October Horror Movie Marathon

[Demdike@Cult Labs]

Dracula (1958)

Dracula may well be the finest film Hammer produced, and along with Curse of Frankenstein and The Mummy, is responsible for the Gothic wave of films throughout the late fifties, sixties and early seventies.

It has no faults whatsoever. Director Terence Fisher doesn't waste a single frame of film, every second is vital viewing and the film is beautifully paced. Its taut eighty minute running time never allows the viewers mind to wander. Within the first twenty minutes we've been introduced to Jonathan Harker, Dracula's vampire bride, the Count himself and Harker's reason for visiting the Count - to kill him. From here on the plot is simply full throttle. Enter Peter Cushing in his greatest role, that of Dracula's nemesis Van Helsing. Cushing has me hanging on his every word, the performance is that good.

Count Dracula, played by Christopher Lee, in his most iconic role, is a godsend when compared to Bela Lugosi mugging to the camera in Universal's classic series. Lee portrays the Count as both a welcoming, charming gentleman then in the blink of an eye, a vicious, sadistic killer. Having both him and Cushing at their peak in the same film is truly a joy to behold.

The film can't operate with just those two screen legends, often movies are only as good or convincing as their co-stars, in Dracula the co-stars are supreme, all five of Michael Gough, Melissa Stribling, Carol Marsh and John Van Essen deliver finely crafted stand out performances in their own right. Stribling in particular as she goes from repressed wife to practically a sexual deviant in the lick of a lip and the twinkle of an eye.

The screenplay from Hammer legend Jimmy Sangster doesn't stray too far from Bram Stoker's novel, but much of the padding is removed to keep the action rolling along at breakneck speed which greatly benefits the film watching experience. We lose the asylum and ship scenes and the film plays out in one area rather than across countries, tightening everything up.

Hammer always decorate their sets brilliantly and lavish costumes are always the order of the day, the technicolor photography virtually paints the scenes on a canvas for your viewing pleasure

A special mention must go to the incredible score by James Bernard, his theme practically booms out the word Dracula as the titles go up. It is one of the great horror movie scores and variations on the theme would be used in all Hammer's Dracula films as well as The Devil Rides Out.

She Wolf of London (1946)

You see that bush over there? Well there won't be a She Wolf lurking behind it and i won't beat around it. This film is barely a horror film and much more a melodrama.

It's completely lacking in tension and the best scenes revolve around discussions about family curses rather than any sort of she wolf terrors. Sadly there's also too much chatter from women sobbing in bed but nothing in the way of werewolf action.

It's not bad in the production sense. London is it's usual foggy self and the sets are good but overall i think this is one of the weaker Universal productions of the time.