Dracula Has Risen from the Grave

A weak script doesn't hinder "Dracula Has Risen from the Grave" from being absorbing most of the way. It has a weak mid-section full of repetitious scenes of Dracula about to take a bite out of a voluptuous female, scenes that don't advance the plot the way they should.

For this reason, some may find fault with the slow pace of much of the film but there's no denying the impressive look of sets, costumes and the proper Gothic atmosphere. Technicolor captures every bit of the shadows and light, just the way effective B&W photography has always done in the past. And the close-ups of Christopher Lee's bloodshot eyes lingers in the mind long after his infrequent appearance has been made.

That's also part of the problem. The role of Dracula really takes a back seat to others in the cast, all of whom are competent performers. Particularly engaging are Veronica Carlson (as one of Dracula's most sought after victims) and Barry Andrews as her infatuated boyfriend. Andrews plays the role of Paul with a saucy cockiness and a twinkle in his eye, easily making what is essentially a cardboard role a standout among the supporting players by virtue of his earnest performance and personality.

Engaging enough as a typical Dracula thriller, but clearly not the best of the Hammer films in this series. James Bernard's music helps keep the suspense level vibrant enough.

The folks at Hammer Film Productions were nothing if not passionate and professional. This entry into the legendary series is only an itty-bitty notch below their inaugural effort, the great "Horror Of Dracula,' as the second best of the entire series.

Chrisopher Lee is at his menacing best. No one can drive a horse-pulled hearse with his fierce intensity. And those eyes, YIKES! What a great effect, one that still gets me 35 years after i first saw the film as a 14-year old in Los Angeles' San Gabriel Valley (and where I saw it on TV not 15 minutes ago).

Hammer vets Freddie Francis and Anthony Hinds create killer-diller fun with strong atmosphere; eerie, colorful lighting and a solid story. And the acting is great, too. Hammer staff composer James Bernard's exciting score adds to the enjoyment.

Hammer's films are for kids ... kids like me who loved then as a teenager and kids like me who are now over 50.

Early on, "Dracula Has Risen from the Grave" made me feel uneasy... From the scenes of a Monsignor (Rupert Davies) traveling with a priest to perform an exorcism on Castle Dracula in order to bring the superstitious (ha!) congregation back to church on Sunday, to the romantic subplot between a scholarly baker and the Monsignor's daughter, and a distinct lack of Drac, I began to wonder if I was being shortchanged by a title that looked to just capitalize on the success of the Hammer Dracula films. However, the more I kept with it, the more I enjoyed "Grave"--the above-mentioned plot threads, which at first seem corny, are interwoven with delicate skill by director Freddie Francis; the characters and their conflicts are surprisingly endearing (including an angle that brings atheism into the mix); and Christopher Lee is in fine form as the brooding, red-eyed Count (though the production suffers from the absence of frequent co-star Peter Cushing).

Dracula Has Risen from the Grave is the fourth film in Hammer Films' Dracula series. It is directed by Freddie Francis and written by Anthony Hinds (under his alias John Elder). It stars Christopher Lee, Rupert Davies, Veronica Carlson, Barry Andrews and Barbara Ewing. Music is by James Bernard and cinematography by Arthur Grant.

Very much a case of style over substance, Dracula Has Risen from the Grave is still very much a top line Hammer Dracula pic. Story sees the famous Count accidentally revived and embark upon a mission of revenge, which spells trouble for the inhabitants of the village that sits in the shadow of his castle. Enter a scenario where Dracula is very much on the periphery as he tracks Carlson's sultry babe for his nefarious ends. Lust, blood, breasts and religious zeal does follow.

That's about it as story goes, but even though strands such as religious beliefs - or otherwise - are dangled but not pulled hard enough, the screenplay is not without interesting merit. A number of great scenes lift the pic out of the ordinary, from a terrific "body in a bell" opening, to the grandiose splendour of a crucifix blood splatter, the craft on show engages and thrills. The middle section slow moves as we are party to young lovers under duress via Drac, but Drac pops up from time to time to menace humans and horses alike.

The super craft doesn't stop there, the costuming and sets are ornate and very appealing, with the various colour lens choices also superb. Standing out are the roof top sequences, we get high level views of an angular landscape, with jutted slates, odd chimney tops (one even looking like a magic mushroom), all of which is shrouded in mist. There's even green smoke coming out of some stacks, just what are the villagers burning on their fires?! While Bernard scores it with menacing relish, some of the title music having shades of Berlioz at his most unnerving.

Competently acted and directed with a keen eye for detail, this is one of the better Hammer Dracula sequels. 7/10

Sporting the ultra camp title - "Dracula Has Risen From the Grave", this is a solid entry in Hammer's Dracula series. What I love about Hammer is that they aren't afraid to take an existing story and play around with it to create something new. Even if the idea behind is less than brilliant and most studios would have shied away, Hammer approach it with gusto, and the results are always good natured, easy viewing that's hard to dislike. This film follows Count Dracula as he is resurrected shortly after the priest, Ernst Muller, exorcises his castle. Dracula doesn't take this sort of behaviour lightly, and so decides to take on revenge on the holy man - by taking his niece as his bride!

Dracula is one of the greatest characters ever to be written and portrayed on screen, and it's also one that Christopher Lee has become famous for playing. Unfortunately, Christopher Lee doesn't have a great deal of screen time in this flick; but every moment he is on screen is a highlight and, as usual, he does well with the role and proves that he is the only man other than Bela Lugosi to do it right. Freddie Francis (Dr Terror, The Creeping Flesh) directs this film and succeeds in creating a morbid and fascinating atmosphere that bodes well with the subject material on hand. The film is stylishly shot, and features some of the best use of lighting ever seen in a Hammer film. The camp style that the studio is famous for is here by the bucket load too, and that can only be a good thing. This is hardly Hammer's finest hour, however; the film is relatively slow to start, and the story isn't the most inventive ever to come from the studio - but Hammer fans will enjoy it, and I would have no qualms with recommending this as a decent waste of your time.