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“Try It, You’ll Like It” – Horror of Dracula (1958)

horror_of_dracula-1958-usa-posterHorror of Dracula is my contribution to the “Try It, You’ll Like It! Blogathon, hosted by Sister Celluloid and Movies Silently. The purpose of the “Try It, You’ll Like It!” Blogathon is to share films that can serve as a “gateway” to classic films for people who are either resistant to or unfamiliar with old movies.

Of course, not all movies will appeal to all people and the key is to know your audience. Male? Female? Teenager? Child? Adult? Sci-fi fan? Romantic comedy fan? Musicals? Action heroes?

My target audience for this film is the young superhero lover. Do you know a teenager or young adult who loves superhero and YA fantasy films, but says they are tired of the sameness of superhero and YA fantasy films? Even the recent Dracula Untold managed to look like a re-hash of a Marvel movie. If you’ve heard this complaint voiced, one film to suggest is Horror of Dracula, starring Christopher Lee and Peter Cushing. It worked for my teenage cousin, who subsequently became interested in the early Universal Horror films. Not that you have to be a teenager to like this film…or even a fan of superhero films. You could be a Jane Austen miniseries and Fred Astaire musical enthusiast (ahem).

What makes this film so accessible is that though it has less action than most teenagers are used to, there is a lot they are familiar with. It’s in Technicolor, still retains its creepy vibe, weird powers, cool British accents (which always goes over well in the U.S, where college students love nothing more than to imitate a British accent) and has the benefit of starring two actors nearly everyone is familiar with today, thanks to Star Wars and Lord of the Rings: Peter Cushing (Grand Moff Tarkin) and Christopher Lee (Saruman and Count Dooku). Grand Moff Tarkin vs. Count Dooku? Learning this is like a whole new world and most people are fascinated to discover that the two men appeared in 22 films together and were good friends.

Peter Cushing gets star billing, but we don’t actually meet him until twenty or so minutes into the film. The movie actually opens (after a thundering crash of music with garish red-orange letters streaking across the screen) with Jonathan Harker (John Van Eyssen), who has come to work as a librarian at Count Dracula’s castle (Christopher Lee)…or so he says. He soon reveals in his diary that he is really a vampire hunter and is there to destroy Dracula.

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Christopher Lee…making an entrance

But his plan is ruined when a woman at Dracula’s castle (Valerie Gaunt) begs him to save her from Count Dracula. He says he will, but unfortunately his neck looks too inviting and she can’t prevent herself from taking a bite, much to the rage of Count Dracula.

Christopher Lee’s appearance at his point is unforgettable. When Harker first meets him he looks and sounds like a reasonably polite, if brusque and physically imposing, English gentlemen…with a cool cape that swishes nicely when he walks up stairs. After Harker is bitten he emerges onto the scene transformed, with blood dripping from his fangs, red, wild eyes and an almost animalistic intensity…after which entrance we never hear him speak a line of dialogue again.

But before he is killed by Dracula, Harker manages to kill the woman – Dracula’s bride – by driving a stake through her heart. In revenge, Dracula goes to town (by shipping himself off in a coffin) so he can turn Harker’s fiance, Lucy Holmwood, into a replacement bride. And finally, Van Helsing appears (Peter Cushing). He is looking for his fellow vampire hunter and traces him to Dracula’s castle. He finds Harker’s body, but since Dracula is gone, he returns to inform Harker’s fiance and her family of his death.

The majority of the film consists of Dracula preying on the family: Lucy Holmwood (Carol Marsh), her brother Arthur Holmwood (Michael Gough) and his wife, Mina Holmwood (Melissa Stribling). Van Helsing fails to save Lucy from becoming a vampire, but he does much better after he tells Arthur the truth about vampires and the two of them must fight to save Mina. One of their main troubles is that Dracula seems to have an uncanny ability to invade the house and find his way to the women’s bedroom without anyone realizing it.

Half the tension in the film is knowing that Dracula is about to appear and wondering when. We see an empty doorway and expect he’s going to come through at any moment. When he finally does, the affect is not disappointing. He has a habit of suddenly appearing, either standing still with all the power of his tremendous height (6′ 5″) and presence, or coming through the doorway. He walks through doorways very effectively.

Peter Cushing...wielding a cross

Peter Cushing…wielding a cross

But Peter Cushing makes a superb match for Lee. His Van Helsing is incisive and precise, but also with a will. He is every bit as capable of physical activity when called upon, which stands in marked contrast to the original Dracula of 1931, which resembles nothing so much as a drawing room horror story.

But in this film vampire hunting is not synonymous with superheroism. These vampire hunters (Van Helsing and Harker) are doctors and scholars, educated men who have devoted their lives to understanding and eradicating vampires. They are, admittedly, on the fringe of the scientific community, but are still able to pass themselves off as eminent men and not mere crackpots. Van Helsing is a modern man, who uses a phonograph to record his thoughts and is capable of administering blood transfusions, which was no easy thing in the 1800s (blood types were not then understood).

As a complete rabbit trail, my sister was wondering if vampires are subject to the same blood type concerns as mere humans. Could a vampire with blood type A drink the blood of someone with blood type B or would that be a problem? Someone really ought to look into that.

I was a little confused by the geography of the film. In the novel and 1931 film, Dracula’s home is Transylvania but he leaves to terrorize London. Here, Dracula’s castle appears to be near Klausenburg, a German village. Harker comes from somewhere not far off, only one night’s ride away, so presumably he lives in Germany, too. Everyone has a British sounding name and speak with British accents, but the setting is clearly Germany. Maybe British expatriates?

But Horror of Dracula is a British film produced by Hammer Film Productions in London, a studio best remembered for the horror films they began making in 1957 with The Curse of Frankenstein. Unlike Universal Studio’s horror films, Hammer horrors had blood, gore, low cut necklines and were altogether racier, more Gothic and more energetic…all in color, which made a distinct impression on audiences. The Curse of Frankenstein was so successful that the following year they paired Cushing and Lee again in Horror of Dracula.

Christopher Lee...making another entrance

Christopher Lee…making another entrance

The Curse of Frankenstein is really about Frankenstein – played excellently by Peter Cushing – and Christopher Lee has relatively little to do as the monster. But although Lee is only in Horror of Dracula less than 20 minutes and has scarcely any lines, the film made him a star and he would go on to play the role so often that he grew to dislike it. Peter Cushing also appears in a few Dracula sequels, but he was more noted for appearing in his own monster franchise: Frankenstein.

Both men are dynamic together, especially in Horror of Dracula, which is perhaps the best showcase for them as rivals. Along with The Curse of Frankenstein and Horror of Dracula they made The Mummy (you can probably guess who plays the mummy) and The Hound of the Baskervilles (with Cushing as a delightfully zany, arrogant and eccentric Sherlock Holmes and Lee unexpectedly cast as the Baskerville heir Holmes must protect – it was the first time I had seen Lee in a regular suit; he always seems to be wearing tunics, cloaks, or robes). But as an introduction, you can’t beat Horror of Dracula.

I am extremely excited to be participating in the “Try It, You’ll Like It” Blogathon and am grateful to Movies Silently and Sister Celluloid for hosting! For the complete list of “gateway” films to the classics, please click here.

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Posted by on December 5, 2015 in Movies

 

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My Name Is Julia Ross (1945)

my-name-is-julia-ross-movie-poster-1945-1020493690I’d read of the movie My Name Is Julia Ross described as the ultimate example of what a good B movie is. Only 65 minutes long and made on a small budget, the film has an excellent cast and crew and is quite a chilling little film. It was a breakthrough film for both the director, Joseph H. Lewis (who went on to more high profile film noirs like Gun Crazy and The Big Combo) and Nina Foch (best remembered from An American in Paris, as Milo Roberts).

Described as a “gothic thriller,” My Name Is Julia Ross has a relatively simple plot. Julia Ross (Nina Foch) is out of work, alone, and apparently friendless in London. She answers an advertisement and is quickly hired to be secretary to Mrs. Hughes (Dame May Whitty – about as harmless and aristocratic as a person can appear to be). Mrs. Hughes has a son, Ralph (George Mcready), who looks quite respectable…though he likes to play with knives. Julia doesn’t know that, however.

I don’t really want to spoil the entire plot, but the movie is so short that to discuss anything is to give something away. But it’s not really a mystery. The audience has a pretty good idea what’s going on ten minutes into the film. What is excellent is the suspense and overhanging claustrophobia of Julia’s situation, beautifully, and creepily, shot by Lewis and cinematographer Burnett Guffrey.

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Nina Foch as Julia stands at the estate gates while Ralph and a gardener look on

Julia is supposed to be a live-in secretary, but when she goes to their home in London she is drugged and wakes up in a home in Cornwall, by the ocean. There is a ring on her finger, all her papers proving her previous identity have been destroyed and Mrs. Hughes and her son insist that her name is Marion, that she’s Ralph’s wife and that she’s been ill. She’s practically a prisoner in their home. Even the servants believe that she is really Marion Hughes, despite Julia’s frequent insistence on her identity.

The movie has been compared to Gaslight. It is a bit of a gaslight scenario, though different in that Julia never really doubts her sanity. She staunchly maintains her identity, never ceasing in her efforts to contrive a way out of the house, no matter how much people insist that she is Marion.

But her attempts at escape are frustrated by the fact that even the people in the village believe that she is suffering from a nervous breakdown. It is an interesting scheme that Mrs. Hughes has concocted. Very improbably, but brilliant, in a way. It hinges on the fact that people’s natural impulse is not to get involved in other people’s affairs. When Mrs. Hughes say that Marion is ill, they believe her, no matter how much Julia insists that she is really Julia Ross and begs them to remember her name and get help. They believe Mrs. Hughes because she is rich and respectable, because she told them her story before Julia had a chance to, and because she looks sane. Dame May Whitty does not project malevolent scheming.

Dame May Whitty - would you trust that woman?

Dame May Whitty – would you trust that woman?

Despite our general insistence that we have suspicious minds, most people do generally believe what they are told (what we don’t believe stands out to us, because it’s relatively uncommon). It’s an interesting idea. If someone told me that their daughter-in-law was ill and I met that daughter-in-law and she told me that she was being held against her will and that she was really another person, would I believe her? Probably not. And even if I did, would I know what to do, who to go to, or be afraid people would laugh at me? It’s a brilliant psychological calculation on the part of Mrs. Hughes, thinking that she can get away with such an extraordinary masquerade.

It’s quite well-acted, especially by Nina Foch as the desperate, though resolute, Julia, a normal working girl caught in a mind-boggling and frightening situation. And Dame May Whitty as Mrs. Hughes, never overplaying her villainy, though definitely able to project menace when she needs to. George Macready is also excellent, in contrast, as her psychotic son, Ralph. The script is the apotheosis of taut script writing, with every scene and every bit of dialogue important and weighted with meaning. Highly atmospheric, quite tense, it is definitely worth seeing.

My Name Is Julia Ross can be viewed here on youtube.

 
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Posted by on April 24, 2015 in Movies

 

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