La marque du vampire

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.

In a small village of Prague, dignitary Sir Karell Borotyn is found murdered and the police put it down to "unknown circumstances". The whole village knows the cause though and the consensus of opinion is that he was killed by the legendary vampire Count Mora. This belief is dismissed by the authorities but seems to be backed up when Mora appears to Borotyn's daughter Irena. Enter Professor Zelen, who plans to save Irena and bring an end to the rule of terror that Mora has brought to the village.

I have been watching several horrors from the first half of the last century recently mainly because I am tired of the "shock 'em with gore" school of thought that seems to have replaced atmosphere and creepy direction that should always make up a part of a horror film. With this film the story is actually quite interesting, albeit based on the usual "vampire hunter" storyline but it still works and has a certain amount of mystery to it. This is supported by a good sense of atmosphere and period – not just all dark shadows and so on but a feeling that this is a real place and that the evil is only a few steps away at any time; hard to describe but it looks good. Of course it is dated and modern horror fans will scoff at it, but it does have some genuinely unsettling moments and the slow movement of Mora and the zombie-ish Luna is effectively used once or twice – it was only a shame that they had surprisingly little actual time on screen.

The cast are impressive on paper and they do a good job on screen. Lugosi may just be doing his usual stuff in a supporting role but both he and the Count are probably the main draw to this film and he provides his usual ham with relish. Likewise the rest of the cast overact a bit but it suits the film and works pretty well since this film doesn't seem to be taking itself too seriously. Barrymore is good and is well supported by Allan, Atwill and Borland. They all play it up a bit and it works without taking away from the creepy atmosphere.

Overall it is hardly the most frightening thing you'll ever see, nor does it even come comes but it is still enjoyable and a little creepy if you meet it on its terms rather than with a modern eye. It is creaky and you might get a laugh out of it but viewed as a film it has enough going for it to stand up with some of the more "classic" horrors of the period.

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.

Tod Browning's return to the genre that made him famous brings along Bela Lugosi to reprise his role as a sinister Count. This vampiric tale is mixed in with a murder mystery. I found the end results to be very weird, unusual and entertaining. What I thought was going to be a routine horror story has a very funny twist. To give it away would be telling. If you're in the mood for something different then by all means watch.

Recommended.

B+

The MARK OF THE VAMPIRE lies heavily upon the terrified inhabitants of a lonely European manor house.

In 1935 director Tod Browning set about the remaking of his 1927 silent Lon Chaney shocker LONDON AFTER MIDNIGHT. The final result was rather an odd film for the MGM roster, but it benefited by being given the Studio's first class production values and casting. It is a tremendously entertaining film to watch even now, full of chills & suspense.

However, at a running time of barely one hour it has been obviously heavily edited. This does not help the already ludicrous plot, many of whose elements simply do not make the slightest sense. It is perhaps just as well to enjoy what the film does have to offer and not to harp about the incongruities of the storyline. The ending will come as a surprise to many viewers - some will be delighted at the turn of events, others will feel betrayed at the final fadeout.

The cast is excellent. Lionel Barrymore is at his most eccentrically watchable as the elderly vampire stalker. And who could play the Undead better than Bela Lugosi? Although he speaks not a word until the final seconds of the film he is pure menace throughout, stalking along cobwebed corridors, associating with giant bats and radiating pure evil. Lionel Atwill as a stern police inspector and gentle Jean Hersholt as a befuddled baron complete the quartet of leading actors.

Elizabeth Allan is lovely as the menaced young lady, while Carol Borland is properly mysterious as Lugosi's vampiress. Various members of the supporting cast are allowed moments to shine - Donald Meek as the frightened local doctor; Ivan Simpson as the manor's old butler and Leila Bennett as a rather hysterical maid. Movie mavens will spot an unbilled Christian Rub as a deaf peasant at the coroner's inquest.

The film's editing sadly left several very fine character actors on the cutting room floor, including Robert Greig, Eily Maylon, Zeffie Tilbury & Jessie Ralph (whose name still appears in the credits).

James Wong Howe's excellent cinematography should be mentioned, as should also the creepy special effects which add immensely to the atmosphere.