Scars of Dracula

A village girl found murdered, could it be that Dracula is back? Playboy Paul Carlson is about to find out.

A bat hovers over a concrete slab, blood frothing from its mouth, the drops of which are reinvigorating the Prince Of Darkness. Yes, Dracula is back, bloodier than usual and even kind of chatty! Directed by Roy Ward Baker and starring Christopher Lee in his fifth outing as Dracula, Scars Of Dracula, hamstrung by low budget as it is, is one of the better efforts in the Hammer Horror Dracula cycle.

Standard rules apply, buxom wenches are ripe for slaughter and the guys are a mixture of village yokels and posh gentlemen. Lee as ever is charming and carrying his air of nastiness, and the story leads us nicely to a castle top finale of some standing. There's also some nice visual flourishes and memorable scenes along the way. Blood drips onto white candles that segue into red ones and Drac walks up walls. While the redness in the piece has never more been so vivid thanks to Moray Grant's impacting photography. The cast reads like a who's who of British television, you got a Doctor Who {Patrick Troughton with the worlds scariest eyebrows}, Minder {a badly miscast Dennis Waterman}, a Bond girl and presenter of Magpie {the lovely Jenny Hanley} and Lord Melbury from Fawlty Towers {Michael Gwynn}.

Safe & solid Hammer Horror fare that just about rises above the normality of the script. 6.5/10

1970's "Scars of Dracula" topped the only Dracula-Frankenstein double bill ever offered by Hammer, Christopher Lee's 5th performance in the series coupled with the already completed "The Horror of Frankenstein" for a brief run on the drive-in circuit by American Continental Films (along with "Lust for a Vampire"), quickly sold to television and popping up in record time before disappearing from the airwaves. "Scars" began shooting only five months after the previous Hammer entry "Taste the Blood of Dracula," seven months after Jesus Franco's adaptation "Count Dracula," and actually returns to Stoker for many plot devices that had never been done in films. The climax of "Taste" had Dracula destroyed in a London church, kicking things off here back in Transylvania with his ashes revived by dripping blood from a very large and rather phony rubber bat (the only previous entry that employed bats was 1960's "The Brides of Dracula," the one without Lee). The torch bearing villagers decide to storm Castle Dracula for a proper burning, only to return to their loved ones at the church mutilated by vengeful bats in their absence (the same set reused in Jimmy Sangster's "Lust for a Vampire"). The philandering Paul Carlson (Christopher Matthews) escapes the clutches of the law only to find himself arriving at Castle Dracula, welcomed by the beautiful Tania (Anouska Hempel) and her master, introducing himself with three simple yet familiar words: "I am Dracula." With no possible escape, Paul tries to make himself comfortable, receiving a visit from Tania as willing bed warmer, having just been bitten by Dracula (only the second time we see Lee perform the actual bite). The approaching dawn has Tania ready to sink her own fangs into her lover's neck, an enraged Dracula emerging to stab her repeatedly in an unexpected and illogical demise for a vampire. Paul discovers an opening some yards below his room, making his way down the wall to find himself hopelessly trapped in the Count's private sanctuary, later found impaled on a meat hook. Director Roy Ward Baker was proud of restoring the Count's ability to use creatures of the night to perform his bidding, either as winged angels of death or like carrier pigeons, as well as having doors open and close by themselves whenever Dracula requires. By far the most notable idea from Stoker was the sight of Dracula crawling down the castle wall (recreated for Frank Langella), seen here as walking up the wall from his hidden coffin location. Lee also receives more screen time than in any other Hammer entry, over 11 minutes for a more balanced approach that keeps him involved right from the start. Simon Carlson (Dennis Waterman) and girlfriend Sarah (Jenny Hanley) search for his missing brother, barely escaping Castle Dracula through the help of the Count's manservant Klove (Patrick Troughton), who keeps a framed photo of the lovely Sarah and only defies his master in her defense. Klove was introduced in Lee's second entry "Dracula - Prince of Darkness," earning forgiveness by bringing new blood in the shapely form of Wendy Hamilton as Julie, instantly killed by Dracula's bite. The idea of a church desecrated by evil previously appeared in "Dracula Has Risen from the Grave," the ineffectual priest played by the distinguished Michael Gwynn, Peter Cushing's creation from 1958's "The Revenge of Frankenstein." Despite the savage critical backlash upon release (even cofeature "The Horror of Frankenstein" was received with greater leniency), Lee himself was surprised at how well it turned out during his 2000 commentary track, perhaps mollified by the numerous Stoker touches that he was usually calling for and, for once, accepted by screenwriter Anthony Hinds, under his regular pseudonym John Elder. This turned out to be the final Gothic sequel, two modern era vehicles to close out Lee's participation, "Dracula A. D. 1972" and "The Satanic Rites of Dracula."

The last period Hammer horror film with Dracula. The story isn't really that good--just a bunch of young, good-looking, talentless young actors getting involved with Dracula (Christopher Lee).

There are MANY things wrong with this film: 1) The plot is slight and heavily padded (even at 90 minutes) 2) There are some ridiculously fake rubber bats 3) The special effects are dreadful 4) With two exceptions the acting is even worse than usual for a Hammer film 5) Dracula stabs a woman vampire to death (why???) with an obviously fake knife and THEN drinks her blood. How could a knife kill a vampire? And WHY did he kill her?

This is considered the worst Lee Dracula film. I disagree. I think it's one of the best. For one thing it is easily the goriest Hammer Dracula film (it was the first one to get an R rating here in the US) with some mild nudity thrown in. The violence is strong and savage and played to the hilt by Lee. Also there are two sequences that come directly from Bram Stoker's original Dracula novel--Dracula sleeping in a room with no way in or out--except a window; and when Dracula climbs UP the castle wall from window to window. It was great seeing Hammer at least (for once) TRYING to get some of Stoker's creation on screen. Also Patrick Troughton is very good as Dracula's servant Klove and even Christopher Matthews has a few moments as the doomed Paul. But Lee's acting is the main reason to see this. He has more screen time and dialogue in this than any of the other Draculas and he just gives out an incredible performance. You can't take your eyes off him when he's on screen.

Supposedly Lee and director Roy Ward Baker HATED this film (they blamed Hammer management for forcing them) but they shouldn't. It's very scary and well-done. Recommended.

Scars Of Dracula is generally regarded very poorly among Hammer fans, which is a shame. Yes, the decreased budget results in less impressive sets, and there is a bit more blood and violence than usual, but the film has an energy which was somewhat lacking in Dracula Has Risen From The Grave and Taste The Blood Of Dracula.

The script is little more than a rehash of Dracula and Dracula Prince Of Darkness, but there is more action than any others in the series, and several memorable sequences, including the discovery of bodies horribly gored by bats in a church [replete with Lucio Fulci style zooms into the nasty bits], Dracula climbing up a wall a la Bram Stoker, and a vampire seduction ending with Dracula stabbing the woman to death. Atmosphere is a little lacking ,and it's odd that no continuity has been attempted to link it with the previous entry. Christopher Lee has more screen time than usual, although his makeup here is over done. James Bernard's music, though, is as vibrant as ever.

With a much stronger supernatural element than the other Draculas, this is still an enjoyable entry, probably the third best in the series.

MORD39 RATING: *** out of ****

In my opinion, SCARS OF DRACULA is the most satisfying entry of all the Hammer Dracula's, even squeaking past the revered HORROR OF DRACULA.

People like to pick on the reduced budget, but I have never felt that the sets look too bad when all is said and done. The only thing that "Count's" is that Dracula is given more screen time than usual and is thoroughly evil and sadistic.

Sure, it's not an original idea having another man stranded at Dracula's castle, but it works well. A point that not many bring out is that there are also elements of Bram Stoker's novel which are utilized in the film, and for that alone I give it a slight nudge over HORROR OF DRACULA.

I think that this film might appear more to those who are not familiar with Hammer's other Dracula films, as they won't have any prejudices. This is a good, solid Dracula film.