Hammer Films followed up Horror of Dracula with eight other sequels throughout the ’60s and ’70s. Here’s my take on the first half of that creeptacular catalog.
The Brides of Dracula (1960): A better title might be The Brides of Some Other Random Vampire, for Dracula does not appear here and is mentioned as dead before it begins. The return of Peter Cushing as Van Helsing takes some of the sting out of Christopher Lee’s absence. Young teacher Marianne (Yvonne Monlaur) finds herself without lodging and accepts an invitation from Baroness Meinster (Martita Hunt). Marianne discovers the Baroness’ son (David Peel) shackled in another room and takes it upon herself to free him. Too bad the young baron is a vampire who uses the opportunity to kill his mother and embark on a biting spree in a nearby village. Bummer. Good thing Van Helsing arrives and runs into Marianne, who is clueless about the evil she’s wrought. Interestingly, Baron Meinster manages what Dracula never could and bites Van Helsing (!), who promptly cures himself with a hot brand and a sprinkling of holy water. Why doesn’t this work for any other victims? A harrowing chase ends as Van Helsing arranges the blades of a windmill into the shadow of a cross, which is more than the young vampire can bear. Hilarious. Dracula’s absence is keenly felt but, perhaps because of this lack of Drac, Hammer focused instead on story for once, and it’s not all that bad. Drags in the middle, though. 1 out of 2 fangs out.
Dracula, Prince of Darkness (1966): Christopher Lee returns! As does Horror of Dracula director Terence Fisher, which accounts for why it’s more stylish and tense than later outings. Out of the blue, Dracula has a servant named Klove (Philip Latham), who lures a group of travelers to Dracula’s castle in hopes of reviving the Count. Klove murders Alan (Charles Tingwell) and scatters his blood on Dracula’s ashes, reviving the titular vampire. His wife becomes supper as the other couple–Charles and Diana, I shit you not (Francis Matthews and Suzan Farmer)–flee to a neighboring village. They seek the aid of Father Sandor (Andrew Keir), a poor substitute for Van Helsing, and are betrayed by fly-eating Renfield stand-in Ludwig (Thorley Walters). The final battle results in another silly and unsatisfying end for Dracula as he falls through some cracked ice, because now running water also kills vampires. Of course it does. Next he’ll probably die by smearing peanut butter on his face. Despite the dumb and abrupt ending, this film stands up to the original Horror in ways the other sequels do not. Welcome back, Mr. Lee! 1.25 out of 2 fangs out.
Dracula Has Risen from the Grave (1968): Church workers discover the body of a woman hanging in the belfry, drained of blood. This can only mean Dracula has returned! Except he’s still frozen in ice from the last film, so he couldn’t have done it. Logic–who needs it? The local monsignor (Rupert Davies) climbs up to Dracula’s castle and performs an exorcism, sealing the door with a huge and gaudy crucifix so the vampire can not escape. Except he’s still frozen in ice down the hill, so he’s trapped outside instead. Oops. A silly accident breaks the ice and frees Dracula, who’s pissed that his castle has been sealed and embarks on one of his signature rampages. The priest and our young hero Paul (Barry Andrews) trap the Count and drive a stake through his heart. Except the movie conveniently updates the vampire death ritual to also require a prayer now, and Paul is an atheist. Wah wah. His lack of faith allows Dracula to survive and remove his own stake. Too bad Dracula ain’t an atheist, too, so none of this religious memorabilia would work on him, right? Hijinks ensue until the Count falls off a cliff and somehow lands on the gaudy crucifix from before, impaling himself right through the heart. Shades of Return of Dracula! The whole thing is hokey as hell, and Peter Cushing is sorely missed, but it’s more fun than a lot of the later Hammer joints. 1 out of 2 fangs out.
Taste the Blood of Dracula (1970): A trio of bored old men leave their families at night and seek adventure in brothels and taverns. Sinister occultist Lord Courtley (Ralph Bates) appeals to their love of danger and enlists their help in resurrecting Dracula. Okay? They purchase the Count’s remains from a merchant who happened to show up as Dracula died and turned to dust at the end of Risen. (I guess the Monsignor and Paul just walked off and left him struggling on that crucifix?) Courtley drinks Dracula’s reconstituted blood and convulses on the floor. The old men freak out and have second thoughts–imagine that!–and beat him to death with their walking sticks. Somehow Courtley’s corpse turns into Dracula, who swears revenge on the old men. It’s an interesting premise even if it is rendered ineptly. The men are themselves so heinous to their families that Dracula becomes a sort of avenging antihero; you may even cheer as one or two them get taken out, crossed off Dracula’s to-do list. (“The first!” “The second!”) Drac leaves most of the killing to young lasses in his thrall, including Alice (Linda Hayden), the daughter of the most psychotic of the old men. A young man named Paul (Anthony Higgins)–déjà vu, but no, this is apparently not the young Paul from the last film–decides to decorate Dracula’s lair with church memorabilia. The Count returns home, freaks out over all the religious paraphernalia, and promptly turns to dust. What? Anticlimax of the century. The potential of the premise drifts away in the second act much like vampire remains in a stiff wind. .75 out of 2 fangs out.
Next time: Hammer’s back half, in more ways than one.