Favorite Horror Films: Part 14 — The Brides of Dracula

Standard

The_brides_of_dracula_logo

(https://commons.wikimedia.org)

A tsunami of horror films cascaded into movie theaters in the 1960s, some by the larger studios and an abundance of grade B-Z films from smaller companies. Following the success of Horror of Dracula, The Curse of Frankenstein, and The Mummy, Hammer created a plethora of sequels as well as new horror films. Frankenstein and Dracula would serve as the basis for the most sequels, thereby creating a seemingly non-ending money source for the studio, even as the films often became bad imitations of the original productions.

Oddly, the first sequel to The Horror of Dracula, The Brides of Dracula, (1960) does not feature Dracula as a character. Instead, the movie features a Baron Meinster, as the opening voice-over narration says is a disciple of the ongoing cult of vampirism led by the now destroyed Dracula. While Dracula does not appear, the renowned vampire hunter Dr. Van Helsing does as played once more by Peter Cushing. Along with Baron Frankenstein, this role would establish Cushing as a major horror film star of the 1950s-1970s.

petercushing

(https://en.wikipedia.org)

The characters are indirectly based on Bram Stoker’s novel Dracula, the foundation for most vampire films, until Anne Rice’s revolutionary treatment of the undead in Interview With The Vampire.

The plot involves a young teacher who is “wooed” by a Baron Meinster. He proposes to her, while intending to make her his vampire bride. The tone of the film is clearly Gothic, with an architectural focus on a castle, the threatened young maiden, and a Bryonic Hero–the Baron.  These are standard, but not all inclusive, elements of a Gothic tale, and the Byronic Hero is typically a sexually attractive and threatening person, but more importantly, someone who lives according to his or her own rules, ignoring  the dictates of society.

Byron_1813_by_Phillips

(https://en.wikipedia.org)

While much of the film does not break new earth in exploring the vampire story, it does feature one very unusual twist. In one sequence, Dr. Van Helsing is attacked by a vampire and bitten. He passes out, and when he awakens, he is able to remove the curse of the vampire bite. He heats an iron in glowing coals, then uses it to cauterize the bite and finally pours holy water onto the wound. It works and suggest that the vampire attacks are not merely demonic but also infections. This motif is one that will be greatly developed in many later vampire novels, TV shows, and films.

Van Helsing is successful in destroying the vampire and saving the young woman. The motif of the holy symbols are repeated: Van Helsing throws holy water onto the face of the Vampire, repelling and burning him, and then he is able to catch the Baron in the shadow of a giant cross, which destroys him.

Terence Fisher directed, and the film did well enough at the box office to justify a chain of sequels. Even though Christopher Lee did not appear in this movie, he would soon return to reprise the role of Count Dracula in the near future.

GallowsHillFinalCoverEbook

Gallows Hill can be found here in ebook.

Gallows Hill in paperback can be found here.

An interview about Gallows Hill can be found here.

32570160

Please follow the following links to find my novel:

ebook

Print book

The book trailer:

Maledicus:Investigative Paranormal Society Book I

My radio interview:

interview

FOE_Cover_French

 

Available on Amazon

coverIPScookbook

 

Available on Amazon

Favorite Horror Films: The Curse Of The Werewolf: revisited

Standard

Curseofthewerewolf

(https://en.wikipedia.org)

The decade of the 1960s saw the production of many horror films, some fairly standard offerings and some innovative. In 1961, Hammer Studios continued the re-imagining of classic horror characters, which they had begun with The Curse of Frankenstein and The Horror of Dracula, in the release of The Curse of the Werewolf. 

Movie audiences in 1961 were still very aware of the image of Universal Studios’ The Wolfman and its assorted sequels with Lon Chaney Jr. as Larry Talbot, the unfortunate and reluctant lycanthrope. Talbot, a good man, was cursed to become a killing monster after having been bitten by a werewolf while attempting, unsuccessfully, to save a girl from its attack. This cinematic image was one that would be very difficult to alter for the horror viewing audience.

While not making viewers forget Lon Chaney Jr. and Larry Talbot, The Curse of the Werewolf, directed by Terence Fisher, did establish new cinematic territory in this often overlooked, but important, film. This film, unlike its Universal predecessors, which were made primarily in black and white and influenced heavily by German Expressionism, is shot in color and features an almost blond werewolf in an extremely effective makeup and, for the time, a great deal of blood.

The star of this film, in his first movie, is Oliver Reed, who would go on to have a long and productive career as a film actor. Set in 18th Century Spain, the film bases its lycanthropy  on the juxtaposition of two events: Leon is the result of a peasant girl being raped, and he is born on Christmas Day, which was considered a very unlucky event. Leon is raised by a kindly man, but when puberty hits, besides the normal changes in his body, he becomes literally a monster.  What would Freud have to say about that?

Just as religion plays a part in his curse, so does it in his death. His step-father, a kindly man becomes the agent of his release. His step-father has a silver bullet made from a cross.  He shoots Leon with it, while his step-son is in the form of the monster; thus, he  destroys the werewolf and release’s Leon’s soul, but it also fills his step-father with deep grief.

Like the previous Hammer productions, this film continues with its exploration of sex and violence, going further than that which had been seen in the Universal films. While tame in sexual depictions by our contemporary standards, it was shocking to many audiences of the time.

From a critical perspective, this film also introduces an element of class critique. The young woman who is raped at the beginning of the film comes from abject poverty at the lowest level of the class structure, and the man who puts her in the cell, setting up the circumstances for the attack, is a Marques, a Spanish nobleman. Clearly, the film indicts the abuse of power and the class inequity of that time. If this were an academic paper, I would focus heavily on the class critique, but I simply wanted to draw attention to it briefly in this post.

The Curse of the Werewolf was another successful entry in Hammer Studios’ new cycle of horror films, although unlike the Dracula and Frankenstein movies, it would not generate a run of sequels. On its own, however, it rates as a film of importance in the horror genre.

Overall, if you have not seen this film, I give it a very strong recommendation.

agree-2028633_960_720

(https://pixabay.com)

 

GallowsHillFinalCoverEbook

Gallows Hill can be found here in ebook.

Gallows Hill in paperback can be found here.

An interview about Gallows Hill can be found here.

32570160

Please follow the following links to find my novel:

ebook

Print book

Thank you!

The book trailer:

Maledicus:Investigative Paranormal Society Book I

My radio interview:

interview

FOE_Cover_French

 

Available on Amazon

Favorite Horror Films: The Curse of Frankenstein: Revisited

Standard

Curseoffrankenstein

(https://en.wikipedia.org)

Terence Fisher directed The Curse of Frankenstein for Hammer Studios in England, and Christopher Lee, Peter Cushing and Hazel Court starred. This 1957 movie was the first in the Hammer Studio’s emergence as a major producer of horror films and it was the beginning of a new horror movie cycle. The result was an innovative, fast paced, and  vividly colored film. Hammer Studios completely changed the approach to horror movies of the Universal Studios that had dominated the horror movie cycle from 1931-1945. Color, explicit violence, and sexuality were introduced as central filmic components.

The Curse of Frankenstein was, like so many other movies, loosely based on the great work of Gothic English Literature by Mary Shelley: Frankenstein: Or The Modern Prometheus (1818). Yes, that is the accurate subtitle, although it is usually omitted in most printings of the book.

Frankenstein_1818_edition_title_page

(https://en.wikipedia.org)

This movie was highly successful, both financially and critically.  And like Horror of Dracula would, as Hammer Studios expanded their treatments of classic Gothic novels, it spawned a long series of sequels. A major difference between the direction of the following films was the focus: the monster Dracula was the recurring character in the vampire movies, while Dr. Frankenstein, and not his creature was the repeating protagonist/antagonist of the Frankenstein movies. This is also an  important distinction between the Hammer and the earlier Universal movies in which the Creature was the primary recurring character.

The Creature was also a mindless killing machine in this film, and none of the Creature’s humanity was kept from the novel, which is the film’s major flaw. It is, nevertheless, an important film from this era, and if you enjoy or are interested in horror films, then I recommend it.

GallowsHillFinalCoverEbook

Gallows Hill can be found here in ebook.

Gallows Hill in paperback can be found here.

An interview about Gallows Hill can be found here.

32570160

Please follow the following links to find my novel:

ebook

Print book

Thank you!

The book trailer:

Maledicus:Investigative Paranormal Society Book I

My radio interview:

interview

FOE_Cover_French

 

Available on Amazon

Favorite Horror Films of the 1960s: The Brides of Dracula

Standard

The_brides_of_dracula_logo

(https://commons.wikimedia.org)

A tsunami of horror films cascaded into movie theaters in the 1960s, some by the larger studios and an abundance of grade B-Z films from smaller companies. Following the success of Horror of Dracula, The Curse of Frankenstein, and The Mummy, Hammer created a plethora of sequels as well as new horror films. Frankenstein and Dracula would serve as the basis for the most sequels, thereby creating a seemingly non-ending money source for the studio, even as the films often became bad imitations of the original productions.

Oddly, the first sequel to The Horror of Dracula, The Brides of Dracula, (1960) does not feature Dracula as a character. Instead, the movie features a Baron Meinster, as the opening voice-over narration says is a disciple of the ongoing cult of vampirism led by the now destroyed Dracula. While Dracula does not appear, the renowned vampire hunter Dr. Van Helsing does as played once more by Peter Cushing. Along with Baron Frankenstein, this role would establish Cushing as a major horror film star of the 1950s-1970s.

petercushing

(https://en.wikipedia.org)

The characters are indirectly based on Bram Stoker’s novel Dracula, the foundation for most vampire films, until Anne Rice’s revolutionary treatment of the undead in Interview With The Vampire.

The plot involves a young teacher who is “wooed” by a Baron Meinster. He proposes to her, while intending to make her his vampire bride. The tone of the film is clearly Gothic, with an architectural focus on a castle, the threatened young maiden, and a Bryonic Hero–the Baron.  These are standard, but not all inclusive, elements of a Gothic tale, and the Byronic Hero is typically a sexually attractive and threatening person, but more importantly, someone who lives according to his or her own rules, ignoring  the dictates of society.

Byron_1813_by_Phillips

(https://en.wikipedia.org)

While much of the film does not break new earth in exploring the vampire story, it does feature one very unusual twist. In one sequence, Dr. Van Helsing is attacked by a vampire and bitten. He passes out, and when he awakens, he is able to remove the curse of the vampire bite. He heats an iron in glowing coals, then uses it to cauterize the bite and finally pours holy water onto the wound. It works and suggest that the vampire attacks are not merely demonic but also infections. This motif is one that will be greatly developed in many later vampire novels, TV shows, and films.

Van Helsing is successful in destroying the vampire and saving the young woman. The motif of the holy symbols are repeated: Van Helsing throws holy water onto the face of the Vampire, repelling and burning him, and then he is able to catch the Baron in the shadow of a giant cross, which destroys him.

Terence Fisher directed, and the film did well enough at the box office to justify a chain of sequels. Even though Christopher Lee did not appear in this movie, he would soon return to reprise the role of Count Dracula in the near future.

wp-1476386546701-maledicus

 

Please follow the following links to find my novel:

ebook

Print book

Thank you!

The book trailer:

Maledicus:Investigative Paranormal Society Book I

My radio interview:

interview

Favorite Horror Films of the 1960s: The Curse of the Werewolf

Standard

Curseofthewerewolf

(https://en.wikipedia.org)

The decade of the 1960s saw the production of many horror films, some fairly standard offerings and some innovative. In 1961, Hammer Studios continued the re-imagining of classic horror characters, which they had begun with The Curse of Frankenstein and The Horror of Dracula, in the release of The Curse of the Werewolf. 

Movie audiences in 1961 were still very aware of the image of Universal Studios’ The Wolfman and its assorted sequels with Lon Chaney Jr. as Larry Talbot, the unfortunate and reluctant lycanthrope. Talbot, a good man, was cursed to become a killing monster after having been bitten by a werewolf while attempting, unsuccessfully, to save a girl from its attack. This cinematic image was one that would be very difficult to alter for the horror viewing audience.

While not making viewers forget Lon Chaney Jr. and Larry Talbot, The Curse of the Werewolf, directed by Terence Fisher, did establish new cinematic territory in this often overlooked, but important, film. This film, unlike its Universal predecessors, which were made primarily in black and white and influenced heavily by German Expressionism, is shot in color and features an almost blond werewolf in an extremely effective makeup and, for the time, a great deal of blood.

The star of this film, in his first movie, is Oliver Reed, who would go on to have a long and productive career as a film actor. Set in 18th Century Spain, the film bases its lycanthropy  on the juxtaposition of two events: Leon is the result of a peasant girl being raped, and he is born on Christmas Day, which was considered a very unlucky event. Leon is raised by a kindly man, but when puberty hits, besides the normal changes in his body, he becomes literally a monster.  What would Freud have to say about that?

Just as religion plays a part in his curse, so does it in his death. His step-father, a kindly man becomes the agent of his release. His step-father has a silver bullet made from a cross.  He shoots Leon with it, while his step-son is in the form of the monster; thus, he  destroys the werewolf and release’s Leon’s soul, but it also fills his step-father with deep grief.

Like the previous Hammer productions, this film continues with its exploration of sex and violence, going further than that which had been seen in the Universal films. While tame in sexual depictions by our contemporary standards, it was shocking to many audiences of the time.

From a critical perspective, this film also introduces an element of class critique. The young woman who is raped at the beginning of the film comes from abject poverty at the lowest level of the class structure, and the man who puts her in the cell, setting up the circumstances for the attack, is a Marques, a Spanish nobleman. Clearly, the film indicts the abuse of power and the class inequity of that time. If this were an academic paper, I would focus heavily on the class critique, but I simply wanted to draw attention to it briefly in this post.

The Curse of the Werewolf was another successful entry in Hammer Studios’ new cycle of horror films, although unlike the Dracula and Frankenstein movies, it would not generate a run of sequels. On its own, however, it rates as a film of importance in the horror genre.

Overall, if you have not seen this film, I give it a very strong recommendation.

agree-2028633_960_720

(https://pixabay.com)