The Brides of Dracula

Following the extraordinary success of “Horror of Dracula” (1958), British Hammer Films proceeds with the sequel, encouraged by Universal Pictures, with which it had signed a contract in March 1958 allowing Hammer use of Bram Stoker’s characters in exchange for granting Universal a substantial share of the distribution rights for the films.

Despite a troubled pre-production phase that saw three different screenwriters come and go, the end result is extremely interesting, so much so that numerous critics and fans consider the film to be among Hammer’s greatest achievements. Terence Fisher’s skillful direction masterfully exploits Bernard Robinson’s atmospheric production design and the sublime perfection of Thomas Goswell’s art direction to depict a sinister and decadent world imbued with unspeakable, ancestral horrors. Indeed, “The Brides of Dracula” represents a true triumph of the refined Gothic cinematography that will characterize horror for the entire decade.

The atmosphere is the true star of the mystery-charged first reel (particularly memorable are Yvonne Monlaur’s nocturnal forays through the Meinster castle halls in her fluttering gowns), and then Peter Cushing appears, lighting up the screen with a great performance, right at home as always in the role of a Van Helsing accustomed to confronting the phenomenon of vampirism with a precision worthy of his positivist approach. Misleading title aside, Dracula’s absence seems a courageous and even logical choice (the count had been incinerated in the prior film, after all), and it doesn’t undermine the film’s overall quality.

The wait will be a good six years before the next chapter, “Dracula: Prince of Darkness” (1966), hits the screen. To mark the occasion, the king of the bloodsuckers will finally return, having been granted the first in a long series of resurrections.