Count Alucard (read his name backwards) finds his way from Budapest to the swamps of the Deep South; his four nemeses are a medical doctor, a university professor, a jilted fiancé and the woman he loves.
Lon Chaney Jr.,
Prof. Van Helsing is in danger of prosecution for the murder of Dracula...until a hypnotic woman steals the Count's body and cremates it. Bloodless corpses start appearing in London again, and Hungarian countess Marya Zaleska seeks the aid of Jeffrey Garth, psychiatrist, in freeing herself of a mysterious evil influence. The scene changes from foggy London back to that eerie road to the Borgo Pass... Written by
Rod Crawford <email@example.com>
Bela Lugosi earned $4,000 for his participation in publicity photos for this film (he does not actually appear in it). See more »
Just before the sergeant leaves his constable alone in the station (just before Zaleska makes her first appearance), he hands him a pistol. Even in 1936, it is extremely unlikely that a non-metropolitan UK police officer would have access to or authority to issue firearms without exceptional circumstances (which would not have included guarding two corpses). See more »
One of Universal's most unusual horror films and a more than worthy successor to Lugosi's Dracula (1931) - although I wouldn't go so far as to say it's better: BRIDE OF FRANKENSTEIN (1935) it ain't! The film's approach is very different to its predecessor - despite having the same scriptwriter, Garrett Fort - as it presents the vampire lady of the title as a somewhat tragic figure rather than a mere spook, and Gloria Holden has both the exotic looks and acting talent for the role. Perhaps to make up for Lugosi's absence, the script features a creepy vampire acolyte in the figure of Irving Pichel: fine actor though he is, I think the make-up department went overboard in trying to make him look menacing!
Otto Kruger and Marguerite Churchill are two of the oddest, and yet most likable, leads in a Universal horror film: not only their age difference is immediately apparent, as is their obvious intelligence, but they share a love/hate relationship all through the picture which is both fresh and endearing. The supporting cast is filled with stalwarts of the genre: first and foremost, naturally, is Edward Van Sloan who reprises his seminal Van Helsing characterization as if he had never been away; Billy Bevan, Halliwell Hobbes and E.E. Clive as coppers of different ranks; Gilbert Emery as the unavoidable incredulous Scotland Yard official; Edgar Norton as his 'fresh' butler; and, adding to the fun, there's also Claud Allister as an upper-class nitwit and famed columnist Hedda Hopper as a gossiping socialite. Nan Grey, later female lead of THE INVISIBLE MAN RETURNS (1940), appears briefly as one of Dracula's victims in what remains perhaps the film's most discussed scene (due to its lesbian overtones). Unlike the original, this sequel is briskly paced and the vampire's demise is not anti-climactic.
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