A Volta do Vampiro

I really enjoyed this movie. It was unique in that the Vampire had a werewolf as his assistant. This werewolf wears a suit, talks, smiles and, in general, acts like a normal human being. The movie was basically a sequel to Dracula but the vampire played by Bela Lugosi could not use the name Dracula because this was a Columbia picture and Universal Studios had the legal rights to the Dracula character. But, it was still Lugosi at his scary, pompous best.

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.

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.

Bela Lugosi stars as Armand Tesla vampire, but this is the only movie I've ever seen that had a talking werewolf who carries the vampire's laundry in a package tied up with string. This was the only bad part of an otherwise very good 40's vampire movie. I'll give it an A.

Pop quiz: How many times did Bela Lugosi portray Dracula on film? If you answered "twice," in the 1931 "Dracula" and in 1948's "Abbott and Costello Meet Frankenstein," give yourself a silver crucifix. If you answered "three times," well, you're kind of right, too. In "The Return of the Vampire," Lugosi plays a hickeymeister identical to old Dracky, but because this is a Columbia picture and not a Universal, he is here saddled with the name Armand Tesla. By any other name, and all that. Less creaky than the original "Dracula" but at the same time far less amusing than "A&C Meet Franky," this film is a modest little outing that nevertheless succeeds in the entertainment department. The picture's setting--1941 London during the Blitz--and the bloodsucker's assistant--another sympathetic werewolf--add some novel touches to the usual vampire fare, and Frieda Inescort makes for a very pretty and no-nonsense adversary for the nocturnal neck nosher. Indeed, she is probably the single best aspect of the picture. Bela is fine, of course, but his screen time is limited to a few memorable scenes. With an uncluttered screenplay and a running time of only 69 minutes, the picture does move along quite briskly; you won't be bored, that's for sure. I'm still unclear as to just why Frieda's Lady Jane character doesn't recognize Tesla, after having helped "slay" him 23 years before the main action in the film, but I suppose that this is a minor matter. My suggestion: Rent this one out along with the 1959 film "The Alligator People" and have a Frieda Inescort horror double feature one rainy night. You could do a lot worse.