Count Dracula and his Vampire Bride
Dracula Is Alive and Well and Living in London
The Satanic Rites of Dracula was Hammer’s seventh outing for the cape wearing fiend Count Dracula, and the last to feature Christopher Lee in the role. The Count would appear for one final time in a Hammer film in 1974 when John Forbes-Robertson put in the fangs for The Legend of the 7 Golden Vampires. This particular entry is a direct sequel to the risible cinematic disaster Dracula A. D. 1972 (1972), and I’m relieved to say is a vast improvement on that embarrassing offal. In the main the same team were retained from A.D. 1972, with Alan Gibson directing and Don Houghton writing the screenplay. It beggars belief that they were given a second chance, but fortunately this time the filmmakers manage to concoct an enjoyable and tightly paced film. However as a finale to Hammer’s series of Dracula films it is something of a feeble and half-hearted whimper and does not bear any kind of comparison to some of the earlier films. The producers were clearly determined at this point to make Count Dracula succeed in a contemporary setting, and in large part here they do well. The failure of A. D. 1972 is that Dracula is not allowed too engage with modernity and spends the whole of the film within the gothic walls of a deconsecrated church. In Satanic Rites, Dracula has utilised capitalism and property development in order to create a smokescreen in front of his real identity. He has acquired the resources and influence in order to put forward a more coherent plan of vengeance, and is able to manipulate greed and avarice to control those disciples he needs to carry out his plan. In many ways Dracula is more like a Bond villain here, and although the character features little in the running time, he is still given far more than in the previous entry.
I was never all that keen on long walks in the countryside!
The Celluloid Highway's 150th Film Review
© Shaun Anderson 2010