Dracula braucht frisches Blut

This rather odd entry in the Count Dracula film cycle finds the count (Christopher Lee) positioned as the head of a corporate conglomerate that has a group of high-level mucky-mucks enmeshed in a plan to unleash a new strain of uber-virile plague on the world. Why Count Dracula wants to kill off the world's population and therefore eliminate his food supply is never made clear; indeed, when vampire specialist Van Helsing (Peter Cushing) poses that very question to him, the count looks like he'd never thought of that before. The screenplay tries half-heartedly to explain it via some psycho-babble about the count really subconsciously wanting to bring about his own destruction and put an end to his tortured soul, etc. Nice try, but it doesn't fly.

The film is pretty short on atmosphere or scares, but there's some fun to be had anyway. Cushing is so assured in his performance that he almost makes you feel like you're watching something of substance, while a young Joanna Lumley is buxom and fetching as Van Helsing's in-peril granddaughter.

Grade: B-

I guess Christopher Lee had had enough of Dracula, and this was his swan song. This has a clever twist, bringing the old guy back one more time. It involves the Count trying to bring a plague on humanity by using a group of significant businessmen to do his bidding. Of course, it's the same old crosses made by two sticks of wood, and so on. Cushing does his usual spooky character, this time a latter day Van Helsing. I have to say I enjoyed it.

The accepted wisdom regarding the Hammer Dracula pictures is that they started great, tailed off to good, and, by the time the 70's rolled round, were stinkers. Well, sorry friends, but this time the accepted wisdom is wrong.

Personally, I have never been a great fan of Vampire films in general and Dracula in particular. The vast majority of the Hammer fang flicks bore me rigid (I like the Frankenstein's though - especially 'and the monster from Hell'). And I've always thought that Chris Lee was far better employed in other roles. But 'The Satanic rites of Dracula' represents the best of Hammer and Lee.

For me, one of it's major strengths is that Dracula remains implied rather than seen until the last third of the film. Instead, we view the sinister workings of his organization and it's minions. Lee appears after the first 30 minutes, in a short and ineffective scene in which he emerges from a puff of smoke to claim a kidnapped damsel, and then disappears again for another 30. This brief, unsatisfactory piece of business was presumably inserted to reassure punters who were worried that half an hour had elapsed without presenting the title character. Personally, I'd cut it to make an even better film.

The withholding of the chief vampire manages to build up a real sense of atmosphere and some genuine foreboding, which pays off well in the great little sequence where Cushing's Van Helsing finally confronts the Count, who has been operating under the funky moniker of D.D. Denham. A simple but very effectively staged episode with Pete n' Chris on top form.

The film as a whole is well shot and cut by ex-'Avengers' man Alan Gibson, who creates an effectively bleak and chilly atmosphere through good location work (a seemingly deserted London and Dracula's spooky country retreat) and some well designed interiors (hidden, seedy MI5 offices and Dracula's business headquarters). The tone and 'feel' of the picture is nicely established by the opening credits sequence. Again, simple but effective.

There are good performances by Cushing, Lee, William Franklyn, Freddie Jones and Michael Coles. Even Joanna Lumley. A modicum of 70's cheese, as evidenced by the vampire brides sequence and John Cacavas' cool 'chicka-wah' score, enriches, rather than taints, the whole experience. And some choice lines of fruity dialogue raise an occasional delighted grin. I've seen the film numerous times over the past 11 or 12 years and for me it never palls.

Along with 'Captain Kronos', definitely one of Hammers best.

As a Dracula film, this is rather sad and misguided and very typical of the late Hammer fare. But as a piece of classic cheesy 70's British filmmaking, it's a treasure! Loads of tacky scenes and acting, rough looking down-and-out location work and a collection of cheddary extras and character actors.

Peter Cushing looks like he's about to kick the bucket (die) although he miraculously seems to grow younger and less grandpa looking by Star Wars (1977). Who'd have thought he make it to 1994!! There's a healthy dose of Cushing hair flicking in this. Although not to the standard of earlier Frankenstein hair flicks, the old locks are still thrashing around :)

Hammer's last throw with Christopher Lee who refused to do another Dracula after AD 1972. He regarded the last Hammer's as such a departure from Stoker as to be sacrilegious. This replaces horror with a thriller. Dracula in a thriller? French Connection was a thriller. How does the suave and deadly Count become transplanted into a more style which uses more realism? He cannot, he is incongruous. Consequently Dracula makes almost no appearance until the last 15 minutes. The rest of the film is a chase between his henchmen and Cushing with the police. The quality of the Dracula films had deteriorated in their glamour and stylishness and transferring to the modern day was an attempt to inject glamour again. The most interesting piece of this film is the satanic rite of the title. Its images and practises have been used by the Church of Satan and other occult groups. The actor, scientist and parapsychologist Stephen Armourae has referred to it in articles and the actress Mia Martin has appeared in some of his drawings and paintings. Oddly despite such a high profile release none of the actors including Pauline Peart and Mia Martin did anything since despite their glamour and looks.