The Return of the Vampire

Lew Landers directed a lot of crap during his long, prolific career, but when he was on his game, as in The Raven (1934), and this film, he could produce a horror movie as good as any. The Return of the Vampire may be nothing more than a little Columbia B picture, but it exhibits more craft, care, and professionalism than 90 percent of what comes out of Hollywood today. The foggy, expressionistic photography and sets are fantastic, with excellent use of shadow and camera movement, and the early scenes of Lugosi prowling through mist and darkness, shot mostly from behind, or in silhouette, are striking in their spectral intensity. Lugosi once again shows why he ranks among the immortals; he is more commanding and magnetic walking from point A to point B in his top hat and tails than most actors are emoting through pages of dialog. Screenwriter Griffin Jay and director Landers go out of their way to showcase Lugosi's unique talents; he is given a great part with many substantial scenes to play, and Landers shoots him to his fullest advantage. Frieda Inescort, as Lugosi's nemesis, is sublimely up to the challenge, and their scenes together, especially their climactic confrontation at the pipe organ, are the best in the film. Sure, Return of the Vampire has its weak elements, such as Matt Willis's unfortunate talking werewolf, but let them pass. There are few moments in cinema as inspiring as watching Lugosi at full throttle, and Return of the Vampire has that in spades.

I watched this Lugosi outing he made at Columbia a second time as well, and I guess I can say that I liked it better now too. The atmosphere really is everything in this one as the film is enveloped in fog and the prowling camera-work is top-notch throughout; despite being clearly a B-movie, the film's production values are more polished than in most of Universal's stuff of this period! Lugosi isn't offered anything new to do here but he is suitably authoritative in his role of Armand Tesla; until he reprised the role of Dracula one last time in ABBOTT & COSTELLO MEET FRANKENSTEIN (1948), this was arguably his best work of the 40s (which I admit isn't saying much). The contributions of the rest of the cast - Frieda Inescort (for once the vampire expert/hunter is a woman!), Miles Mander, Nina Foch and Gilbert Emery - are quite professional as well. Matt Willis is not bad as a man enslaved by Lugosi and turned by him into a werewolf(!) and, even though the character's psychological torment is as palpable as that of Lon Chaney Jr.'s Larry Talbot in the Universal "Wolf Man" saga, the actor is defeated by the shaggy-dog make-up, the fact that he is allowed to speak when transformed(!!) and, well, the very pointlessness of his presence since he never does much at all except serve Lugosi (a task which could easily have been handled by a mere human, who would certainly have aroused a great deal less suspicion than a werewolf)! The climax, while somewhat abrupt, is nicely handled.

Return of the Vampire is, despite its title not a sequel to Mark of the Vampire.

In this vampire movie, a vampire is staked during World War 1 but then in the Second World War, two gravediggers bury him again after an air raid. They don't realise this corpse is a vampire after pulling the stake out his chest. He regenerates and gets a job in a lab. He has the help of a werewolf that can talk and killings once again start...

One of the best things about this movie is that talking werewolf. I don't think I've seen another movie with one. Unusual.

The cast is lead by Bela Logosi as the Dracula-like vampire. I've never heard of anybody else in this.

Return of the Vampire is worth checking out, especially if you are a fan of Bela.

Rating: 3 stars out of 5.

It's interesting that even though Bela Lugosi enjoys an eternal reputation of playing the most imitated vampire of all (the legendary Count Dracula), the actor really didn't star as a true bloodsucker in that many motion pictures. But he's nothing less than the real deal here, in an enjoyably misty and moody horror offering which was produced by Columbia Pictures, yet could be easily mistaken for any one of the 1940s classics that Universal Studios was churning out at this time.

Though Bela looks and sounds much like Dracula with his trademark flowing cape and piercing eyes, this time he plays a different character called Armand Tesla, a vampire who rises from his grave in ravaged WW II times to seek revenge many years after being destroyed with a metal spike. Frieda Inescort is a welcome change of pace as a female "Van Helsing" type of protector, and the Lon Chaney-ish Matt Willis is cast as a pitiable servant named Andreas, who becomes corrupted by Tesla and is transformed into a werewolf that TALKS! Adding this hirsute Renfield character in fangs and fur was possibly an effort by Columbia to compete with Universal's current monster rally, FRANKENSTEIN MEETS THE WOLF MAN. Nina Foch is the pretty young damsel in distress whom the vampire plots to possess. Fans of Bela Lugosi and the classic old Universal monster movies will not want to skip this one. *** out of ****

This beautifully shot B&W 1940s vampire film is loaded with the kind of old fashioned, spooky atmosphere that fans of classic Gothic horror will love. The fogbound sets are deliciously creepy, the graveyard & crypt sets nothing short of fabulous! The spooky music adds a lot as well. Bela Lugosi, about 60 here and well into the undeserved waning days of his career, is damn good. Tall, imposing, and as strong a screen prescence as ever, he raises questions as to why the often heartless and stupid film industry did not make better use of his talents. He shows here that he could certainly still carry a film and command the screen. But the script needed work. Matt Willis as the talking werewolf is laughable. When he's seen entering the graveyard carrying what looks like a package of Chinese laundry, I howled! I just couldn't see him running shopping errands in his werewolf garb! And no explanation is offered as to why the vampire's slave turns into a werewolf, a state he retains regardless of whether or not the moon is full. He's a wolf even in broad daylight. Still, this is a fun, somewhat creepy film, and Lugosi is always worthy of your time.