La marque du vampire

Count Mora has a scar on his temple. It's a gunshot wound acquired when after having incest with his daughter he committed suicide. That was meant to explain to the audiences how he and his daughter became vampires. But censors demanded the deletion of references to both the incest and the suicide.

All of the essential ingredients for a good vampire film are here, but I guessed who the culprit was from the beginning (and even his motive), but I wasn't prepared for the nice twist in the surprise ending.

The story about a vampire stalking people in a picturesque village is handsomely photographed by none other than James Wong Howe and the settings rival any of those used in the original "Dracula" film. This time ELIZABETH ALLAN is the frightened heroine while BELA LUGOSI and LIONEL ATWILL fill their standard horror film assignments in fine form.

LIONEL BARRYMORE is Prof. Zelin and seems to have great difficulty in standing on two feet rather than being in a wheel-chair, so early was he inflicted with his rheumatism that forced him to be seated in most of his films by the end of the '30s, notably as Dr. Gillespie in those Dr. Kildare films. He's obviously a replacement for the usual Van Helsing character assigned to solve the vampire mysteries.

With a running time of 1 hr. 1 min. there's no time to be bored. A neat little thriller with good supporting roles from character actors like Jessie Ralph and Donald Meek--with all of the histrionics strictly in broad '30s horror style. One of Tod Browning's better films.

The atmospheric sets and shadowy but crisp B&W photography are beyond reproach.

After the commercial failure of his controversial masterpiece "Freaks" in 1932, director Tod Browning found himself in serious problems to find new projects. Browning was a man of proved talent, being the director of some of the best silent films starring Lon Chaney as well as the mind behind the 1931 horror masterpiece "Dracula". However, "Freaks" proved to be too ahead of its time and sadly suffered the prejudices of audiences clearly unprepared for the tragic story of a midget in love with a full grown woman. In this state of disgrace, the studio rejected his projects and instead gave him the job of directing "Fast Workers", a melodrama with former silent superstar John Gilbert. Fortunately, luck was still on his side as in 1935 he was allowed to direct a remake of his successful silent "London After Midnight", a movie that would reunite Browning with Dracula himself: Bela Lugosi.

"Mark of the Vampire" is the story of the tragedy surrounding the wealthy Borotyn family. The patriarch, Sir Karell Borotyn (Holmes Herbert) has been murdered under mysterious circumstances, and soon everyone in town suspects it was the work of Count Mora (Bela Lugosi) and his daughter Luna (Carroll Borland), as these two deceased nobles are rumored to awake by night as vampires and wreak havoc in the small superstitious village. Inspector Neumann (Lionel Atwill) doesn't believe in this, as he suspects there is a more mundane motif for the murder of the rich old man, however, when Sir Karell's only daughter Irena (Elizabeth Allan) becomes the vampires' new target, Insp. Neumann will have to join forces with a strange scientist specialized in the occult, Prof. Zelin (Lionel Barrymore) to solve the mystery before someone else gets killed.

As written above, "Mark of the Vampire" is essentially a remake of the now lost classic "London After Midnight", although this time Browning enhances the horror elements of the story by focusing on the couple of vampires and their actions instead of the mystery of the plot. The story is pretty convoluted and very clever for its time, with a nice use of black humor (some even see it as a satire of horror films of it's time) and very surprising plot twists to keep the mystery a secret until the end. Sadly (and like always happened to Browning), the film suffered approximately 20 minutes of cuts by the studio, who disliked Browning's idea of incest as background for Count Mora among other things. Unable to fight the studio (as they were still mad at him for "Freaks"), Browning had to let them cut the film, leading to the creation of many plot holes in the already convoluted story, ultimately destroying most of its effect by enhancing its flaws.

As in most Browning's films, the power of the movie is in the haunting visuals conveyed by this master of silent films, images so powerful that in a way make up for the messed up and disjointed storyline. In fact (and like "Dracula"), most of the best scenes in "Mark of the Vampire" come when nobody talks and only the images are what carry the story. Taking his expressionist influences to the max, Browning makes the figure of the vampire to embody the ultimate vision of irresistible evil, as their unnatural shining in complete darkness makes them diabolically attractive. Browning always struggled with the use of sound, and this problem shows again in "Mark of the Vampire", although the high quality of his cast manage to improve Browning's direction in this "talkie".

Lionel Barrymore is very good as the eccentric Prof. Zelin, and while he receives some bash for giving an over-the-top performance, I think his acting is right on the money, as he is not a serious Van Helsing, his character seems to be wicked, almost as wicked as the monsters he fights, so his hammy touch is, in my opinion, very appropriate. Lionel Atwill shines as Insp. Neumann, bringing a sense of dignity to the film as the stoic hero who is forced to work with what he considers as superstitious fools in order to fulfill his mission. Borland and Luogsi are simply wonderful as the almost silent vampires, relaying mostly on gestures to convey their emotions. Jean Hersholt, Donald Meek and Ivan Simpson have nice turns in supporting roles, with Meek and Simpson delivering some nice comedy that seems to parody stereotypes of horror films of its time.

Sadly, the film (or what was left of it) suffers from many flaws that effectively make the brilliant parts of it look bad, leaving the final product as simply a slightly better than average 30s movie. Not only the cuts done by the studio ruined the storyline, as being honest, Browning's talent wasn't as fond of talkies as it was of silents. Browning was a genius of black comedy, but this skill couldn't translate well to sound movies and often his attempts of comedy look too over-the-top for the overall mood of the movie. To make things worse, the performances of Elizabeth Allan and Henry Wadsworth (the main romantic couple of the movie) are atrociously poor, paling in comparison to the work of the rest of the cast.

"Mark of the Vampire" is a very good film of Browning's short post-"Freaks" career, as despite being plagued by many problems, it still works as a nice tale of mystery and horror. It is definitely not the typical vampire movie, and a number of factors make me to be willing to believe that Browning intended this to be a satire than a proper horror (for example the fact that vampires are silent and humans are very talkative for example). While certainly not a masterpiece, it is a fine film to watch despite its troubled upbringing. 7/10

This is an ingenious, delicious film that offers a different take on the vampire tale. It's a remake of director Tod Brownings' 1927 silent "London After Midnight", one of the most sought after "lost" films of all time. It features a number of the trappings of the vampire sub genre, and establishes a respectfully sinister atmosphere.

When a man named Sir Karell (Holmes Herbert) is found murdered, an investigation is launched by intrepid Inspector Neumann (Lionel Atwill, who's in fine huffy form). When it's believed that the death was a murder perpetrated by a vampire, an occult expert (a hilarious, delightful Lionel Barrymore) is called in to provide all the advice they could need.

And for a while, this plays out the way we would expect a vampire movie TO play out. Our blood suckers are played by Bela Lugosi, once again cast in a perfect sort of role for him, and Carroll Borland, whose striking, long haired Luna can easily be seen as a forerunner to characters like Vampira and Morticia Addams. The cast is rounded out with people such as Elizabeth Allan as the distraught Irena, Henry Wadsworth as her suitor, Jean Hersholt as her uncle (the worried Baron), Donald Meek as Dr. Doskill, Ivan F. Simpson as Jan the butler, and comedy relief provider Leila Bennett as Maria the maid.

One can't help but notice just how short this movie is - it runs barely over an hour - and in fact approximately 20 minutes of footage was cut after the preview. Unfortunately, because Brownings' previous film "Freaks" had flopped upon its release, he wasn't able to object to these studio decisions. Still, even in the movies' current incarnation, it works pretty well, with decent special effects and typically solid work by cinematographer James Wong Howe. But the reason why this should be so entertaining is the unexpected ending, which does a fine job of pulling the rug out from under us and turning into a different type of film altogether. Even the actors weren't informed of the big twist ending until it was time to shoot it, which does nothing but add to the effectiveness of their performances.

Overall, "Mark of the Vampire" is great fun and a worthy viewing for any fan of old school black & white genre entertainment.

Eight out of 10.

Tod Browning easily is one of the most important directors who ever lived. Sure, he might not enjoy the same post-mortem status as a Stanley Kubrick or a Alfred Hitchcock but he single-handedly was responsible for some of the most important and genre-forming horror films. In a period of barely 5 years he brought us: Dracula (the mother of all vampire-movies and THE film that made Bela Lugosi immortal), Freaks (still amazingly scary after more than 70 years), this Mark of the Vampire and Devil Doll in 1936.

This film more or less is the first accomplishment that `plays' with the rules of the genre and creatively adds some very ingenious twists. A prominent citizen of a small community is killed and the superstitious population are convinced that the bizarre, vicious Count Mora is responsible for this act of terror. Count Mora and his freaky daughter Luna are believed to be vampires and the village's curse. Since the victim's beautiful daughter obviously is the next target, professor Zelin sets a trap the bloodthirsty killer red-handed. Mark of the Vampire is an eccentric horror effort and definitely ahead of its time! The opening sequences are atmospherically frightening and the nightly noises still have the ability to scare you. The illogical – but extremely dared – twists near the end easily guarantee this film an honored spot in the horror annals. Please see it for yourself and you'll agree that this film is tough to review! Personally, I thought Lionel Barrymore overacts terribly….then again, the development of the film provides him with an excuse for this! I am certain about one thing, though! Bela Lugosi gives away an outstanding performance. Naturally, his role here is overshadowed by his starring in Dracula but I dare to say he's equally chilling here. Lugosi almost has no lines to say, but his grimaces speak for themselves. Check it out!!