IMDb RATING
3.9/10
1K
YOUR RATING
Vampire seeks world domination via experiments. Mistakenly delivered radar-controlled Robot transports him and Mother Riley, leading to confrontation as she tries stopping Vampire's scheme.Vampire seeks world domination via experiments. Mistakenly delivered radar-controlled Robot transports him and Mother Riley, leading to confrontation as she tries stopping Vampire's scheme.Vampire seeks world domination via experiments. Mistakenly delivered radar-controlled Robot transports him and Mother Riley, leading to confrontation as she tries stopping Vampire's scheme.
Graham Moffatt
- The Yokel
- (as Graham Moffat)
María Mercedes
- Julia
- (as Maria Mercedes)
Charles Lloyd Pack
- Sir Joshua Bing
- (as Charles Lloyd-Pack)
Storyline
Did you know
- TriviaAccording to producer Richard Gordon, Bela Lugosi had been on a tour of England in "Dracula", when the production abruptly ended because the producers declared bankruptcy and absconded without paying anyone. Lugosi found himself stranded in London, with no money and no way to get back to the US. Gordon, a friend of Lugosi's who was based in England, heard about his plight and arranged for him to appear in this, the latest--and, as it turned out, the last--in the "Old Mother Riley" series of comedies, for which he was paid $5,000.
- GoofsHead of film crewman clearly visible at left bottom of screen as robot enters Mother Riley's bedroom.
- Quotes
Mrs. Riley: [singing] I lift up my finger and I say tweet tweet, now now, shush shush, come come.
- Crazy creditsFor the U.S. release in the 1960's through Columbia Pictures, the main title was replaced with a title card giving the new title as "My Son the Vampire." The change also resulted in the top billed stars, Arthur Lucan and Bela Lugosi, not appearing in the credits of this U.S. version.
- Alternate versionsSome time after the film's UK release, American distributor Jack Harris and importer Richard Gordon contemplated a US release with new footage featuring Bela Lugosi; but this could not be accomplished because of Lugosi's deteriorated physical condition. The film did not make it to US screens until 1964, where it was given about 2 minutes of added footage ahead of the main title, featuring comic songster Allan Sherman and an unidentified sexy model. In the credits that followed, the names of Lugosi and Lucan were both omitted, though they were retained in the publicity materials.
Featured review
I couldn't believe it when I heard the above saying from Lucan's lips as he thanked a woman. Though the film hardly operates on the same level as Abbott and Costello meet Frankenstein, it passes an hour or two quite amiably. Bela is clearly happy to be back in front of a film camera for the first time in years - even a low budget British one - and he effortlessly conveys his old authority and a sense of fun - he comes across as an enjoyably hammy British version of a Batman TV Series supervillain. Lucan is relatively restrained in this outing compared to past ones. The splendid book VAMPIRE OVER London; BELA LUGOSI IN Britain indicates his personal troubles over his estranged partner Kitty Mcshane, and one can only wonder if this is the reason why. The duo's stage act usually climaxed in plate throwing and this is compensated for by a madcap crockery-crashing slapstick sequence with Bela's henchmen. Dora Bryan is a more than adequate foil for Lucan.
Editing necessary for MY SON THE VAMPIRE means we lose Lucan's one musical number early on in the film. Also, the romance between the kidnapped Loretti and her Naval officer is underplayed to say the least - he keeps getting bonked on the head by various characters. Graham Moffat is also missing from the print. The ending is curious in that we contrast Riley's madcap race to stop the Vampire enduring various crashes and appropriated forms of transport on the way while Von Houson is actually seen gunning down two constables - a bit strong for a juvenile comedy.
The immediate postwar period was a time of apprenticeship for celebrated British comedy stars like the Goons and Tony Hancock who were learning and honing their trade upon being demobbed from the army. By 1951, they were ready to take on the entertainment establishment and sweep aside the old stars like Lucan - in much the same way the Beatles and their ilk were ready in 1963 to change the face of the British music industry. The brief resurgence of popularity Lucan and Mcshane enjoyed prior to this film proved to be a last fling at glory. A whole new wave of innovative British comedy was ready to sweep them aside. Lucan was more truthful than he knew when - at the climax of this film - he sputters "This is the end!" Both Lucan and Lugosi were enjoying a last stab at greatness in an age where they were already anachronisms.
Editing necessary for MY SON THE VAMPIRE means we lose Lucan's one musical number early on in the film. Also, the romance between the kidnapped Loretti and her Naval officer is underplayed to say the least - he keeps getting bonked on the head by various characters. Graham Moffat is also missing from the print. The ending is curious in that we contrast Riley's madcap race to stop the Vampire enduring various crashes and appropriated forms of transport on the way while Von Houson is actually seen gunning down two constables - a bit strong for a juvenile comedy.
The immediate postwar period was a time of apprenticeship for celebrated British comedy stars like the Goons and Tony Hancock who were learning and honing their trade upon being demobbed from the army. By 1951, they were ready to take on the entertainment establishment and sweep aside the old stars like Lucan - in much the same way the Beatles and their ilk were ready in 1963 to change the face of the British music industry. The brief resurgence of popularity Lucan and Mcshane enjoyed prior to this film proved to be a last fling at glory. A whole new wave of innovative British comedy was ready to sweep them aside. Lucan was more truthful than he knew when - at the climax of this film - he sputters "This is the end!" Both Lucan and Lugosi were enjoying a last stab at greatness in an age where they were already anachronisms.
- chrismartonuk-1
- Jun 20, 2008
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Details
- Release date
- Country of origin
- Language
- Also known as
- Carry On Vampire
- Filming locations
- Southwood Lane, Highgate, London, England, UK(Mother Riley chases Von Housen's car.)
- Production company
- See more company credits at IMDbPro
- Runtime1 hour 14 minutes
- Color
- Aspect ratio
- 1.37 : 1
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