La BOUTIQUE
BOOKS
DVD/VHS
MUSIC
DECOR
POSTERS
BUFFY
Emily Strange
MISC
GALLERY
AWARDS
E-MAIL

Specials: Vampire Cult Movies

The Brides of Dracula Van Helsing appears in the second act, after French schoolteacher Marianne (Yvonne Monlaur, a big eyed, thick-lipped, curvy young beauty in the Bardot mold) inadvertently releases Baron Meinster (David Peel), a young disciple of Dracula, from his castle prison in a cursed mountain village. This handsome vampire bites his way through a bevy of glamorous beauties in low-cut blouses and frilly nightgowns as he woos his sexy savior, while Van Helsing relentlessly tracks him back to Marianne. Director Terence Fisher, working from a rather convoluted (and at times incomprehensible) script, makes his mark through a series of marvelous set pieces. In one of the most memorable, a twisted old woman plays midwife to a reborn undead, coaxing her out of the ground as hands push through the earth. In one harrowing moment Van Helsing sears his neck with a branding iron and treats it with holy water after being bitten. Cushing is his usual dashing self, more than making up for the handsome but hardly commanding Peel, and you might recognize Marita Hunt, who plays the withered Baroness, as Miss Haversham from David Lean's classic Great Expectations.

Dracula's Daughter This cut-rate sequel to Dracula, sans Bela Lugosi, turns out to be an unexpectedly sleek and stylish movie. Gloria Holden, tall, dark, and continental, is the aristocratic title character fighting her nature and seeking a cure for her affliction. A sympathetic psychiatrist, Dr. Garth (Otto Kruger), encourages her to "face her fears," but when she lures a pretty young streetwalker to her room to model for a painting, the temptation of her fleshy offering proves too much to overcome. Edward Van Sloan reprises his role as Van Helsing, held by the police for the murder of Count Dracula (the film opens on the final scene from Dracula) but released in the nick of time to help Garth, now at the mercy of the bitter and vindictive vampire. Director Lambert Hillyer makes the most of his low budget, with austere, angular sets and an almost abstract sense of the foggy city night. Holden's mysterious face and tall, willowy body make her an even more striking vampire than Lugosi, and Irving Pichel's offbeat servant is like an American gangster with the breeding of a European aristocrat: thick and thuggish, but always proper. The script falls into the usual rut of Universal's later horror films, losing the mood in the busy plot, but the smooth style and Holden's dignified performance lift this above most Universal sequels.

Dracula Has Risen From the Grave Review: The third Christopher Lee Dracula film starts with the discovery of a dead women with bite marks on her neck, the town immediately believes Dracula is alive again. A visiting monsignor gets the local priest to accompany him to castle Dracula, the monsignor seals off the castle with a huge crucifix. The local priest flees, unwittingly brings Dracula back to life and then becomes his slave because the priest obviously has no backbone. Dracula discovers his castle has been blocked off, so he and the cowardly priest go to the monsignor's village to seek revenge on him by pursuing his niece. This film starts out good and finishes very strong with one of the better endings in the whole series. There are a number of visuals in this film that are just wonderful. The supporting cast is overall good, ecspecially Rupert Davies as the monsignor. The main problem with this film is that there is not much going on in the middle of the film. Dracula is seen very little, the other characters just kind of stand around looking like they are just waiting for something to do. No excitement is being built and no mood is being set, it just looks like everyone is waiting for Dracula to show so they can go off to the conclusion. Christopher Lee does very well in his parts, but he could have been given more time. The ending and the visuals make this film, but with just a little more effort it really could have been very good.

Horror of Dracula This fine rendition of the Dracula legend features Christopher Lee in the title role. His portrayal of the bloodsucking count is one of the best.

Nosferatu "... this first important film of the vampire genre has more spectral atmosphere, more ingenuity, and more imaginative ghoulish ghastliness than any of its successors." Some really good vampire movies have been made since Kael wrote those words, but German director F.W. Murnau's 1922 version remains a definitive adaptation of Bram Stoker's Dracula. Created when German silent films were at the forefront of visual technique and experimentation, Murnau's classic is remarkable for its creation of mood and setting, and for the unforgettably creepy performance of Max Schreck as Count Orlok, a.k.a. the blood-sucking predator Nosferatu. With his rodent-like features and long, bony-fingered hands, Schreck's vampire is an icon of screen horror, bringing pestilence and death to the town of Bremen in 1838. (These changes of story detail were made necessary when Murnau could not secure a copyright agreement with Stoker's estate.) Using negative film, double-exposures, and a variety of other in-camera special effects, Murnau created a vampire classic that still holds a powerful influence on the horror genre. (Werner Herzog's 1978 film Nosferatu the Vampyre is both a remake and a tribute, and Francis Coppola adopted many of Murnau's visual techniques for Bram Stoker's Dracula.) Seen today, Murnau's film is more of a fascinating curiosity, but its frightening images remain effectively eerie.

Nosferatu - The Vampyre Werner Herzog's remake of F.W. Murnau's original vampire classic (see above) is at once a generous tribute to the great German director and a distinctly unique vision by one of cinema's most idiosyncratic filmmakers. Though Murnau's Nosferatu was actually an unauthorized adaptation of Bram Stoker's Dracula, Herzog based his film largely on Murnau's conceptions--at times directly quoting Murnau's images--but manages to slip in a few references to Tod Browning's famous version (at one point the vampire comments on the howling wolves: "Listen, the children of the night make their music."). Longtime Herzog star Klaus Kinski is both hideous and melancholy as Nosferatu (renamed Count Dracula in the English language version). As in Murnau's film, he's a veritable gargoyle with his bald pate and sunken eyes, and his talon-like fingernails and two snaggly fangs give him a distinctly feral quality. But Kinski's haunting eyes also communicate a gloomy loneliness--the curse of his undead immortality--and his yearning for Lucy (Isabelle Adjani) becomes a melancholy desire for love. Bruno Ganz's sincere but foolish Jonathan is doomed to the vampire's will and his wife, Lucy, a holy innocent whose deathly pallor and nocturnal visions link her with the ghoulish Nosferatu, becomes the only hope against the monster's plague-like curse. Herzog's dreamy, delicate images and languid pacing create a stunningly beautiful film of otherworldly mood, a faithful reinterpretation that by the conclusion has been shaped into a quintessentially Herzog vision.

^top

SPONSORS:

Body Jewelry at 50% off Retail

Free Screensavers and Wallpaper!

Enter to win a FREE Sony Home Theatre!