Two of Britain’s most beloved actors, Christopher Lee and Peter Cushing, face-off in this classic Hammer horror.
The story of Dracula is a universally frightening one. Cultures as far back as the ancient Romans and Mesopotamians, and as far across the world as Asia and across the Pacific to the Americas, all have vampiric legends intertwined into their folklore. It was no wonder, then, that these legends – and in particular one of Prince Vlad Tepes, or Vlad the Impaler – should inspire artists in pursuit of the mysterious and macabre.
Undeniably the most famous would be Bram Stoker’s Dracula, an 1897 novel about Count Dracula of Transylvania. This piece of fiction not only became a cornerstone of gothic literature, but has inspired countless films. In 1922, Nosferatu, which was based loosely on Stoker’s novel, was the first ever vampire movie produced. The most famous version would come in 1931 when Bela Lugosi starred as the Prince of Darkness. In my opinion however, it is in fact the 1958 Hammer horror version that really shines.
Although the 1958 version of Dracula is, again, based only loosely on the novel, it follows the classic story of Dracula that every single person on earth must have heard at some point. The story is, in fact, so well known that even people who have never read the novel or watched the films know the basic plot. What makes the 1958 version stand out is just how gorgeous it looks, with outstanding performances from Christopher Lee as Dracula and Peter Cushing as a much-more-versatile-than-in-the-novel Doctor Van Helsing.
Lee really excels as the Count in this film. He is imposing enough at six-foot-five, but his portrayal has such menace that he gives not only the character, but the whole film, a brilliantly dreadful atmosphere. There is also a potential suave sexuality to the vampire, suggesting his danger would be attractive to women which adds another layer of personality to the character. I would argue that Lee’s take on the villain is the best there has ever been. He seems to have been born for this role – although very little that he touched didn’t turn to gold.
Opposite Lee, Peter Cushing plays our hero, Doctor Van Helsing. Cushing’s performance contains a refreshing energy to the character, with more action allowing him to show off a definite courage in the fight against evil. This is a man driven by the fight for good with a strong sense of faith – not unlike another of Lee’s cinematic counterparts of Sergeant Howie in The Wicker Man. Unlike the ill-fated Howie, Cushing’s Van Helsing is a worthy adversary for the film’s antagonist. To have two of the greats of British film in one movie allows both actors to explode.
Aside from Lee and Cushing, side performances are relatively forgetful, but not much could stand up to the lead characters. What is noticeable, however, is the way that Dracula looks and feels. Hammer Film Productions were ingenious in their use of colour and lighting, allowing the atmosphere to remain spookily gloomy, whilst the deep blood-reds could still burst off the screen. It utilises all of the classic settings that you would expect – a largely decrepit castle, impenetrable forests and eerie crypts, but it never feels stale. In fact, I think the reliance on varying intensities of colour means that whilst this film looks old, it doesn’t feel dated. Sure, the blood is more like ketchup than actual blood, but who cares? It just looks fantastic.
This is a much more entertaining take on Dracula. Whilst Lugosi’s character is iconic, and the film suitable atmospheric, it can feel a little… cold. Dare I say boring? This version has a much bigger feeling of adventure surrounding it, with an ending worthy of any swashbuckler. It is certainly of it’s time, but remains exciting to this day.
Whilst the performances and design of Dracula are notable, this film isn’t necessarily scary. In some ways, you might hate this. You might want to be terrified after the house lights go up, but I think this is also a great film to watch with the whole family on Halloween night. It should give your little ones a scare, but it’s not going to be traumatising and that’s why this is so damn rewatchable. It’s a great piece of escapism and after-all, isn’t that what cinema is really all about? For every piece of social commentary there needs to be the unashamed brain-entertainment to counter it. Dracula is one of those films. You know the story, but it’s just so enjoyable to watch again and again.
Dracula also feels a fitting end to this month’s horror film reviews in the lead up to Halloween. The infamous vampire is, alongside Frankenstein’s Monster and innumerable varieties of cat women, the poster boy of the season. There is no supernatural villain more iconic. The story of Dracula has captivated us since 1897 and even further back in myths and legends, but I believe the 1958 Dracula is the place to start your journey into the world of the icon.
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