After the success of "Dracula: Prince of Darkness," Drac was back. Hammer's long-running series had begun in earnest. Whether the quality of the last two entries was kept up throughout the sequels is a manner of opinion. Yet maybe it's clear that the strongest quality control wasn't in place here. "Dracula Has Risen from the Grave" begins with two continuity errors. An additional victim of Dracula's is discovered in a bell tower, an effective scene that couldn't possibly happen during the last film. The story is set 12 months after the 1895-set previous film. Yet dates within the film read 1905. Just goes to show that Hammer's Dracula series was full of as many continuity eras as Universal's Dracula series.
Once again, Dracula is dead and, once again, a holy man appears to tell the villagers to let go of their superstitions. In order to prove to the locals how dead Dracula is, Monsignor Mueller, along with his unnamed Priest sidekick, head over to Dracula's castle with the intention of blessing it. While Mueller is exorcising the Count's abode, the other priest stumbles down a cliff and bumps his head, allowing blood to drip through the ice into the sleeping vampire's mouth. Finding himself unable to enter his newly blessed castle, Dracula seeks revenge on the Monsignor. Because this is a Hammer film, he does so by seducing the man's attractive, nightgown wearing niece.
Terence Fisher was originally supposed to direct "Dracula Has Risen from the Grave" but had to drop out suddenly at the last minute. This left long-time cinematographer Freddie Francis to step behind the camera. Francis had made numerously films before, including a few of Hammer's, look very handsome. His contribution makes "Dracula Has Risen from the Grave" one of the best looking of the series. Francis employs some psychedelic colors throughout the film. Before arising, Dracula's presence is suggested by yellow lighting at the edge of the frame. When biting one of his victim's, the screen around them glows bright red. As the sun sets on the film's final night, an amazing purple color dominates. The Bava-influenced color is distinctive but Francis still packs in some old Gothic atmosphere. A sequence in the middle of the film takes place on rooftops of the city, a novel approach. The fog-soaked black-and-white buildings might be some of the most memorable moments from the film.
As opposed to last time, Christopher Lee actually has dialogue. Though it's still kept to a minimum, he hisses and growls his way through several lines. Though Lee was reportedly disinterested in being in the film, just by standing there, he's still a threatening form. Rupert Davies steps into the role of the knowledgeable vampire hunter. He's more interesting then last time's Father Sandor. He has the same fallible quality that Cushing's Van Helsing had. Dracula roundly kills his butt during their one encounter. Ewan Hooper's unnamed priest fills the Renfield role. What's interesting is that he still feels guilt while under Dracula's control. Veronica Carlson is the film's resident eye-candy, looks incredible, and has decent chemistry with Barry Andrews as her boyfriend. Perhaps more interesting, though, is Barbara Ewing as Zena, the local bad girl that Dracula first turns into a vampire. Amusingly, she's jealous of Dracula pursuing another victim, wondering why she isn't enough.
"Prince of Darkness" kept its action small-sake and mostly inside Dracula's castle. "Risen from the Grave" returns the thrilling action element that "Horror of Dracula" had to the series. My favorite minor bit is when Drac leaps through a glass window, while there are plenty of carriage chases. The film is noticeably creative with its gore as well. At one point, Dracula is impaled with a fence post. Because a prayer wasn't said over his body – a new rule – he rises back up, pulling the stake from his heart. The Count has an especially spectacular demise this time, falling backwards onto a golden cross, impaled through the heart, and writhing in agony before he finally dies. "Grave" doesn't skimp on the scares either. Dracula cornering his female prey continues to be frightening and intense. Lee pushing Veronica Carlson unto the bed is blatantly a sexual violation. The film nails this home by having the virginal Carlson push her baby doll out of bed. As lovely as Carlson is, I think Ewing is sexier as the scantily clad bar maid.
Lee spends much of the film chilling in his coffin in the bar basement, waiting for his victims to come to him. When the Count is off-screen, the film instead focuses on Monsignor Mueller and the relationship with his niece and her boyfriend. Young Paul is an atheist. When he reveals this to the Monsignor, he's scandalized and bans Maria from seeing the boy. However, after Dracula starts feeding on the girl, and fights the older man off, he reveals Maria needs someone who loves her near by. Amusingly, she even sneaks out of her bed at night to be with him. The romantic subplots in these movies were frequently disposable but I actually rather like this one.
The combination of a neatly constructed screenplay, an interesting cast, a speedy pacing, colorful direction, and some decent scares, makes "Dracula Has Risen from the Grave" one of the best of the Dracula sequels. It's also got one of the best titles and probably my favorite movie poster of all time. "Obviously," as the tagline goes.
Once again, Dracula is dead and, once again, a holy man appears to tell the villagers to let go of their superstitions. In order to prove to the locals how dead Dracula is, Monsignor Mueller, along with his unnamed Priest sidekick, head over to Dracula's castle with the intention of blessing it. While Mueller is exorcising the Count's abode, the other priest stumbles down a cliff and bumps his head, allowing blood to drip through the ice into the sleeping vampire's mouth. Finding himself unable to enter his newly blessed castle, Dracula seeks revenge on the Monsignor. Because this is a Hammer film, he does so by seducing the man's attractive, nightgown wearing niece.
Terence Fisher was originally supposed to direct "Dracula Has Risen from the Grave" but had to drop out suddenly at the last minute. This left long-time cinematographer Freddie Francis to step behind the camera. Francis had made numerously films before, including a few of Hammer's, look very handsome. His contribution makes "Dracula Has Risen from the Grave" one of the best looking of the series. Francis employs some psychedelic colors throughout the film. Before arising, Dracula's presence is suggested by yellow lighting at the edge of the frame. When biting one of his victim's, the screen around them glows bright red. As the sun sets on the film's final night, an amazing purple color dominates. The Bava-influenced color is distinctive but Francis still packs in some old Gothic atmosphere. A sequence in the middle of the film takes place on rooftops of the city, a novel approach. The fog-soaked black-and-white buildings might be some of the most memorable moments from the film.
As opposed to last time, Christopher Lee actually has dialogue. Though it's still kept to a minimum, he hisses and growls his way through several lines. Though Lee was reportedly disinterested in being in the film, just by standing there, he's still a threatening form. Rupert Davies steps into the role of the knowledgeable vampire hunter. He's more interesting then last time's Father Sandor. He has the same fallible quality that Cushing's Van Helsing had. Dracula roundly kills his butt during their one encounter. Ewan Hooper's unnamed priest fills the Renfield role. What's interesting is that he still feels guilt while under Dracula's control. Veronica Carlson is the film's resident eye-candy, looks incredible, and has decent chemistry with Barry Andrews as her boyfriend. Perhaps more interesting, though, is Barbara Ewing as Zena, the local bad girl that Dracula first turns into a vampire. Amusingly, she's jealous of Dracula pursuing another victim, wondering why she isn't enough.
"Prince of Darkness" kept its action small-sake and mostly inside Dracula's castle. "Risen from the Grave" returns the thrilling action element that "Horror of Dracula" had to the series. My favorite minor bit is when Drac leaps through a glass window, while there are plenty of carriage chases. The film is noticeably creative with its gore as well. At one point, Dracula is impaled with a fence post. Because a prayer wasn't said over his body – a new rule – he rises back up, pulling the stake from his heart. The Count has an especially spectacular demise this time, falling backwards onto a golden cross, impaled through the heart, and writhing in agony before he finally dies. "Grave" doesn't skimp on the scares either. Dracula cornering his female prey continues to be frightening and intense. Lee pushing Veronica Carlson unto the bed is blatantly a sexual violation. The film nails this home by having the virginal Carlson push her baby doll out of bed. As lovely as Carlson is, I think Ewing is sexier as the scantily clad bar maid.
Lee spends much of the film chilling in his coffin in the bar basement, waiting for his victims to come to him. When the Count is off-screen, the film instead focuses on Monsignor Mueller and the relationship with his niece and her boyfriend. Young Paul is an atheist. When he reveals this to the Monsignor, he's scandalized and bans Maria from seeing the boy. However, after Dracula starts feeding on the girl, and fights the older man off, he reveals Maria needs someone who loves her near by. Amusingly, she even sneaks out of her bed at night to be with him. The romantic subplots in these movies were frequently disposable but I actually rather like this one.
The combination of a neatly constructed screenplay, an interesting cast, a speedy pacing, colorful direction, and some decent scares, makes "Dracula Has Risen from the Grave" one of the best of the Dracula sequels. It's also got one of the best titles and probably my favorite movie poster of all time. "Obviously," as the tagline goes.