Dracula Has Risen from the Grave (1968)

When Castle Dracula is exorcised by the Monsignor, it accidentally brings the Count back from the dead. Dracula follows the Monsignor back to his hometown, preying on the holy man's beautiful niece and her friends.

Director:

Freddie Francis

Writers:

Anthony Hinds (screenplay) (as John Elder), Bram Stoker (based on the character created by)

Stars:

Christopher Lee, Rupert Davies, Veronica Carlson

1 nomination.

Cast

Complete credited cast:
Christopher Lee	...	Dracula
Rupert Davies	...	Monsignor
Veronica Carlson	...	Maria
Barbara Ewing	...	Zena
Barry Andrews	...	Paul
Ewan Hooper	...	Priest
Marion Mathie	...	Anna
Michael Ripper	...	Max
John D. Collins	...	Student
George A. Cooper	...	Landlord
Christopher Cunningham	...	Farmer (as Chris Cunningham)
Norman Bacon	...	Boy

Storyline

When his castle is exorcised, Dracula plots his revenge against the Monsignor who performed the rites by attempting to make the holy man's young niece his bride.

---

Plot Keywords:

monsignor | castle | dracula | revenge | village | 

---

Taglines:

You just can't keep a good man down.

---

Genres:

Drama | Fantasy | Horror | Romance

---

Certificate:

G

Details

Country:

UK

Language:

English Latin

Release Date:

6 February 1969 (USA)

Also Known As:

Draculas Rückkehr

Filming Locations:

Black Park Lake, Black Park, Iver Heath, Buckinghamshire, England, UK

Company Credits

Production Co:

Hammer Films

Technical Specs

Runtime:

92 min

Sound Mix:

Mono

Color:

Color (Technicolor)

Aspect Ratio:

1.85 : 1

Did You Know?

Trivia

According to the inscription on the marker ("Gisela Heinz 1885 - 1905") of the just-stolen coffin, the date of the action in this film is within a year or so of 1905.

---

Goofs

After Dracula has dissolved into dust, the castle is seen as very far away. Yet, right before he is impaled, he fell from the front of the castle and onto the cross that was tossed below.

---

Quotes

Paul: [the Monsignor is asking Paul about his church affiliation] I don't go to church, sir.
Monsignor Ernest Mueller: [Surprised] You don't go to church?
Paul: No, sir.
Monsignor Ernest Mueller: You're not a Protestant, are you?
Paul: No, sir.
Monsignor Ernest Mueller: Thank heaven for that!
Paul: [a bit hesitant] I am an atheist, sir.
Monsignor Ernest Mueller: [Taken aback] I beg your pardon?
Paul: I'm an atheist, sir.
Monsignor Ernest Mueller: You mean you deny the existence of God?
[...]

---

Alternate Versions

The UK cinema version was cut by the BBFC to remove some closeup shots of Dracula pulling a stake from his heart. Later video and DVD releases were uncut.

---

Connections

Featured in The Props That Hammer Built: The Kinsey Collection (2012)

---

Soundtracks

Students' Beer Song
(uncredited)
Written by Tony Colton and Philip Martell

User Reviews

Dracula is back!

Sporting the ultra camp title - "Dracula Has Risen From the Grave", this is a solid entry in Hammer's Dracula series. What I love about Hammer is that they aren't afraid to take an existing story and play around with it to create something new. Even if the idea behind is less than brilliant and most studios would have shied away, Hammer approach it with gusto, and the results are always good natured, easy viewing that's hard to dislike. This film follows Count Dracula as he is resurrected shortly after the priest, Ernst Muller, exorcises his castle. Dracula doesn't take this sort of behaviour lightly, and so decides to take on revenge on the holy man - by taking his niece as his bride!

Dracula is one of the greatest characters ever to be written and portrayed on screen, and it's also one that Christopher Lee has become famous for playing. Unfortunately, Christopher Lee doesn't have a great deal of screen time in this flick; but every moment he is on screen is a highlight and, as usual, he does well with the role and proves that he is the only man other than Bela Lugosi to do it right. Freddie Francis (Dr Terror, The Creeping Flesh) directs this film and succeeds in creating a morbid and fascinating atmosphere that bodes well with the subject material on hand. The film is stylishly shot, and features some of the best use of lighting ever seen in a Hammer film. The camp style that the studio is famous for is here by the bucket load too, and that can only be a good thing. This is hardly Hammer's finest hour, however; the film is relatively slow to start, and the story isn't the most inventive ever to come from the studio - but Hammer fans will enjoy it, and I would have no qualms with recommending this as a decent waste of your time.