favors when she removes the knife from Dracula’s (Christopher Lee) heart during the finale of DRACULA A.D. 1972 (1972).

Unfortunately, the ending isn’t anything to brag about, even with Cushing’s Van Helsing battling Lee’s Dracula once again.  Compared to the ending of HORROR OF DRACULA, the ending to DRACULA A.D. 1972 is slow and tired.  There’s a brief chase, this time with Dracula chasing Van Helsing, a brief scuffle, and then an all too easy death scene where Dracula falls into a pit of wooden stakes, set up there earlier by Van Helsing, although how he would know Dracula would fall inside is beyond me!  This is followed by the obligatory and not very impressive Dracula-turns-to-dust scene.

Far out, man!

Not really.

The_Satanic_Rites_of_Dracula_poster

THE SATANIC RITES OF DRACULA (1973)

Immediately after the release of DRACULA A.D. 1972, Hammer went into production with their next Dracula movie, THE SATANIC RITES OF DRACULA (1973) which again starred both Christopher Lee and Peter Cushing, and once more took place in the 1970s.

The attempt was made to improve upon DRACULA A.D. 1972, and so in this film the hippies are gone, and instead Dracula acts likes he’s a villain in a James Bond movie as he tries to take over the world with the help of other devil worshiping dignitaries. When Scotland Yard investigates and learns about the satanic cult, they turn to their resident expert, Professor Van Helsing (Peter Cushing).

It’s a fairly interesting plot, but it’s all rather flat, and I’ve always enjoyed DRACULA A.D. 1972 more.  Because DRACULA A.D. 1972 performed so miserably at the box office, Hammer decided not to release SATANIC RITES in the U.S., until that is, five years later when it was released under the ridiculous title COUNT DRACULA AND HIS VAMPIRE BRIDE in 1978.  The only good thing about the delay was I was 14 at the time, and when it opened at my local theater, it provided me with my first opportunity to see a Hammer horror film on the big screen.  Cool!

The ending to SATANIC RITES is actually a bit better than the ending to DRACULA A.D. 1972.  The confrontation between Dracula and Van Helsing is a bit longer this time.  It starts in a fiery house and then continues outside, as Van Helsing leads Dracula into the woods where he is able to get Dracula caught in a thorn bush.  See, in this movie, thorns are representative of Christ’s crown of thorns and as a result are fatal to vampires.  At least Hammer always remained creative!  Of course, what would a Dracula movie be without a good staking, and so Van Helsing drives a stake through Drac’s heart for good measure, which leads to the undead king’s umpteenth disintegration scene.

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Van Helsing (Peter Cushing) prepares to do battle with Dracula in THE SATANIC RITES OF DRACULA (1973).

The best part about this ending is that after Dracula disintegrates, all that is left of Dracula is his ring, which hearkens back to the ending of the first film in the series, HORROR OF DRACULA (1958) where Dracula’s ring also remains after his disintegration.  In HORROR OF DRACULA, Van Helsing does not take the ring, and when Dracula is resurrected in DRACULA-PRINCE OF DARKNESS (1966) he wears it again.  This time around, at the end of SATANIC RITES, Van Helsing does take the ring, symbolizing that this time Dracula is truly done for, which is appropriate, since this was the final Christopher Lee film of the series.

I say final “Christopher Lee” film in the series because even though Lee said his days as Dracula were over, Hammer wasn’t finished, and they would bring back Dracula for one more movie, without Lee.

 

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THE LEGEND OF THE SEVEN GOLDEN VAMPIRES (1974)

This is one weird movie.  After the commercial failure of their previous two Dracula movies, Hammer decided that Dracula in the 1970s was not a good idea, and so their next vampire tale would once more be a period piece. THE LEGEND OF THE SEVEN GOLDEN VAMPIRES was originally not going to be a Dracula film at all, but simply a vampire movie, but this horror-martial arts combo was co-produced with The Shaw Brothers Company who insisted that since their Asian audiences loved Dracula, that Dracula had to be incorporated into the movie.

And so an introduction was filmed with John Forbes-Robertson hamming it up in thick Joker-like make-up as Dracula, where we see his spirit enter into that of an Asian warrior who had visited Dracula’s castle.  Dracula wants to seek out new blood in the Far East, and now inside a new body, he is able to assemble an army of Kung-fu vampires— the seven golden vampires— without people knowing who he is, except that old nemesis Professor Van Helsing (Peter Cushing) is also in the Far East and hot on his trail!

 

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One of the seven golden vampires in THE LEGEND OF THE SEVEN GOLDEN VAMPIRES (1974), Hammer’s final Dracula movie.

There are martial arts fights galore in this very unique film that somehow actually works.  It also has a fantastic music score by James Bernard.

Unfortunately, the ending is rather lame.  After all that choreographed martial arts fighting, Dracula returns to his old body where he is promptly done in— in very undramatic fashion- by Van Helsing.  It’s a very weak way to end the series.

Aside from the ending,  THE LEGEND OF THE SEVEN GOLDEN VAMPIRES is actually a pretty enjoyable movie.  And even though he’s not really involved in the fight sequences, Peter Cushing still enjoys lots of screen time as Van Helsing, and as always, he’s excellent.

Look also for the inferior yet worth checking out re-edited version entitled THE SEVEN BROTHERS MEET DRACULA (1974).  This version was originally released in the U.S. as an exploitation flick.  It’s fun to compare the two.  THE LEGEND OF THE SEVEN GOLDEN VAMPIRES plays out like an elegant atmospheric A-List Hammer vampire movie, whereas THE SEVEN BROTHERS MEETS DRACULA plays like a choppy incoherent blood fest shown at the Drive-In after midnight.  Same movie, different editing.  It’s fascinating to watch these two versions back to back.

So, that about wraps things up.  Thanks for joining me on this four part look at the various Dracula demises in the Hammer Dracula movies.

Join me next time for another SHOCK SCENES when I’ll we’ll look at other memorable scenes in horror movie history.

—END—

SHOCK SCENES: DRACULA’S DEMISE – A Look at the Hammer Dracula Endings – Part 3

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

Part 3

By

Michael Arruda

Welcome to Part 3 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. Previously we looked at the endings to the first four Hammer Dracula pics.  Here in Part 3 we’ll look at the endings to the next two films in the series, TASTE THE BLOOD OF DRACULA (1969) and SCARS OF DRACULA (1970).

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

taste the blood of dracula poster

TASTE THE BLOOD OF DRACULA (1969)

Give credit to director Peter Sasdy.  With the exception of the first two Hammer Dracula films by Terence Fisher, HORROR OF DRACULA (1958) and THE BRIDES OF DRACULA (1960), TASTE THE BLOOD OF DRACULA is probably the best looking of the Hammer Draculas.  The cinematography is clear, crisp, rich and colorful, with deep dark reds and blues spilling onto the screen like a bruised corpse dripping blood.

While most of the Hammer Dracula sequels are shot in a way that make them look like horror films, TASTE THE BLOOD OF DRACULA looks like a PBS drama.  The cinematography here is simply a step above the rest.

And Christopher Lee has never looked better as Dracula. Gone are the red bloodshot eyes (for the most part – they’re back in some scenes) and pasty white face shot with green light in DRACULA HAS RISEN FROM THE GRAVE (1968), and in their place is a more noble and princely looking Lee.  In fact, at times Sasdy’s camera makes Lee look about ten years younger.  Other than way back in HORROR OF DRACULA, when he was only 36, Christopher Lee is probably photographed at his handsomest as Dracula here in TASTE THE BLOOD OF DRACULA.

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Dracula (Christopher Lee) in the desecrated church in TASTE THE BLOOD OF DRACULA (1969).

 

The film gets its title because in this one, a young devil worshipper Lord Courtley (Ralph Bates) gets hold of a vial of Dracula’s blood, spilled after the vampire was impaled on a cross at the end of DRACULA HAS RISEN FROM THE GRAVE (1968).  To resurrect Dracula, he mixes his own blood with Drac’s and then orders the men he has brought into his circle to drink it.  Hence the title.

While TASTE THE BLOOD OF DRACULA may be richly photographed, it’s not my favorite of the Dracula sequels.  Its story doesn’t always makes sense, and its characters simply aren’t as likable or as developed as those in the previous films in the series.

TASTE THE BLOOD OF DRACULA also has the strangest ending of the entire series.

Young Paul (Anthony Corland) attempts to rescue his girlfriend Alice (Linda Hayden) from the clutches of Dracula (Christopher Lee) who’s hiding out in a desecrated church.  Paul places crucifixes throughout the church and puts a white cloth over the altar.  As you might imagine, Dracula is none too happy about these changes, and there is a struggle.

Dracula flees to the upper level of the church to get away from Paul’s crosses, and when he smashes a stained-glass window, he turns to see the entire church lit with candles and looking like it’s ready for Sunday Mass.  It’s a miracle!  Unable to withstand this sudden burst of holiness, Dracula falls from his perch and proceeds to disintegrate into ashes once more.

Scratching your head?  Me, too, and I’ve seen this ending multiple times.  It appears as best as I can figure it, that in this movie, God destroys Dracula!  Yup, that’s about the size of it.  It’s a weird ending, and worse yet, it’s simply not very satisfying.  It also serves as proof that the characters in this movie aren’t up to the task of destroying Dracula, so, why destroy him at all?  I still think some of these Hammer Dracula sequels would have been even better had Dracula simply survived at the end.  It would have given these movies some very dark endings which would only have made them more memorable.

And while the special effects in the disintegration sequence are impressive, they lack the excitement and thrill of the effects in HORROR OF DRACULA.

It all makes for a very bizarre and rather disappointing ending.

 

scars of dracula poster

SCARS OF DRACULA (1970)

While TASTE THE BLOOD OF DRACULA may have had the strangest ending to the series, the next movie, SCARS OF DRACULA, has the worst ending.

SCARS OF DRACULA was an attempt by Hammer to give Dracula more screen time, which is a rarity since even in the best of the Hammer Draculas, like HORROR OF DRACULA (1958), for example, Dracula just isn’t in the film very much.  The Hammer Draculas always made the most of Dracula’s brief screen time.

DRACULA HAS RISEN FROM THE GRAVE (1968), Hammer’s biggest money-maker of all time, struck a nice balance with its Dracula scenes, and Dracula seemed to be in this one more than the other films.  On the other hand, it took Dracula nearly half of TASTE THE BLOOD OF DRACULA to show up, which no doubt left viewers disappointed, regardless of how richly photographed that movie was.

In this regard, giving Dracula more screen time, SCARS OF DRACULA  succeeds.  Dracula (Christopher Lee) shows up within the first few minutes of the film and is in this one quite a lot.  He also has a field day, as SCARS OF DRACULA is probably the most violent film in the series, as in addition to biting people on the neck, Dracula also whips, stabs, impales and brands his victims here.  Ouch!

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Dracula (Christopher Lee) doing his best Norman Bates impersonation as he stabs a victim in SCARS OF DRACULA (1970).

The other neat thing about this movie, and which makes it stand out from the rest of the Hammer Draculas, is the way Dracula appears and disappears. In the previous films, most of Draculas entrances were all highly dramatic, often with undead king baring his fangs and hissing in some genuine shock scenes.  Here, director Roy Ward Baker made the interesting choice never to show Dracula enter or exit a room.  Suddenly, he’s just standing there, and when a character turns around for a moment, he’s suddenly gone.  Even though it’s not the traditional Christopher Lee interpretation, it works.

So, for the most part, I really like SCARS OF DRACULA, even though its cinematography is vastly inferior to that of TASTE THE BLOOD OF DRACULA.  More so, it’s inferior to the cinematography of the rest of the Hammer Dracula’s as well.  There’s something very rushed and cheap looking about this movie, which goes against the Hammer Films formula of making sure that at the very least their films looked like they had a high budget.

But the ending is the worst and takes the rest of the film down several notches.  Dracula is on the roof of his castle, once more battling a young man over his girlfriend.  Dracula needs some lessons on dating.  Anyway, Dracula grabs a spear and prepares to hurl it at his adversary when a lightning bolt zaps the spear and ignites Dracula in a fiery blaze.  So, in the last film Dracula was desroyed by God.  This time he’s done in by— the weather?   Yep, Dracula is struck down by Mother Nature.  How implausible is that?  If you can’t write characters who are worthy of destroying Dracula, just let him survive already!

Dracula bursts into flames and as he screams in agony, he’s filmed in ridiculous slow motion.  When he falls from the castle roof, the shot of him plunging down the side looks as realistic as one of the freefalls of Wile E. Coyote.

Don’t get me wrong.  I love SCARS OF DRACULA.  But I don’t like the ending.  At all.

So, that about wraps things up for Part 3 of our look at the endings to the Hammer DRACULA series.  Join me next time for Part 4, when we’ll look at the endings to the rest of the films in the series.

See you then!

And thanks for reading!

—Michael

 

 

 

 

 

 

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!

dracula prince of darkness end

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.

dracula-has-risen-from-the-grave-movie-poster-1968

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.

Dracula Has Risen From The Grave ending

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:

horrorofdracula poster

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.

horror of dracula ending

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!

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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

 

 

 

 

 

 

 

 

 

 

THE HORROR JAR: The Universal DRACULA Series

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THE HORROR JAR:  UNIVERSAL DRACULA Series

Bela Lugosi as Dracula in DRACULA (1931).

Bela Lugosi as Dracula in DRACULA (1931).

 

By Michael Arruda

Welcome back to THE HORROR JAR, your home for lists of odds and ends about horror movies.

Up today, a list of the UNIVERSAL DRACULA movies, a series that began and ended with Bela Lugosi playing Count Dracula, but the rest of the movies in between, strangely enough, did not feature Lugosi.  And the fact that Lugosi is so identified with the character when he only played him in the movies twice is a true testament to his performance in the original DRACULA.  He’s pretty much remembered as Dracula based on his work in that film alone.

Unlike Boris Karloff, who played the Frankenstein Monster in the first three films of the Universal Frankenstein series, and then returned in HOUSE OF FRANKENSTEIN (1944) to play the evil Dr. Niemann, thus appearing in four of the eight Frankenstein movies, Lugosi only played Dracula on two occasions in the movies, and the second time was in the comedy ABBOTT AND COSTELLO MEET FRANKENSTEIN (1948), yet he is just as readily identified as Dracula as Karloff is as the Frankenstein Monster.

Let’s look at the movies:

DRACULA (1931)

Dracula:  Bela Lugosi

Van Helsing:  Edward Van Sloan

Renfield: Dwight Frye

Mina:  Helen Chandler

Harker:  David Manners

Directed by Tod Browning

Screenplay by Garrett Fort, adapted from the play by Hamilton Deane and John L. Balderston, based on the novel by Bram Stoker.

Running Time:  75 minutes

Released before FRANKENSTEIN (1931), this was the movie that began the Universal monster series of the 1930s and 40s.  Tod Browning’s masterpiece, the movie that made Bela Lugosi a star.  Silent star Lon Chaney was originally intended to play Dracula, but his untimely death from throat cancer paved the way for Lugosi ultimately getting the part.

At times talky and slow-paced, DRACULA nonetheless is full of hauntingly rich images. The decrepit Castle Dracula, Dracula walking the streets of London, and simply Lugosi himself all contribute to the iconic visuals found in this film.

Lugosi steals the show as the undead king of the vampires, but receives fine support from Edward Van Sloan as Van Helsing, Dwight Frye as Renfield, and Helen Chandler as Mina.  Indeed, Frye is every bit as memorable as Renfield as Lugosi is as Dracula, and if you’ve seen this movie, it’s hard to forget either one of them. DRACULA is chock-full of classic lines uttered by Lugosi.  A must-see at Halloween time.

“The blood is the life, Mr. Renfield.”

 

 

THE SPANISH VERSION OF DRACULA (1931)

Dracula:  Carlos Villarias

Eva:  Lupita Tovar

Directed by George Melford and Enrique Tovar Avalos

Screenplay by Baltasar Fernandez Cue, based on the screenplay by Garrett Fort, adapted from the play by Hamilton Deane and John L. Balderston, based on the novel by Bram Stoker.

Running Time:  104 minutes

Back in the day, Universal used to film Spanish versions of their movies using an all-Spanish cast and crew on the same sets as the American version, and so as a result, we have this special treat of a movie:  an entirely different director, screenwriter, and actors using the same sets as DRACULA making an entirely different movie.

Technically, the Spanish version of DRACULA is superior to the Tod Browning version. There’s more going on with the camera and it plays much more like a movie than a stage play.  It’s also a more risqué production, as it highlights the sexual side of the story in ways the Browning version didn’t.

However, I won’t go so far as to call it a superior version of the tale for the simple fact that the Tod Browning version had Bela Lugosi, and he alone made the U.S. version the better movie.  Of course, I would have absolutely loved to have seen Lugosi star in this Spanish version.  Now that would have been one remarkable movie!

 

 

 

DRACULA’S DAUGHTER (1936)

Contessa Marya Zeleska (Dracula’s Daughter):  Gloria Holden

Jeffrey Garth:  Otto Kruger

Janet:  Marguerite Churchill

Van Helsing:  Edward Van Sloan

Directed by Lambert Hillyer

Screenplay by Garrett Fort

Music by Heinz Roemheld (uncredited)Dracula's Daughter - Poster

Running Time:  71 minutes

The first of two very underrated movies in the DRACULA series.  Evidently, back in 1936, the writers hadn’t figured out yet how to resurrect a vampire, and so Count Dracula remains dead in this one, as this story focuses on his daughter.  So, no Dracula and no Bela Lugosi, two strikes which have forever worked against this film.

That being said, DRACULA’S DAUGTHER is a very good horror movie, one of Universal’s best!  It has a solid story, immediately beginning right where DRACULA ended, and finds Van Helsing (Edward Van Sloan) facing a murder charge for the death of Dracula.  He turns to his friend Jeffrey Garth (Otto Kruger) for help, who in turn becomes embroiled with Contessa Zeleska (Dracula’s Daughter), who unlike her father, seems uncomfortable as a vampire and wants to be cured.  Still, she’s every bit as deadly as her daddy!  Gloria Holden is very good as Dracula’s daughter, and it’s nice to have Edward Van Sloan back as Van Helsing, but it’s Otto Kruger and Marguerite Churchill who steal the show in this one, Kruger as the intellectual hero Jeffrey Garth and Churchill as his sassy secretary Janet.  These two share so much chemistry I wish they had returned to take on other Universal monsters.

 

 

SON OF DRACULA (1943)

Count Dracula:  Lon Chaney Jr.

Katherine Caldwell:  Louise Allbritton

Claire Caldwell:  Evelyn Ankers

Frank Stanley:  Robert Paige

Doctor Brewster:  Frank Craven

Lon Chaney Jr. as Dracula in SON OF DRACULA (1943).

Lon Chaney Jr. as Dracula in SON OF DRACULA (1943).

Professor Lazlo:  J. Edward Bromberg

Directed by Robert Siodmak

Screenplay by Eric Taylor

Music by Hans J. Salter

Running Time:  80 minutes

Another underrated Dracula film. Lon Chaney Jr. takes on the role of Count Dracula, and he’s actually quite good here.  In spite of the film’s title, he’s not really playing Dracula’s son— or is he?  He’s identified only as Dracula in the film, and there’s nothing in the story to indicate for a fact that he’s the son of Dracula other than the movie’s title. There is speculation among some of the characters in the film that he might be a descendant of Dracula, but another character states that he is the original Dracula.  I suppose, you could imagine him to be Dracula’s son, but since this isn’t ever clarified in the story, it would be purely speculation. Regardless, Dracula uses the name Alucard (Dracula backwards) in this movie, in order, I guess, to travel about incognito.

This one is steeped in atmosphere as it takes place in the Deep South of the United States, and you can also feel the humidity.  The atmosphere almost reminds me of an old zombie movie.  It also has a neat story where Dracula’s main love interest, the occult-loving Katherine Caldwell, has her own agenda and is more manipulative than Dracula here.

Chaney is quite good as Dracula, and he gives the role a completely different feel than Lugosi did.  It’s nice to see Chaney play evil, as opposed to sympathetic Larry Talbot aka the Wolf Man.  Chaney’s Dracula possesses an aura about him that immediately makes the characters around him uncomfortable and uneasy.  He’s less charming than Lugosi, less mysterious, but more in-your-face evil.

 

 

 

HOUSE OF FRANKENSTEIN (1944)

Dracula:  John Carradine

The Monster:  Glenn Strange

Doctor Niemann:  Boris Karloff

Larry Talbot/ The Wolf Man:  Lon Chaney Jr.

The Frankenstein Monster:  Glenn Strange

Daniel:  J. Carrol Naish

Directed by Erle C. Kenton

Screenplay by Edward T. Lowe, Jr.

Music by Hans J. Salter

Running Time:  71 minutes

Ah, let the Universal Monster Bash begin!  Yup, beginning with HOUSE OF FRANKENSTEIN, Universal would make three straight movies featuring their three main monsters:  the Frankenstein Monster, Dracula, and the Wolf Man, all of this happening of course due to the success of their earlier hit FRANKENSTEIN MEETS THE WOLF MAN (1943).

John Carradine takes over the role of Dracula here, and finally, we get to see Dracula resurrected (it took the writers long enough to figure this out!) as we watch the nefarious Dr. Niemann (Boris Karloff) remove the stake from Dracula’s skeleton, and before our very eyes, Dracula materializes back to life.

HOUSE OF FRANKENSTEIN has a rather uneven plot.  The first third of the movie features Dracula, and once he is killed off, it morphs into a straight sequel to FRANKENSTEIN MEETS THE WOLF MAN as Dr. Neimann leaves Dracula behind and sets his sights on the Frankenstein Monster and the Wolf Man.

John Carradine is very good as Dracula, although I’ve always preferred Lugosi and even Lon Chaney Jr. in the role.  Carradine adds a sense of elegance to the Count, and he definitely has a presence about him, but to me, his performance has always had one major flaw:  I never found him scary in the role.

 

 

 

 

HOUSE OF DRACULA (1945)

Dracula:  John Carradine

Larry Talbot/ The Wolf Man:  Lon Chaney Jr.

John Carradine as Dracula.

John Carradine as Dracula.

The Frankenstein Monster:  Glenn Strange

Doctor Edelmann:  Onslow Stevens

Directed by Erle C. Kenton

Screenplay by Edward T. Lowe, Jr

Music by William Lava

Running Time:  67 minutes

All three Universal monsters return, and this time Dracula gets more to do and survives a bit longer than he did in HOUSE OF FRANKENSTEIN.  Unfortunately, HOUSE OF DRACULA isn’t quite as good as HOUSE OF FRANKENSTEIN.  Everything about this production seems rushed.  It screams for an additional twenty minutes or so.

Again, Carradine is respectable as Dracula, and again, he’s simply not all that scary.

 

 

 

ABBOTT AND COSTELLO MEET FRANKENSTEIN (1948)

Dracula:  Bela Lugosi

The Frankenstein Monster:  Glenn Strange

Larry Talbot/ The Wolf Man:  Lon Chaney Jr.

Chick:  Bud Abbott

Wilbur:  Lou Costello

Directed by Charles Barton

Screenplay by Robert Lees, Frederic I. Rinaldo, and John Grant

Music by Frank Skinner

Running Time:  83 minutes

This was originally going to be called HOUSE OF THE WOLF MAN before Universal decided to add Abbott and Costello and turn it into a comedy.  Strangely, this decision, which many people including Lon Chaney Jr., hated, didn’t stop this movie from becoming one of the best in the Universal Monster series.

The big news here was that Bela Lugosi returned to play Dracula, a role he hadn’t played since the original DRACULA in 1931.  It still amazes me that these are the only two movies in which Lugosi ever played Dracula, although he did play a vampire in MARK OF THE VAMPIRE (1935) and THE RETURN OF THE VAMPIRE (1943).

ABBOTT AND COSTELLO MEET FRANKENSTEIN works so well for two main reasons.  One, it’s hilariously funny.  It’s one of Abbott and Costello’s best movies.  And two, the monsters in this film all have much bigger moments than they did in the previous two movies.

Lon Chaney Jr. has a major role.  As Larry Talbot, he’s involved in the hunt for Dracula, and he has lots of scenes as the Wolf Man.  Glenn Strange, reduced to having little more than a cameo as the Frankenstein Monster in the previous two movies, has lots of screen time here and even speaks lines of dialogue!

But it’s Lugosi who steals the show in his return as Dracula.  Other than Abbott and Costello, he’s the main character in this movie, as it’s his plot to take Lou Costello’s brain and put it into the skull of the Frankenstein Monster, in the hope that he’d be able to control the Monster better with Costello’s simple mind.

Lugosi has many fine moments.  He gets to be scary and he seems to be having a lot of fun.

Terrific movie, terrific performance, and a fine way to end the Universal Dracula series.

“Young people.  Always making the most out of life. While it lasts.”  — Bela Lugosi as Dracula in ABBOTT AND COSTELLO MEET FRANKENSTEIN.

 

 

Hope you enjoyed this edition of THE HORROR JAR, and I’ll see you again next time with more horror movie lists.

Thanks for reading!

—Michael

PICTURE OF THE DAY: CHRISTOPHER LEE as DRACULA – PRINCE OF DARKNESS (1966).

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Christopher Lee as Dracula in DRACULA - PRINCE OF DARKNESS (1966).

Christopher Lee as Dracula in DRACULA – PRINCE OF DARKNESS (1966).

PICTURE OF THE DAY

Christopher Lee is looking mighty menacing in this black and white still from DRACULA – PRINCE OF DARKNESS (1966), Hammer Films’ second Christopher Lee Dracula movie and sequel to HORROR OF DRACULA (1958).

There’s something extra impressive about the black and white photography here.  It could be simply that the film was shot in color, and so a black and white still gives it an added artistic look.

Christopher Lee passed away earlier this year, and this photo is yet another reminder of the talent lost with his passing.  Just by his powerful gaze, Lee was able to frighten audiences.

Enjoy this photo of Christopher Lee as Dracula from DRACULA – PRINCE OF DARKNESS.

Thanks for reading!

—Michael