Review for Dracula - Prince of Darkness

Because Hammer is something of a British institution, and because of my own experiences at Bray Studios, it's easy to start discussing a Hammer release by specifying the parts of which it is a sum, rather than simply as a film. So by way of saving me from myself I'll start by saying that, as films go, this is actually a very fine one. It's a compelling and creepy watch and though Christopher Lee utters not a single word, his screen presence as the Count is immense. Unlike many other Hammers from the era, it's actually pretty creepy too with some quite extreme (implied) violence and genuine thrills.

Which simply leaves me to start deconstructing the parts that culminated in one of Hammer's most popular and, in my view, most exciting outings.

Let's be clear. 'Dracula - Prince of Darkness' is the quintessential Hammer horror, ticking off each and every defining feature of what was to become a genre in its own right. A remote castle, frightened villagers, a vampiric Count, an Igor styled sidekick, visitors lost in woods having to stay overnight, plenty of blood-sucking eroticism, hints of lesbianism and on the list goes.


Interestingly, despite its seemingly high production value, it was one of four budget films produced almost simultaneously by Hammer, re-utilising locations and studio sets, costumes, actors and crew, to get the Hammer finances in good order.

It's the second Dracula film from the studio and Lee's reappearance in the film doesn't happen for 40 minutes and when it does it's set up by the most gruesome of scenes where a suspended victim has their throat cut so that their blood runs into Dracula's grave to resurrect him. And what a resurrection!

The script is a bit slight and centers on two couples who are exploring the region where Dracula's castle lies. But Barbara Shelley's excellent performance as a whittling worrier and Philp Latham's turn as the Count's faithful servant keep the film in good form until the Count arrives and the real fun begins.

There's no Van Helsing here (Peter Cushing in the first film) though luckily there is a vampire -slaying monk to hand to bring the film to a satisfying close. Christopher Lee's blood-shot eyes and bloodied teeth are used to great effect throughout and to this day, the film provides most the iconic stills published of Lee's Dracula.


It's a nice transfer though occasionally lacking deep contrast which is surprising given the repair job undertaken. Surely some judicious grading could have improved this? Audio-wise it's a crisp mono soundtrack though there appeared to be occasional synch-issues. (I don't know whether these were from the transfer or the print but it was surprising that they weren't corrected whatever the case). Never enough to completely spoil enjoyment but noticeable nonetheless.

The extra features are well worth a look. First up is a fun documentary that features Marcus Hearn and huge Hammer fan Mark Gatiss who clearly adores the film. Matthews and Shelley are also included and their recollections are really great to hear.

A nice extra feature is a 'World of Hammer' episode focusing on Lee which is narrated by Oliver Reed and is a good reminder just how prolific an actor Lee was for Hammer in its heyday.

There is some behind-the-scenes super-8 footage (shot by Matthews's brother); a restoration comparison, some trailers and some alternate titles.

No Hammer fan will want to be without this edition of one of the studios most iconic films and frankly, the extras alone should convince most that this is well worth the purchase price.