Captain Clegg AKA Night Creatures (1962)

Captain Clegg was a notorious pirate, hunted down by the King's men (led by Patrick Allen) and killed by hanging. His body was then buried in the grounds of a church in a small coastal town. But his spirit lives on. When the King's men visit the town, looking for alcohol that has been smuggled in from France, the locals are seen to be a cunning group that Clegg would be proud of. Even the local reverend (Peter Cushing) is in on the act. In fact, he's pretty much leading the sneaky revolt. With rumours of creatures in the surrounding marshlands scaring people to death, the town soon becomes quite a claustrophobic hotbed of paranoia, fear and anger.

Written by Anthony Hinds, with some help from a tale by Russell Thorndike (and extra dialogue by Barbara S. Harper), Captain Clegg is up there with the very best Hammer movies. Mixing in some wonderful, atmospheric moments with many scenes that feature some of the best Hammer actors doing some of their best work, this may not be an outright horror movie, but it retains that quintessential Hammer feel.

Director Peter Graham Scott handles everything well, helped by the great design work, the cinematography by Arthur Grant, and that glorious cast.

Cushing is always worth watching, of course, but this role is such a delight that it's one of my new favourites from his filmography. Allen isn't a match for the master, but he holds himself with dignity as he and his men are constantly given the runaround by the locals. A handsome Oliver Reed does well, and is matched nicely to a gorgeous Yvonne Romain for one story strand. Martin Benson and Derek Francis both do fine in their smaller roles, but the undeniable highlight for fans is seeing Michael Ripper having so much fun in what may be his best role.

If, like me, you have made the mistake of not seeing this movie yet then rectify the situation immediately. You won't regret it.

9/10

http://www.amazon.com/Werewolf-Paranoiac-Nightmare-Creatures-Frankenstein/dp/B0009X770O/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1392407449&sr=1-1&keywords=captain+clegg

The Phantom Of The Opera (1962)

A version of the classic Gaston Leroux tale that never seems to receive much love from fans, Hammer take on The Phantom Of The Opera and provide horror fans with a delightful interpretation of the famous story.

Herbert Lom, obviously masked for most of the runtime, plays the Phantom this time around. Eschewing the doomed romance at the heart of the classic tale, the Phantom till ends up after a young singer named Christine (Heather Sears) to make her into an unforgettable star of the stage. Christine, for her part, seems nice enough. When she's not being uncomfortably chatted up by Lord Ambrose D'Arcy (Michael Gough) she is developing a relationship with the handsome Harry Hunter (Edward de Souza). But the Phantom has a habit of reminding people that he's around.

Directed by Terence Fisher, The Phantom Of The Opera is as lavish and baroque as you'd expect, at times. The main opera being performed is all about the life of Joan Of Arc and the sets and design are both wonderfully theatrical and also nicely settled within a typical Hammer budget. In fact, there are only a few sets used in the movie, or it at least seems that way, but each one is so carefully put together and made into such a nice showpiece that the relatively small scale of the production is covered up, and even turned into an asset.

The script by Anthony Hinds takes the classic tale and adds some nice twists to it, making it fresh while never betraying the essence of the material. This has never been my favourite of the beloved horror classics and, personally, I enjoyed the changes that were made. Perhaps the fact that this is overlooked so often tells me hat other Phantom fans didn't like the changes as much as I did.

Sears is fine in the role of Christine, and de Souza is an okay leading man, but this movie belongs to two men, Lom and Gough. The former gives a great physical performance, and also does sterling work in a pre-Phantom flashback sequence that reveals the backstory of the character and the cause of his rage, while the latter has so much fun being nasty to everyone around him that this ends up being one of his best roles. Michael Ripper has a VERY small role (billed, I believe, as Cabbie #1) and Patrick Troughton steals his main scene, playing a callous and carefree ratcatcher.

Give this one a go sometime, especially if you've forgotten about it while catching other interpretations of the story. You might just end up liking it as much as I did.

7/10

http://www.amazon.co.uk/The-Phantom-Opera-Region-Hammer/dp/B001MZXAZE/ref=sr_1_1?ie=UTF8&qid=1381237284&sr=8-1&keywords=the+phantom+of+the+opera+1962

The Kiss Of The Vampire (1963)

A lesser vampire movie from Hammer, this was written by Anthony Hinds and directed by Don Sharp. Neither of the men involved seem to be able to muster any enthusiasm for the material, or inject it with any energy, and that leaves the second-tier cast (only in terms of the Hammer pecking order) floundering.

Edward De Souza and Jennifer Daniel are honeymooners Gerald and Marianne Harcourt. When they experience a bit of car trouble near a small village in Europe they end up staying at the handy sort of inn that only ever seems to crop up in Hammer movies and also get themselves befriended by the sort of seemingly kind, curious nobles who only ever seem to crop up in Hammer movies. This particular well-to-do gentleman is Dr. Ravna (Noel Willman), who invites the Harcourts to spend some time with himself and his family before then inviting them to a big party. But that party is just a ruse. With Marianne in danger, Gerald ends up seeking help from a fellow lodger, the exasperated Professor Zimmer (Clifford Evans).

All of the usual ingredients are in place here. The upper class folk who succumb to the seduction of evil ways, the decent but scared couple running their inn, the embittered older character who knows the truth about the area and its inhabitants and the brave husband willing to risk his own life to save his darling wife.

I won't deny that there are a few moments here and there that I enjoyed, and one or two lines of dialogue that I was pleasantly surprised by, but this is material that has been spruced up and given far better treatment in a handful of other Hammer movies that you could choose from.

The cast put in acceptable performances, I guess, but it's only really Evans who stands out as someone worth spending time with and, indeed, rooting for. Support from Barry Warren, Isobel Black, Peter Madden and Vera Cook is in line with the rather flat nature of everything else in the movie.

I guess, like every other Hamer horror movie, that The Kiss Of The Vampire may have fans. I just can't see anything here that could appeal to anyone, excepting the most easily pleased viewer who may have somehow avoided many of their better outings before getting to this one.

4/10

http://www.amazon.co.uk/Kiss-Vampire-DVD-Clifford-Evans/dp/B007789W7U/ref=sr_1_1?ie=UTF8&qid=1379069094&sr=8-1&keywords=the+kiss+of+the+vampire

The Reptile (1966)

Filmed back to back with The Plague Of The Zombies, this Hammer horror movie not only shares many of the same sets with that movie but also treads quite similiar ground when it comes to the actual plot. There are some major main differences, but it actually makes for a nice companion piece alongside the lone zombie movie to be released from Hammer studios in the 20th century.

Ray Barrett and Jennifer Daniel play Mr. and Mrs. Spalding, respectively. The two end up inheriting a cottage in a small country village after Harry's brother dies in mysterious circumstances. Finding out just how his brother died, and dealing with unfriendly locals, becomes the focus for Harry as he and his wife gets used to their new surroundings. A local innkeeper (Michael Ripper) offers some advice, despite the fact that his inn always empties out whenever Harry walks in, and a large finger of suspicion seems to keep pointing at the brusque Dr. Franklyn (Noel Willman), a man who spends most of his time being quite harsh to his beautiful daughter (Jacqueline Pearce).

John Gilling is the assured hand in the director's chair, working from a decent, lean script by Anthony Hinds, and there's nothing about this movie that looks or feels cheap. Sharing some of the sets between numerous movies, as they did quite often, was a great move on the part of Hammer, allowing them some more money for practical effects and some impressive set-pieces. At least, thats how it appears to this particular viewer (with the ending of The Reptile being just as enjoyable, as, and quite similiar to, the ending of The Plague Of The Zombies).

All of the cast do well in their roles, with Barrett and Daniel being a likeable pair of leads. Michael Ripper brightens up any Hammer horror movie (just ask any of his fans if you don't believe me), Noel Willman is the standard, snippy gentleman with a possible dark secret and Jacqueline Pearce is sweet and lovely enough to add some real pathos to the final third of the film. Marne Maitland is also very good, and John Laurie steals his few scenes as Mad Peter, a man who may not be as mad as locals like to make out.

This remains one of my favourite Hammer horror movies, and I hope that many others feel the same way about it.

8/10


N.B. Anyone who enjoyed the film as much as I did should check out the episode of "Dr. Terrible's House of Horrible" entitled Curse of the Blood of the Lizard of Doom. Not only is it hilarious but it's often spot-on too. 

http://www.amazon.co.uk/The-Reptile-Blu-ray-DVD-Barrett/dp/B006C1B104/ref=sr_1_1?ie=UTF8&qid=1377374168&sr=8-1&keywords=the+reptile

Rasputin: The Mad Monk (1966)

Don Sharp directs this hugely entertaining movie based on the script by Anthony Hinds that certainly doesn't aim for historical accuracy, but captures the sheer overpowering charisma and presence of a legendary figure from the past.

The main man is played by Christopher Lee, in a performance positively brimming with electric energy, menace and a lust for life and all its earthly pleasures (to be admitted to in confession). Finding himself unpopular after an incident of self-defence gone awry, despite his healing hands, Rasputin moves from his abbey and looses himself on some fine Russians, manipulating and controlling those who can help him manoeuvre into a position of power. A position that could see him ultimately controlling all of mother Russia from behind the scenes.

Anyone wanting the facts about the extraordinary life of Grigori Rasputin should not be using this movie as any kind of primer. This film is not an account of a reality, by any stretch of the imagination, but it captures the essence of an infamous individual. To roughly phrase a popular saying . . . . "between the truth and the legend, print the legend".

The cast are all great, and familiar to many from Hammer movies and elsewhere. This is Lee's show all the way but we also get very good performances from the likes of Barbara Shelley, Suzan Farmer and Richard Pasco, who stands out as the put-upon Dr. Zargo.

The direction may be unspectacular but that's not really a major concern when the look of the finished movie is so pleasing and the focus remains on the towering presence of Lee, whether he's hypnotising unwitting ladies or dancing some magnificent, frenetic, Russian dancing. It's a bravado performance that picks up the entire movie and carries it over the finish line as a winner.

8/10

http://www.amazon.co.uk/Rasputin-The-Mad-Monk-Blu-ray/dp/B0085MXQ7Y/ref=sr_1_1?ie=UTF8&qid=1368516850&sr=8-1&keywords=rasputin+the+mad+monk

The Curse Of The Werewolf (1961)

The Curse Of The Werewolf is, surprisingly, the only werewolf movie that Hammer ever made. You might be about to argue with me on that point, but I assure you it is so. The Beast Must Die was an Amicus release and Legend Of The Werewolf was from Tyburn Film Productions Limited. Nope, I can't remember hearing of them either, but they existed long enough to release a few movies in the 1970s (and some TV stuff in the 1980s). Now that I have digressed, let's get back to discussing the only werewolf movie that Hammer ever made.

Directed by Terence Fisher, and written by Anthony Hinds (based on a novel by Guy Endor), this is a tale that begins with the mistreatment of a beggar (Richard Wordsworth). The mistreatment of the beggar leads to the mistreatment of a young woman (Yvonne Romain) and the mistreatment of the young woman leads to the birth of a child, Leon (played by Justin Walters). Leon is looked after by kindly guardians (Clifford Evans and Hira Talfrey), even when it becomes apparent that he has some dangerous nocturnal habits.
Fast forward a decade or so and Leon (now played by Oliver Reed) is setting out to make his way in the world. His inner beast seems to be soothed and all is well. Sadly, it may not be a permanent respite for the young man, especially with new experiences to try that will appeal to his baser urges.

Set in some Hammer universe idea of Spain, this isn't up there with the best examples of cinematic lycanthropy, but it's a decent, handsomely assembled piece of work. The opening section is a lot of fun in the typical Hammer mold - the inn full of unhappy locals, the nasty marques (Anthony Dawson), the lust and bloodshed - but then the movie dips slightly while showing moments in the life of young Leon. Thankfully, the appearance of Oliver Reed signals a return to better form as his charm and brooding good looks are put to great use. Reed is joined onscreen by a cast that includes Warren Mitchell as a watchman who once, unwittingly, shot Leon, Michael Ripper as a drunkard, Ewen Solon as Leon's employer, Martin Matthews as a buddy and Catherine Feller as a woman that Leon falls for. Mitchell and Ripper are both great, the rest do what's asked of them, but not much more.

The script by Hinds is a bit flat, as is the direction from Fisher, but all is saved by the wonderful third act, featuring a number of scenes allowing Reed to really gain sympathy even after viewers have seen the hairy incarnation of him covered in make up based on the classic look created for The Wolf Man by Jack P. Pierce.

It's certainly worth seeing if you're a fan of werewolf movies and, of course, if you're a fan of Hammer horrors, but it's more interesting than actually impressive. I have a soft spot for it (I saw it on TV when I was very young thanks to a babysitter who let me stay up late), and I'm sure that many others feel the same way, but I don't know how anyone would react if coming to view it for the first time in adulthood. Give it a watch sometime and find out. Then you can let me know.

7/10

http://www.amazon.co.uk/Curse-Werewolf---DVD--Exclusive-Limited-Steelbook/dp/B0067LXQA2/ref=sr_1_2?s=dvd&ie=UTF8&qid=1365138134&sr=1-2&keywords=the+curse+of+the+werewolf

Frankenstein And The Monster From Hell (1974)

The final entry in Hammer's series of Frankenstein movies is actually a welcome return to form for all involved, mainly thanks to the character of Baron Frankenstein being once again portrayed as someone well-intentioned but morally dubious as opposed to the outright evil schemer he was depicted as in Frankenstein Must Be Destroyed.

This time around the Baron (Peter Cushing) is joined by young Simon Helder (Shane Briant), a man who has been sentenced to time in an insane asylum after being caught carrying out experiments based on the Baron's work. When Frankenstein reveals his real identity to the young man and outlines a plan it's not long before the body parts start to pile up and things get ever more problematic.

With Anthony Hinds writing and Terence Fisher directing, this particular Hammer horror rises above its relatively low budget to provide a fitting final outing for the man who is constantly trying to cheat death.

Cushing is as good as ever, Shane Briant acquits himself well and Madeline Smith, John Stratton, Bernard Lee and everyone else onscreen (including David Prowse, hidden once again behind a mask but doing a better job than he did last time he was asked to play the central creature) manage to hold their own.

It's perhaps inevitable that a lot of the material here feels overly familiar and a little bit lazy but there is also some dark, twisted stuff in here (including the reason for Madeline Smith's character not talking) and some proper nastiness that still manages to retain some impact to this day.

It's not really the best swansong that we could have for the Baron but it's a hell of a long way from the worst and, for that, I'm glad.

7/10

http://www.amazon.co.uk/Frankenstein-And-Monster-From-Hell/dp/B004NOQ9W2/ref=sr_1_1?ie=UTF8&qid=1354725685&sr=8-1

Scars Of Dracula (1970)

While I admit that I was a little disappointed to see that this Hammer movie was missing my particular favourite actor known for his work with the studio, Peter Cushing, I knew that I would be in for something reasonably entertaining with Christopher Lee reprising, arguably, his most famous performance and the fact that it was directed by Roy Ward Baker and written by Anthony Hinds (two names probably familiar to fans of horror from this era).

The movie starts off with Dracula being resurrected thanks to the help of a daft, rubber bat. Then the fun really begins as the Count gets straight back to reprising his reign of terror, making some trouble for himself when he takes in a stranger (Paul, played by Christopher Matthews) and then doesn't let him leave. It's not long until Paul's brother (Simon, played by Dennis Waterman) comes looking for him with the beautiful Sarah (Jenny Hanley) by his side.

While this is not really a GREAT Hammer movie it is a damn entertaining one, despite how silly and slight it may be. Dennis Waterman makes for a decent enough leading man, Patrick Troughton is great as a servant of the fanged Count (even if he does resemble Oddbod from Carry On Screaming!), the lovely Jenny Hanley is quite lovely and everyone else does their bit portraying Hammer standards such as the scared priest (Michael Gwynn), the grouchy innkeeper (Michael Ripper), etc.

Nothing really feels too slick or polished but it doesn't ever feel like a rushed hatchet job either, falling somewhere in between the two and doing just enough to smooth over the more ludicrous moments in the movie. The ending is a bit of an anti-climax but such a slip-up is allowed when the rest of the movie is so much fun.

I actually found it more endearing than irritating whenever there was someone getting overly dramatic or whenever anyone was threatened by a distinctly rubbery bat but others may not feel the same way. That is, of course, their choice. If nobody agrees with me then I'll happily keep this treat all to myself.

7/10

Available in this super duper bargain boxset - http://www.amazon.co.uk/The-Ultimate-Hammer-Collection-Disc/dp/B000HN31KQ/ref=sr_1_1?ie=UTF8&qid=1353949514&sr=8-1

Frankenstein Created Woman (1967)

I've said it before and I'll say it again, if you get Christopher Lee in a Hammer movie then it is often one of their more entertaining outings. If you get Peter Cushing in a Hammer movie then you are, in my opinion, guaranteed a good time.

Cushing stars here as the infamous Baron, yet again, and this time has some scheme involving transplanting the very soul of a person into a dead body so that the spark of life can be reignited. Yes, he's as brilliant/bonkers as ever and you can already figure out some of what will transpire as the movie progresses. With the help of Dr. Hertz (Thorley Walters), he ends up transforming the life of young Christina (Susan Denberg), a scarred woman surrounded by tragedy.

Strangely reminiscent of A Clockwork Orange in places (with Alex and his droogs being replaced by some posh idiots lording it over those who serve their drinks), this movie struck me much more as a black, black comedy than an outright horror but I'm not sure if that's the standard interpretation of things. It seems right, however, when you witness the details of the Baron's latest scheme and the details/results we end up seeing.

Cushing is excellent in the lead role, and he is ably supported by the likes of Robert Morris, the aforementioned Walters, Peter Blythe, Barry Warren and Derek Fowlds (now most recognisable to UK TV viewers as . . . . him from Heartbeat). Then we have the lovely Denberg, who gets to have the most fun. Her character goes through the biggest transformation and Denberg acquits herself admirably, playing both lowly and meek and then forward and confident with equal success.

Directing from Anthony Hinds' screenplay, Terence Fisher keeps most of the violence and gore offscreen, for the most part, but wrings such watchable moments from his cast throughout that you never feel shortchanged. One of the better Hammer movies though others may, like me, enjoy it more as a black comedy than outright horror.

7/10

http://www.amazon.co.uk/The-Ultimate-Hammer-Collection-Disc/dp/B000HN31KQ/ref=sr_1_1?ie=UTF8&qid=1352330170&sr=8-1

Dracula Has Risen From The Grave (1968)

Dracula (played again by Christopher Lee) returns and this time he's mad at a monsignor (Rupert Davies) who has exorcised his castle and left a ruddy big crucifix on the front door. To get his revenge he plans to take the monsignor's niece (Maria, played by the lovely Veronica Carlson) away and keep her with him. This displeases both the monsignor and the young man (Paul, played by Barry Andrews) who would rather keep the monsignor's niece for himself.

Written by Anthony Hinds and directed by Freddie Francis, the majority opinion seems to be that this is one of Hammer's weaker Dracula outings (though there would be much worse to come) and I have to agree. That's mainly due to a few of the lead characters being pretty dull or even, as is the case with the monsignor, not that likeable.

The actors all do okay, and there's a decent role here for fan favourite Michael Ripper, but there's just an overall feeling of disinterest as one scene plods along into another. Barbara Ewing's character has some good moments, and makes quite an impression in her first scene, but the rest of the supporting cast don't really make much of an impression (except the aforementioned Ripper and Carlson). Ewan Hooper, playing a priest who ends up doing Dracula's bidding, is especially weak.

It's a good job we have Christopher Lee back in the cape because his presence compensates for a lot of the other shortcomings. His portrayal of the fanged fury is always watchable, at the very least, and this is what stops Dracula Has Risen From The Grave from being something you should avoid like a plague rat. There are also a few individual moments, particularly at the start of the movie, that tick the boxes for standard Hammer horror goodness.

I recommend this one to the Hammer completist as being something far from the worst that the studio would make but also way down the list when compared to the other films in the Dracula series.

6/10

http://www.amazon.co.uk/Dracula-Has-Risen-Grave-DVD/dp/B0001XLY4W/ref=sr_1_1?ie=UTF8&qid=1352234761&sr=8-1

The Mummy's Shroud (1967)

Directed by John Gilling, who also wrote the thing based on a story by Anthony Hinds, The Mummy's Shroud is another one of those movies that makes you think carefully before writing a review whether it's worth expending any more energy on the thing. It's just so . . . . . . middling.

The second-last, and the least (Blood From The Mummy's Tomb was bad but at least had the gorgeous Valerie Leon in it), of Hammer's movies featuring someone swathed in bandages out to kill is a plodding, dull affair that provides neither the horror nor the entertaining drama of those that came before it.

The plot has nothing new in it as a bunch of people uncover a tomb and are then cursed to be killed by the all-too-lively mummy. That's it, with the one addition that someone holding the mummy's shroud and saying the right words can control the creature.

The cast are quite a mixed bag. Andre Morell is quite good but he's not onscreen for that long. I didn't like John Phillips much but his character, the selfish and callous Stanley Preston, was quite a bit of fun when on screen. Elizabeth Sellars is very good as his suffering wife. David Buck is a bit bland as the younger Paul Preston and Maggie Kimberly is a pretty translator. The best performance though, as many fans will be pleased to hear, comes from Michael Ripper and it's his presence alone that makes the film worth watching. His character, Longbarrow, is a weak, toadying man who tries to stay onside with the one person who may help him out.

Even the mummy is a disappointment this time around, the look of the thing certainly not up to the design of either of the first two movies and the backstory doesn't make the creature as sympathetic as it has been in other movies. Oh, it's supposed to, when it's told in the first few minutes of the film (with narration provided by someone who sounds like, but apparently isn't, Peter Cushing), but it doesn't.

I would wholeheartedly encourage everyone to avoid this one if it wasn't for that fantastic turn from Ripper. With that in mind, I have to warn anyone to approach with caution but to give it a watch if you're a fan of one of Hammer's star players.

5/10

http://www.amazon.co.uk/The-Mummys-Shroud-Blu-ray-DVD/dp/B0085MXQAG/ref=sr_1_1?ie=UTF8&qid=1351953765&sr=8-1

The Evil Of Frankenstein (1964)

Written by Anthony Hinds, and directed by Freddie Francis, The Evil Of Frankenstein is another of the consistently entertaining Hammer movies focusing on the ongoing difficulties of Herr Baron (played once more by the great Peter Cushing). It's not as good as some of the other Frankenstein movies but it's still worth seeing if you're a fan of the character.

The Baron tries, once again, to return to a place he was once driven out of with an assistant (Hans, played by Sandor Eles) in tow. This time it is the town of Karlstaad. It will be worth it if he can resurrect his creature and come up with some way to communicate with its damaged mind. That method of communication may be found in the shape of a hypnotist named Zoltan (Peter Woodthorpe) if everything goes according to plan but, alas for poor Baron Frankenstein, things rarely go according to plan.

I like the character of Baron Frankenstein when he's portrayed as he is in this movie, a man who really does have the answers to the big questions in life but is beset by attacks from the morally indignant masses and attempts to ruin his good name.

Peter Cushing, if you don't realise how good he is by now then I can't help you but, rest assured, he's one of my all-time favourites for good reason. Sandor Eles is okay, though he doesn't get too much to do, and Peter Woodthorpe is a lot of fun as Zoltan, the hypnotist who quickly realises how he can use the situation to feather his own nest a little. Duncan Lamont is enjoyable as the Karlstaad Chief Of Police and Katy Wild does just fine in the rather thankless role of "beggar girl". The creature this time around is played by wrestler Kiwi Kingston so there's certainly a solid physicality to the monster, if little else. The design work may hark back to the Universal flicks of old but it ends up being quite a disappointment.

Hinds laces the script with a few good lines, as per usual when it comes to dialogue uttered by the good Baron, but the direction from Francis is flat and lifeless. There's enough here to please Hammer fans but that's probably more to do with goodwill than good film-making on this occasion.

6/10

http://www.amazon.co.uk/Evil-Frankenstein-DVD-Peter-Woodthorpe/dp/B000W2223O/ref=sr_1_1?s=dvd&ie=UTF8&qid=1351588008&sr=1-1

The Brides Of Dracula (1960)

While this is the second movie from Hammer to use the Dracula name it doesn't actually feature Dracula himself. But we're still in Transylvania and there are still fanged threats around, mainly thanks to the dapper Baron Meinster (David Peel), and when a young travelling woman (the lovely, though not overly endowed with acting talent, Yvonne Monlaur) finds herself in trouble she is more than a little relieved to be given a helping hand by the great Dr. Van Helsing (played again by the great Peter Cushing). But things don't stop there and it's not long before Van Helsing realises that there is more than one vampiric beast he needs to lay to rest in Transylvania.

Directed by Terence Fisher, and written by a quartet of people, The Brides Of Dracula may not quite manage to make you forget that you wanted to see Christopher Lee appearing in the title role but it certainly manages to make its own mark thanks to a mix of great atmosphere, spooky imagery and moments of originality (Van Helsing dealing with a bite wound springs immediately to mind).

Cushing is as good as he always is, Monlaur is very pretty, Peel tries hard with the character he's given and Martita Hunt and Freda Jackson do very well with their screen time. There's also a very small role for Michael Ripper as a coachman and the beautiful Andree Melly makes a great impression as Gina but this is all about the dread and foreboding ladled over everything and it works very well in that respect.

The finale may not be quite as intense and exciting as some other releases from the studio but it again impresses with a bit of originality and I enjoyed the use of that Gothic horror staple - the creaky old windmill - immensely. There's really only one thing I can hold against it, but it's a biggie, and that's the fact that the title is a big, fat lie.

7/10

http://www.amazon.co.uk/Brides-Dracula-DVD-Martita-Hunt/dp/B000W22234/ref=sr_1_1?ie=UTF8&qid=1350321904&sr=8-1