Amazon.com essential video: For many years after becoming one of the definitive movie Draculas in the 1958 Hammer Films classic Horror of Dracula (in which he was pitted against Peter Cushing as Dr. Van Helsing), Christopher Lee refused to reprise his role as filmdom's most infamous vampire. He finally returned to the role in this belated 1965 sequel, once again directed by Hammer studios veteran Terence Fisher. It's not as effective or as intelligently written as the earlier film, but it has become a minor classic in its own right for horror connoisseurs, notably due to the combination of eerie atmosphere (a Terence Fisher specialty) and violence that was, by mid-'60s standards, quite bloody and graphic. Indeed, the story begins when Count Dracula's servant revives his master by hanging an unsuspecting victim over the tomb containing Dracula's ashes and draining the blood from the unlucky fellow so it can trickle into the tomb and restore life to the remains of the undead vampire! It's this kind of unholy communion that was a trademark of Hammer horror, and Dracula: Prince of Darkness continues with all the requisite ingredients--including a group of tourists who arrive at the count's secluded castle just in time to feed his insatiable bloodlust! True horror fans will appreciate the performance by Hammer regular Barbara Shelley, widely considered to be one of her best. So, file your fangs and enjoy Lee in his most famous and immortal role! --Jeff Shannon
Drawn out but not altogether bad Dracula Prince of Darkness was Hammer's only Scope entry in the Christopher Lee series, but it's frankly a rather dull and dragged out affair - Drac doesn't appear for 49 minutes and the first hour of the film could have been done much better in half the time. Lee is clearly bored and has little to do, but Andrew Keir's gun-totting monk is one of Hammer's most interesting characters and there's no doubting the effectiveness of Barbara Shelley's transformation from uptight sister in law to hottie demon dyke ("You don't need Charles!"). There are good moments, from Dracula's reincarnation to the Dracula-on-Ice finale, and the fact that the hero and heroine are called Charles and Diana is good for a few unintentional laughs, but this is far to sedate and drawn out for its own good.
The DVD is an impressive package, with some great home movie footage of the shoot taken by 'juvenile lead' Francis Matthews' brother, original trailer and an audio commentary typically dominated by Christopher Lee. A rather uninspiring episode of the World of Hammer clip show dealing with the studio's vampire movies is also included. The 2.35:1 transfer is mostly pretty good, although the arrival at Castle Dracula is excessively dark.
A fine sequel This is the second Hammer Dracula film to feature Christopher Lee in the title role. Although Peter Cushing sadly does not reprise his definitive role as Van Helsing this has much to offer.
The film starts with a replay of the final few minutes of the first Hammer Dracula (US title The Horror of Dracula), which is perhaps the greatest moment in the history of Hammer films. From there it develops quickly, with two couples ending up staying at Castle Dracula. Some well known faces make up the rest of the cast including Francis Matthews, Barbara Shelley and Andrew Keir. This film was made eight years after the original and its quite surprising how much more violent and gory it is.
The film was directed by Terence Fisher and you always know with a Hammer film that if he was the director you would get a quality film. He also directed Curse of Frankenstein, The Devil Rides Out, Hound of The Baskervilles, Brides of Dracula and of course the original Dracula (all worth buying). Add this to James Bernard's great score and you have a fine horror film that has stood the test of time really well.
Hammer in decline.
Although this film holds a nostalgic pull for this particular viewer, (having seen it in its original stateside release at a Drive-In)an honest assessment today compels us to admit that the film is a study of a studio in decline.
True, the film is not without its assets, not the least of which is the veteran cast, with the lovely and always dramatically compelling Barbara Shelley pretty much walking off with the picture. Suzan Farmer, as always, is charming, and very easy on the eyes.
However, Bernard Robinson's art direction, (though adequate) doesn't begin to approach his earlier work, (particulary in "Brides of Dracula," "The Man Who Could Cheat Death," and "The Kiss of the Vampire"--and Robinson's genius is of a type that the work 'adequate' sits uncomfortably upon). Curiously, Mr. Robinson was back at the top of his game months later when he designed the plushy, "Plague of the Zombies."
The cinematography is compromised by grainy film stock, poor color, (as noted by film historian Leslie Halliwell), often rushed lighting, and a cumbersome and unnecessary use of wide screen. Terence Fisher filmographer, Wheeler Dixon, has noted the deficiencies in Michael Reeds's lensing on this project. In any case Mr. Reed nowhere equals the beautiful compositions he had managed on "The Gorgon," all of which makes the absence of Jack Asher particularly evident.
That the aforesaid technical credentials are lacking bears ample testament to the studio's drastic mid 60's cost cutting strategies, and the artistically regrettable, but imminent move away from Bray studios.
Moreover, the commercial objectives are baldly evinced here--the film screams "Formula."
Despite these shortcomings, and since this film was one of the last shot at Bray, it does bear compensatory traces of former glories. Thus we fully appreciate the hapless quartet's posthumous toast to Count Dracula, whilst the armorial flags above them billow in a ghostly breeze and the underscoring throbs unnervingly.
And Miss Shelley, as a vampiress, descending the staircase in a diaphanous gown goes a far way on the asset side of the ledger.
Mr. Lee for his part, does his usual hissing and cape waving. Too much is made of his lack of dialogue here. After all he has only a few lines at the beginning of "Horror of Dracula," and a few lines in this film's successor, "Dracula Has Risen From the Grave." So why on earth people feel the absence of such scanty phrases damages this film, who can say?
This picture would have been far better had it been done five years earlier. That said, it is a masterpiece compared to the dreck the eviscerated Hammer would be foisting on the public just five years later.
Christopher Lee could replace his predecessor Bela Lugosi as Count Christopher Lee could balance and continue his charismatic predecessor Bela Lugosi(1882 - 1956) in the 60's Hammer british Dracula series.
This film is a great example for Lee as Count.
The differences are: - Lugosi was more a theatrical Dracula from Broadway. Lugosi acted very elegant, exclusive & gentleman as a Dracula star. His charming style becomes a legend. - Lee is more a mainstream Dracula star. He is not a theatre star like Lugosi did in 1931. He'd prefer a type of cold elegant beast. His style is less charming because he has to accustom himself into various directions in eight Dracula series.
Lugosi played as Dracula three times: 1. Dracula 1931 2. Return of the Vampire 1944 3. Mark of the Vampire 1935
Lee played as Dracula 8 times (see Filmography Imdb)
Frankly Bela Lugosi was a bit more charismatic than Christopher Lee, but Christopher Lee could balance the great charisma of his great predecessor.
The Third Of The Hammer Dracula Films: Dracula, Prince Of Darkness TO: Hammer Film Fans
The Good: Dracula Prince of Darkness is great! There is a dramatic staking scene. There is a cool ressurection scene, with lots of blood. The final demense is awsome, and unexpected. One of my favorite Hammer films. Christopher Lee used cool blood red contact lenses. GREAT WORK HAMMER!!!
The Bad: Hammer waited eight years to bring Christopher Lee back, but in those eight years they thought up a great movie!
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