Dracula: Prince of Darkness (1966) - Festival Review

The origin of vampires requires a detailed analysis, checking off historical mentions in Mesopotamian times, through to their roots in Sheridan Le Fanu's 'Carmilla' (1872), not to mention the influences from archaic figures such as Vlad the Impaler and Elizabeth Báthory. The beast that we have come to know and both fear and love today primarily sees its beginnings in Bram Stoker's infamous text, 'Dracula' (1897). In the ensuing years after Universal Pictures' success with their 1931 take on Dracula, the British founded Hammer Productions, saw fit that they should carry on from their horror-themed success with 'The Curse of Frankenstein' (1957), and proceeded with their own retelling of the bloodthirsty Count. As such, director Terence Fisher and writer Jimmy Sangster birthed '[Horror of] Dracula' (1958). The feature revolutionised the vampiric spirit of horror, setting a precedent for decades to come, thereby setting up a long legacy of Hammer vampire films. 

What is now known as the unofficial sequel, 'Dracula: Prince of Darkness' (1966), drew from its predecessors and created a lore for Hammer monsters that was drenched in an animalistic-like primitiveness, which showcased Dracula with an exuberant and frightening appeal. The film helped catalyse the entire Hammer Dracula franchise, spawning 9 films and entertaining generations for years to come. 

The classic film opens with Count Dracula (Christopher Lee) running through his sprawling castle as arch-nemesis, Doctor Van Helsing (Peter Cushing) chases after him. A battle ensues, leaving the bloodsucker to be eviscerated by the blazing sunlight hidden behind a veiled crimson curtain. Dracula, now burnt to a crisp, lies diminished as the iconic Hammer title credits erupt on the screen with a booming orchestral score swelling in the background. However, in typical monstrous form, The Count's reign of terror is yet to cease after his devout servant Klove (Philip Latham) plans to resurrect his maestro. Hatching his plan, he subliminally entices a group of English tourists to Dracula's lair, where, unbeknownst to them, they will act as a feed to ritualistically awaken the Prince of Darkness himself. 

Prince of Darkness is home to some of the franchise's best moments, one being the scene where Dracula arises from his coffin after Klove's ritual. The scene begins with the hanging of one of the unlucky tourists (Charles Tingwell), showing their lifeless body dangling over a tomb where Dracula's ashes are scattered. Klove then proceeds to violently slash their neck. As expected, the wound sprays and paints the tomb with that quintessential 'Hammer red' blood, showing the bright viscera gushing over the dusty remains. The ghastly concoction of life and death combines, revealing a cindered, fleshy corpse lying in wait, first forming a skeleton, then gradually blooming a full-bodied Dracula. The scene is the physical embodiment of horror. It captures the never-ending, cyclical nature of monstrosity, with the film establishing that Dracula will never fully die, his horror will infinitely haunt the grounds in body and spirit. In the broader sense, how the sequence of events transpires also speaks to the incredible and chilling visual composition of the scene. 

The witnessing of the grotesque corpse experiment, a corporeal metamorphosis, is not only a step in confirming that Dracula is dread reincarnated, but also a testament to the creativity of 1960s filmmaking, a peek into the innovative zeitgeist of the time. With small budgets and a near total lack of the effects available at hand today, the imagery of Dracula's awakening was performed using practical makeup and camera dissolves, where the various shots of decomposed bodily tissue would be overlapped on film, creating the organic feel of Dracula becoming whole. 

In line with this process of filmmaking, a further element of note arising from this scene is Dracula's characterisation. In the opening prologue, while detailing the concluding events of Dracula (1958), the Count utters a few lines of dialogue; however, when the narrative for Prince of Darkness begins, Dracula remains completely silent. Rumours have been batted back and forth for years regarding this code of silence. It is known that Lee states that the dialogue originally written for his reprisal was of poor quality and not worthy of the otherwise great script. Whereas, returning director, Fisher, has commented that Dracula was always written to be mute throughout the film, a proactive choice in favour of letting the character appear truly unearthly and smothered in unapproachable otherness. Either way, the quietness is one of Prince of Darkness' most crucial aspects, as it does indeed create an air of uncomfortable unease as Dracula goes about murdering and slaying an array of victims whilst not voicing a single sentence. 

Retrospectively, the Hammer reign of Dracula films all ooze a peculiar yet alluringly sensuous motif. Within this prowess of Hammer horror lies the long-held understanding that the sultry vampiric form was primarily instigated by the Prince of Darkness's suggestive power dynamics that occur throughout. One of the many instances of this in action sees Dracula lock the door where his guest, Dianna (Suzan Farmer), is staying. He proceeds to hypnotise her with his bloodshot, vampiric eyes. Gaze locked in, he creeps towards her, demands her crucifix be removed and bares his chest, before slitting it open and allowing blood to pool. In a moment of embrace, he guides Dianna towards his chest; however, an ill-timed interruption halts his practice. The interplay of eroticism with exchanges of power - Dianna drinking Dracula's blood - all tie together to form a film that massively contributed to the subgenre of gothic horror. 

Prince of Darkness thrives on its many commendable aspects, whether that be its beauty of sprawling sets designed with shadowy candles and elaborate pieces, or its playful thematics of provocative gothicness. With the original release date being January 1966, the film is nearing its 60th anniversary, a celebratory feat of a beloved classic. Although decades upon decades have passed, Prince of Darkness remains an absolute diehard fan favourite from both vampire horror and from the entire catalogue of Hammer Productions. 

Catch 'Dracula: Prince of Darkness (1966)' on Friday, 26^th September at 17:00 at this year's Dead Northern Film Festival 

Buy your tickets to the festival below! 

Click here for the latest reviews, news and genre content!