Draculas Rückkehr

Great Gothic Hammer horror. One of the better Dracula sequels and one of director Freddie Francis' best. It has a lot of the elements you expect and appreciate from Hammer: solid actors, great sets, quality direction, beautiful and vivacious young women. The plot is relatively simple: Dracula wants revenge and pretty blonde Veronica Carlson but her Monsignor uncle and loser boyfriend have a thing or two to say about that. There's also some interesting additions to the mythology where belief vs atheism is concerned. It all makes for a very entertaining sequel full of many familiar and proved effective Hammer staples, with several new ones as well.

A weak script doesn't hinder "Dracula Has Risen from the Grave" from being absorbing most of the way. It has a weak mid-section full of repetitious scenes of Dracula about to take a bite out of a voluptuous female, scenes that don't advance the plot the way they should.

For this reason, some may find fault with the slow pace of much of the film but there's no denying the impressive look of sets, costumes and the proper Gothic atmosphere. Technicolor captures every bit of the shadows and light, just the way effective B&W photography has always done in the past. And the close-ups of Christopher Lee's bloodshot eyes lingers in the mind long after his infrequent appearance has been made.

That's also part of the problem. The role of Dracula really takes a back seat to others in the cast, all of whom are competent performers. Particularly engaging are Veronica Carlson (as one of Dracula's most sought after victims) and Barry Andrews as her infatuated boyfriend. Andrews plays the role of Paul with a saucy cockiness and a twinkle in his eye, easily making what is essentially a cardboard role a standout among the supporting players by virtue of his earnest performance and personality.

Engaging enough as a typical Dracula thriller, but clearly not the best of the Hammer films in this series. James Bernard's music helps keep the suspense level vibrant enough.

If a quintessential example of a Hammer Studio's exercise in Gothic Horror exists, it is probably this film. Not because it is a flawless piece of film-making, far from it. Rather because this film manages to squeeze just about all of Hammer's horror-show templates into it's 92 minute running time.

Here we have the unmistakeably distinctive set design and music score by Hammer mainstays Benard Robinson and James Benard; romantic leads transposing post Summer-of-Love sexual mores (and hairstyles!) to the film's indeterminate post Victorian location; two pub locales, one peopled with wary, hostile, superstitious East-Ender types, the other rollicking with high-spirited youthful inebriates; a pious religious figure (and a much less pious one); a cameo by Michael Ripper; day-for-night location shots; attractive women in low-cut bodices and nightgowns; yet another outlandish method of using trickling blood to revive the antagonist; an eventful screenplay that doesn't measure up to critical evaluation --- whew! I could go on and on.

But please understand, I do not necessarily regard all of the above negatively, just realistically. "D.H.R.F.T.G." is a fun watch if you leave your thinking cap off. Several of the most memorable set-pieces in the Hammer canon are here; the discovery of the girl in the belfry, the attempted staking of Dracula, the Count's seduction of Veronica Carlson, and his over-the-top demise (I won't reveal it here). These scenes lingered for decades in my mind after I saw the film in the early seventies. I was joyful to find the videotape in the '90's and yes, I now happily own the DVD.

One of the harshest critics of this film, incidentally, was it's star. Christopher Lee, who entered the project enduring serious back pain (stuntman Eddie Powell handled the more strenuous action), disliked the script intensely, especially the attempted staking of the Count. His performance, however, betrays none of his vexation; this is one of his best outings as Dracula. Director Freddie Francis coaxes serviceable performances from the rest of the cast. Rupert Davies and Barbara Ewing stand out, as a noble cleric and lusty barmaid respectively.

At the end of the day, I really like this movie, despite it's shortcomings. Heck, I feel like putting on right now. So should you.

When his castle is exorcised, Dracula (Christopher Lee) plots his revenge against the Monsignor (Rupert Davies) who performed the rites by attempting to make the holy man's young niece his bride.

This film is scandalous. Sure it passed the censors, and that is great, and Lee gives another great Dracula performance (with Davies as a more than adequate nemesis). But what we have here is an atheist in the home of a clergyman! Can you be an atheist and still believe in vampires?

Apparently, this was the most commercially successful of the Hammer Dracula films. I am not surprised, as it is quite entertaining. And with all due respect to Terence Fisher, I think I tend to prefer Freddie Francis' direction a little more. Francis knows his camera, and I think that adds something to his directing prowess.

Sporting the ultra camp title - "Dracula Has Risen From the Grave", this is a solid entry in Hammer's Dracula series. What I love about Hammer is that they aren't afraid to take an existing story and play around with it to create something new. Even if the idea behind is less than brilliant and most studios would have shied away, Hammer approach it with gusto, and the results are always good natured, easy viewing that's hard to dislike. This film follows Count Dracula as he is resurrected shortly after the priest, Ernst Muller, exorcises his castle. Dracula doesn't take this sort of behaviour lightly, and so decides to take on revenge on the holy man - by taking his niece as his bride!

Dracula is one of the greatest characters ever to be written and portrayed on screen, and it's also one that Christopher Lee has become famous for playing. Unfortunately, Christopher Lee doesn't have a great deal of screen time in this flick; but every moment he is on screen is a highlight and, as usual, he does well with the role and proves that he is the only man other than Bela Lugosi to do it right. Freddie Francis (Dr Terror, The Creeping Flesh) directs this film and succeeds in creating a morbid and fascinating atmosphere that bodes well with the subject material on hand. The film is stylishly shot, and features some of the best use of lighting ever seen in a Hammer film. The camp style that the studio is famous for is here by the bucket load too, and that can only be a good thing. This is hardly Hammer's finest hour, however; the film is relatively slow to start, and the story isn't the most inventive ever to come from the studio - but Hammer fans will enjoy it, and I would have no qualms with recommending this as a decent waste of your time.