Taste the Blood of Dracula (1970)

Off a dirt road in the northern part of Enid, Oklahoma, stood the Enid Drive-In Theater. During my youth, I remember spending many Saturday nights under the stars watching the movies that would foster my love for horror. Not all the movies were good, and we sometimes had to leave before the second feature because this child was falling asleep. Nevertheless, I distinctly remember the experience of watching some movies that became my favorites. One of these movies was Taste the Blood of Dracula.

Made about the same time as the latest Frankenstein sequel (Frankenstein Must Be Destroyed), Taste the Blood of Dracula was released in the United States on June 7, 1970.  I have no idea when my parents would have driven us to see it, but if we cross-referenced dates of stock car races at the nearby fairgrounds, we might be able to determine when.  You see, any movie at the Enid Drive-In on a Saturday night would have included the additional soundtrack of cars racing just across the road.  (The good part of that is when we went to the stock car races, I could climb to the top of the grandstand and watch whatever movie was playing at the drive-in!)

The point is, I would have been merely 7 or 8 eight years old at the time.  For a movie with “Dracula” in the title that barely featured the character, I was pretty darned scared.  I’m sure it was the ceremony in which the three members of an exclusive gentleman’s club, under the tutelage of the arrogant Lord Courtley (Ralph Bates), attempt to raise Dracula from the grave by drinking the vampire’s blood (hence the title) that frightened me.  Today, that remains one of the better scenes of the movie.

But the rest of the movie…  Well, let’s just say it’s not one of my favorites.  The aforementioned ceremony does not take place until 32 minutes into the movie, which means there’s a lot of exposition before that.  And since the main characters are three older men, it’s not that exciting an exposition.  There is a younger set of corresponding cast members, but their importance doesn’t become clear until later in the movie.  When it does, I must admit it made me appreciate the first 30 minutes more (and perhaps made me wish I had paid better attention).

What I like about all the Hammer Dracula sequels is the way they transition from one to the other.  Dracula is usually killed in a dramatic way at the end of one, then brought back to life in the next one from the very place the story left off.  The continuity of it all has always engaged me.  This is a different approach from the Hammer Frankenstein sequels, which were not always so literally connected.

In Taste the Blood of Dracula, a salesman named Weller (Roy Kinnear) stumbles into the ending of the previous sequel, Dracula Has Risen from the Grave and witnesses the vampire’s death.  Snatching up the “cloak, signet ring, clasp” and some of his powdered blood, these become the “relics” he can later sell so that Dracula can be brought back to life during a black mass.

Supposedly, Christopher Lee was not going to be in this movie.  Instead, Ralph Bates was going to become the Prince of Darkness after the black mass.  However, the movie could not be financed without Lee, so this explains the disappearance of Lord Courtley when Dracula appears.  It also gives the purpose for the rest of the plot.  As Dracula states, “They have destroyed my servant… They will be destroyed.”

And so, Dracula begins a variety of attacks on the three men and their offspring.  Sometimes he commands the lovely Alice (Linda Hayden) to do his bidding and sometimes he performs the attacks himself.  In either case, he concludes a death by counting down… “the firrrst”, “the seeecond” and “the thirrrd”.  And that’s about as much dialog as Dracula has.  Regardless of the amount of screen time, it can be argued that Lee’s presence as Dracula still resonates throughout the movie.  It’s almost more suspenseful to see what the monster will do to exact his revenge by using other people as his puppets.

As long as there’s a big finale with Dracula, I think it’s fine.  And Taste the Blood of Dracula has a pretty good one (although not my favorite of the sequels).  Young hero Paul (Anthony Higgins) strips the altar and lays down white cloth and candles.  Trapping Dracula inside the abandoned church, he’s forced to the rafters where a cross in the stained glass burns his back and begins the choreography of his eventual demise.

There aren’t as many familiar names behind the scenes in Taste the Blood of Dracula as in most other Hammer films around this time.  This was when the public’s taste was changing and the studio was beginning to focus more on the “Hammer Glamour” aspects of its movies.  This was the first of four movies Peter Sasdy would direct for Hammer.  And the reigns of art direction were taken by Scott MacGregor.  After the next sequel, the remaining two would find Dracula in modern times.  Even though this one takes place in horse and buggy days, it has a more 60s feel, particularly within the seedy nightclub where the gentlemen’s club meets.

I’m not as fond of the Hammer Dracula movies as I am of the Hammer Frankenstein movies.  While Taste the Blood of Dracula has direct ties to my childhood, it’s not a movie I enjoy revisiting very often.  It’s not horrible by any means, but I do like some of the others, even the later ones, better.

Tomorrow:  House of Dark Shadows!

Frankenstein Must Be Destroyed (1969)

We can likely credit my love of Hammer Films to the first two of them I saw when I was growing up: Frankenstein Must Be Destroyed and Taste the Blood of Dracula.  As an adult, these may or may not remain my favorite Hammer horrors; nevertheless, they burrowed into my heart and made a permanent spot for the famous “Studio That Dripped Blood”.

One Friday night, either on March 10, 1972, July 19, 1972, or November 23, 1973, I first watched Frankenstein Must Be Destroyed on the CBS Late Movie.  To be honest, I don’t know that I remember actually watching the movie as much as I remember the short teaser commercials CBS ran for it, as well as the ads in TV Guide.  I was either 9 or 10 years old and would have had to ask my parents’ permission to stay up that late.  (Then, I would likely have fallen asleep during the movie.)

I’ve watched Frankenstein Must Be Destroyed several times over the years, but had to refresh myself recently in order to accurately write about it.  Of the Hammer Frankenstein movies starring Peter Cushing, this is the fifth, and it remains one of the best.  While I haven’t had current viewings of the others to compare, this is likely one of the most monstrous portrayals of Baron Frankenstein by Cushing that you will see.

In the course of its 101-minute running time, Frankenstein shows all his flaws, which include pride, contempt, relentlessness, lying, thievery, vanity, need for control and, of course, a God complex.  Early on, as he overhears his colleagues talking about the institutionalized Dr. Brandt, he can’t help but interrupt them, “I didn’t know you were doctors.  I thought you knew what you were talking about.”

He continues, “Had man not been given to invention and experiment, then tonight, sir, you would have eaten your dinner in a cave.  You would've strewn the bones about the floor then wiped your fingers on a coat of animal skin.  In fact, your lapels do look a bit greasy.  Good night.”  That’s just one example of the sharp dialog in the only screenplay that occasional Hammer assistant director Bert Batt ever wrote.  Well, Batt is credited, but I wonder how much producer Anthony Nelson Keys had to do with it; he’s co-credited for the story with Batt.

Most of the personalities involved in Hammer production during its peak of popularity were involved with Frankenstein Must Be Destroyed.  It was directed by Terence Fisher (his next-to-last movie for Hammer) and utilized Arthur Grant (Director of Photography), Bernard Robinson (Art Direction) and James Bernard (Original Music).  The team seems to have been firing on all cylinders because this is one well-staged, suspenseful movie that clips along at a perfect pace.  It is very entertaining with a particularly well-crafted opening.

What I like about most of the Hammer Frankenstein sequels is that although they usually end up with the creature becoming the Baron’s downfall, the path to arrive at that point is usually different.  Here, vital information Frankenstein needs is buried in the insane mind of Dr. Brandt.  He thinks he can cure him by relieving the pressure on his brain, but when Brandt suffers a heart attack during a harrowing escape from the institution, Frankenstein must first transplant his brain into another body so he can then successfully perform the procedure.

One thing I like about Frankenstein Must Be Destroyed is that the result of the experiment is not a failure; he does not create a monster.  Instead, he simply awakens Dr. Brandt in the body of another man.  Of course, Brandt is not particularly happy about this, but it does keep the idea crystal clear that Frankenstein is the only monster here.

A controversial scene in the movie is when the Baron attacks the woman (Anna, played by Veronica Carlson) in whose boarding house he resides.  After blackmailing her and her fiancée to harbor and assist him, he wanders by her room one night and throws himself upon her.  Cushing supposedly hated this scene and Fisher was supposedly forced by the studio to include it.  Even though it’s not mentioned in the movie after it happens, I think it makes sense to include it.  We seldom see the Baron in a sexual situation.  But, they say that rape is not sexual; it’s about anger and control.  Therefore, it perfectly fits Frankenstein’s modus operandi.

I also like the idea that in the age of horse and buggy, unless you actually encountered someone, you wouldn’t know what he or she looked like.  This allows Frankenstein to wander among his peers unnoticed.  When Brandt’s wife thinks she recognizes him on the street, she has only a caricature of him in an editorial cartoon in the newspaper to make a proper identification.

While relatively bloodless, Frankenstein Must Be Destroyed is nevertheless gruesome.  With clever use of both camera and sound, the mostly unseen brain transplant scene is nearly unbearable.  Close-up on Cushing, we can tell he’s making an incision around Brandt’s scalp.  Pan down, we see a bloody ring around his head.  Cushing then grabs a bone saw and places it along the ring.  Pan up as Cushing begins sawing.  We hear the horrible sound.  Pan down, Cushing begins to twist the top of Brandt’s head.  Pan up, the expression on Cushing’s face tells us he’s removed it.

Part of his portrayal of Frankenstein that makes Cushing so brilliant is that among all his bad behavior, he’s always a proper gentleman.  Dressed impeccably, following murder, rape or surgery, he still expects to follow social graces.  Staying at the boarding house, he tells Anna he expects his tea at 7:00 sharp or that he wants two soft-boiled eggs first thing in the morning.

Nearly equal to the terrific opening sequence is the finale, although the actual end of the movie is slightly abrupt.  Brandt lures the Baron into a game, telling him that the answers he seeks are behind one of the doors off the foyer.  As Frankenstein attempts to open each door, Brandt throws a lantern at him.  Having previously spread fuel throughout the house, this eventually creates a conflagration that traps both men inside the burning house.

Regardless of any childhood memories attached to Frankenstein Must Be Destroyed, I continue to truly enjoy it.  Although it’s technically a sequel, if stands on it’s own.  In fact, I’m pretty sure the explanation given for the Baron’s whereabouts before this movie does not describe the events of the previous sequel, Frankenstein Created Woman.  Not all sequels are this good.  Not all Hammer films are this good.  Heck, not all movies, period, are this good.

Tomorrow:  Taste the Blood of Dracula!

Countdown to Halloween 2014

When I participated in Countdown to Halloween in 2012, my focus was an investigation into why I like horror films.  Here is how I began my first post on October 1, 2012:

Not too long ago, I watched a particularly awful horror movie and, for the first time in my life, I had to ask myself, "Why do I watch this garbage?" The plot was predictable, the acting was bad and the violence was excessive.  When I realized those are the characteristics of many horror movies, I began to seriously question why I love them so much.

I spent the rest of the month exploring that question, but was unable to come to any definitive conclusion.  It turns out there are several reasons, one of which is that my love for horror movies developed in my formative years: the 1970s when I was in the range of 7 to 16 years old.  This year, I am going to dig deeper into the era of the 1970s.

There are movies I remember and love from the 70s.  However, I haven't watched them since then.  How do they hold up over 40 years later?  I haven't re-watched them because I was afraid they would be awful.  But I'm forcing myself to do it with more than 30 movies that I will use this forum to evaluate, both from the eyes of an eager, energetic child and the eyes of a wiser, more tired adult.

And, as usual, I will include in my thoughts the experiences I had as a young child going to these movies.  I remember them as if they were yesterday… well, that's not exactly true.  I can't remember yesterday as well as I can remember the early 1970s!

When you join me on this journey, you'll read about movies like Taste the Blood of Dracula, Willard and The Stepford Wives (plus 27+ more).  But you'll also read about going to the drive-in to see many of these movies when I was growing up in Enid, Oklahoma; my parents escorting me to many of these movies; and, even dropping me off alone to see them when my impatience must have been driving them crazy.

        

If that isn't enough to intrigue you, you'll also learn exactly what a "hagsploitation" or "psycho-biddy" movie is.  It's going to be a whole lot of fun, whether you are a horror movie fan or not.  Please join me every day in October for the Countdown to Halloween.

Tomorrow: Frankenstein Must Be Destroyed!

Thoughts On Turning 50

About this time last year, I started planning a cruise for my 50th birthday.  My friends and family seemed excited and told me they were "on board" (pun intended) for the experience.  But as the months passed, they  began bailing on me for various and mostly understandable reasons.  It was with mixed feelings that I officially cancelled the cruise following Michael's heart scare incident in Pittsburgh.  Truly, we didn't know at that point what his condition would be for a departure date of February 18.

Had so much not been going on at the time, I may have thrown a pity party for myself.  I didn't want to be selfish, but years of letting my mind go down perilous paths, I glanced toward the road of "if they really wanted to be with me on my 50th birthday, they would".  I mean, Jeff and Raul snapped their fingers and drew a large crowd for his birthday last year.  I guess I didn't have enough friends (or the right kind of friends) to be able to do that.  Poor me.

No offense to those who were still planning to go.  It would have been a great time, surrounded by a few friends and some of my family.  But it honestly would not have been the birthday I originally wanted to celebrate.  As it turns out, I got exactly what I wanted by staying right here in Kansas City!  Our friend Jack suggested a joint birthday party for me and Gerald in the "nest" at 75th Street Brewery.  It had been done before, but rather than plan nothing at all, I agreed to do it.

Little did I know it would be a catalyst for bringing all of my family together for the weekend.  It was absolutely the best gift I could ever receive!  Kate and her boyfriend, Pete, flew in Saturday morning and we spent the day with Michael and his mother.  Mom, Dad, Jay (plus surprise guest Adrian) and the Siegels arrived that evening.  Some experienced my debut as host for Downright Creepy's Remake/Rewind movie screening, but we all enjoyed brunch the next day and attended the party at 75th Street Brewery.

While that was all I could ask for my birthday, the icing on the cake (literally) was the theme for my 50th birthday.  Take a look at this beautiful cake!  While Barnabas Collins cried that he was turning 50, I cried in excitement as I opened my present.  Everyone chipped in to buy something I would never buy for myself, but would nevertheless enjoy for my next 50 years: the complete Dark Shadows series on DVD; yeah, that awesome set of 131 discs that comes in a giant coffin.

 

So how do I feel about turning 50?  Well, I feel like I've reached a true landmark, but not because of my age.  Instead, it's because I am perhaps the happiest I've ever been.  I've been with a loving partner for 14 years now (we celebrated our anniversary on the 19th) when I never conceived being with someone for more than 5 years!  I adore my job and, for the first time I can remember, am not even thinking about a different one!  (They seem to like me, too, and I feel truly appreciated.  I didn't think that was supposed to happen at work.)

Further, I actually have an outlet for writing!  The website has turned into more than a hobby for me and has given me great opportunities (for example, I'm going to Comic-Con again this year).  My brother thinks it's fantastic that I have something other than work in my life that I honestly enjoy doing.  I feel like I have more ahead of me and can go with it wherever I want.  (Jay and Adrian think I should become a local horror host, but I want to write a book.)

I was telling people that by turning 50 I was only "halfway there".  But that statement suggests that it's all downhill from there.  I do not feel like I am 50 years of physical age, so who's to say I'm not even halfway there yet?  No, I'm not as energetic as I have been in the past, nor is my mind the receptacle of memories that it used to be.  But I do feel like the future is wide open and full of possibilities.  In that sense, I've recently celebrated "just another birthday".

At the screening Saturday night, Tim announced to the audience that I was turning 50.  At first, I wished he hadn't said my age.  But afterwards, someone said, "You're not really 50, are you?"  "No," I said, "Tim was just giving me a hard time."  To which she replied, "I didn't think so.  You don't look anything like 50."  You know, the specific age doesn't really matter; it's the perspective on it.  I remember more traumatic birthdays on my 30th and 40th.  Maybe it's true that I'm not getting older; I'm getting better.

In any case, I can't wait to see what happens next...

With thanks to: Gene Owens, Karine Owens, Jill Siegel, Jeff Siegel, Brooklyn Siegel, Jay Owens, Adrian Castillo, Kate Owens, Pete Sahlberg, Michael Lendabarker, Mari Ann Lendabarker, Karen Hall, Jack Harris, Gerald Hughes, Jason Chaffee, Tim Canton, Eric Havens, Eric Kuhl, John Swan, Jeff Deutsch, Maria Leslie, Natalie Leroy, Cathy Weigel, and everyone who wished me a happy birthday on Facebook.