ferbs54 The title is something of a misnomer. As the story goes, following the worldwide success of Hammer Studios' "The Horror of Dracula" in 1958, star Christopher Lee decided that he did not wish to participate in any possible sequel, fearing that he might be later typecast in the vampiric role. Thus, despite the sequel's title, "The Brides of Dracula" not only does not feature Lee's participation at all, but the world's most famous neck nosher is nowhere to be found. Rather, what the viewer gets here is another Transylvanian vampire, an acolyte of Dracula's dark religion, if you will. But the results, even without Lee, are still most impressive, and even though Lee would later return in the following decades to appear in no fewer than six Dracula films for Hammer ("Dracula, Prince of Darkness" in '66; "Dracula Has Risen From the Grave" in '68; "Taste the Blood of Dracula" and "Scars of Draula" in '70; "Dracula A.D. 1972 in, uh, '72; and "The Satanic Rites of Dracula" in '73), "Brides," released in July 1960, remains one of the very best of the bunch.In the film, a beautiful young teacher, Marianne Danielle (French actress Yvonne Monlaur, who, that same year, would appear in another famous fright outing, "Circus of Horrors"), travels into the wilds of Transylvania to begin her new job at a school for young girls. When her coach driver abandons her at a local tavern, she accepts the offer of the Baroness Meinster (a most impressively imposing Martita Hunt, perhaps best known to viewers as Miss Havisham from 1946's "Great Expectations") to spend the night at her nearby castle. Once there, Marianne espies, from her balcony window, a young man, who she later learns is the Baroness' supposedly invalid son (and played by the handsome, blonde David Peel). Marianne ventures into the forbidden part of the castle to talk to the young man, only to learn that he is shackled by the leg and desperate for his freedom. Thus, the softhearted girl steals into the Baroness' room and steals the key to the young man's chains, later effecting his release. But little does the young woman know that the Baron Meinster is actually an undead bloodsucker, and that his release will lead to a new scourge of nightly depredations in the village. Fortunately, for one and all, the village priest had already become suspicious of the Baroness and her castle, and had sent for one Dr. Van Helsing (the great Peter Cushing, reprising his role from the earlier film, and who, just a few months earlier, had appeared in the undersung, literate horror offering "The Flesh and the Fiends") to come to their aid....Strangely enough, despite Lee's nonparticipation with this vampire sequel, his absence is never truly missed, as the film manages to keep the viewer otherwise riveted and entertained. Director Terence Fisher, who had helmed the original film, does his usual sterling best at creating atmosphere, and the picture boasts some impressive sets (the Meinster castle is a thing of truly awesome beauty) and fine production values. Marianne makes for an appealing heroine, both gorgeous to look at (those lips might give even Angelina Jolie cause for envy!) and surprisingly spunky overall; impressively, she does not scream once, even when her fellow teacher, Gina (actress Andree Melly), rises from her coffin as the newest, toothsome inductee of the undead. Cushing's Van Helsing, needless to say, is wonderful, as always: supercool, urbane, intelligent, unflappable, and truly, anyone's idea of the idealized vampire fighter. The 47-year-old actor even gets to do some impressive physical stuntwork in the film (jumping off of a high porch, hanging from the vane of a windmill, and engaging in rough-and-tumble fighting with the Baron). I might add that the Baron himself is eliminated at the film's conclusion in a most ingenious manner (no mere staking through the heart here!), and that the film contains any number of impressive sequences. Favorites for this viewer include the highly atmospheric sequence in which Marianne and the Baroness converse over dinner in the castle, the one in which Gina reawakens and bares her fangs, and, perhaps most memorable, the one in which Van Helsing is bitten in the neck by the Baron, and is forced to cauterize his wound with a red-hot brand. Ouch! Another moment that I highly appreciated: When Marianne says to the Baroness "God bless you," and the Baroness murmurs in reply "If only He could...." Actually, I only had a single quibble with this film, and that is the matter of the Baron being imprisoned with shackles by his mother. But if the vampire Baron can easily turn into a bat at any time, would a leg manacle actually be an effective means of retainment? But this single cavil aside, "The Brides of Dracula" remains a very fine offering from the legendary House of Hammer....

Wizard-8 "The Brides of Dracula" is considered by many fans of the Hammer studio to be one of their best efforts. To some degree, I can understand why. First of all, the movie looks very nice, with excellent production values and professional photography. As the vampire hunter, Peter Cushing gives another solid performance, coming across as believably skilled and cunning against his foes. And the movie has a pretty good climax that you'll remember for a long time afterwards.But at the same time, I couldn't help but notice some flaws, namely with the script. The first thirty or so minutes are pretty good, fast-paced and with a lot going on. But after the thirty minute mark, there are a number of long and slow bits where little to nothing important is happening. Some actions from the characters are a bit hard to swallow, like how the heroine decides to free the Baron from his being chained up after talking to him for just a minute or two. And it's odd that the vampire Baron actually doesn't appear that much in the movie despite him being the main threat.Don't get me wrong - if you are a fan of Hammer horror movies, you'll probably enjoy this particular production. But if you are unfamiliar with Hammer, I would suggest you first watch some of their other (and better) productions to get an idea if you'll enjoy this somewhat flawed one.

TeresaCarledo Ah, how have the films deteriorated - especially visually! Mythical 19th century Mittelland of brilliantly lush colors and sets, completed by gorgeous costumes, is a wonderful antidote to drab, flat digital colors and CGI. This IS, after all, visual medium. There are no gross-out filth in imagery or dialogue, either, just interesting story and characters and atmosphere. The cast is superlative. David Peel, although looking silly in his most overtly vampiric moments, is excellent as Baron Meinster pretends to be human. Peter Cushing is better than ever as Van Helsing - he was excellent villain, but I prefer him as these good guy roles. Old Baroness Meinster is not - thankfully! - "monstrous, tainted matriarch" of Jimmy Sangster's re-written script "Disciple of Dracula", but much more complex, as well as gorgeously elegant, character. Red-haired Marianne, dressed in pure, lush shades of lilac and red, is ravishing heroine with some actual personality: although she innocently releases the evil, she does that when she goes to help mentally ill suicidal man... or so she thinks. Logic is sometimes weak, but this is fairy tale, anyway, not a documentary. This is pure 100 % fun. And even bats are charming!

Scott LeBrun The title is a bit of a misnomer in Hammers' first sequel to their hit horror film Dracula. The famed bloodsucker himself never turns up here. But this film is entertaining enough that you realize you don't miss him all that much. An immense part of the appeal is the determined heroism of Peter Cushing as intrepid vampire hunter Van Helsing. He also has a pretty formidable opponent this time. The young ladies are beautiful, and "The Brides of Dracula" has the typically authentic look of any period Hammer genre piece.This time, Van Helsing must battle the young Baron Meinster (David Peel), a vampire and disciple of Count Dracula. The Baron had been chained up by his mother the Baroness (Martita Hunt). Unfortunately, aspiring student teacher Marianne (Yvonne Monlaur), who was staying in their castle for the night, took pity on him and set him free, not knowing the truth about him.Peel is a handsome, charming, and also convincingly sinister bad guy. Monlaur is pleasing to the eye, although her performance is admittedly a weak link here. Miles Malleson supplies a very welcome dose of comedy relief as a doctor who has interesting methods of preventing himself from becoming ill. Hunt is very good as the Baroness, and Henry Oscar, Mona Washbourne, Victor Brooks, Fred Johnson, and Michael Ripper all provide fine support. But the show is stolen by Freda Jackson as Greta, the Meinsters' insane servant, who in one standout scene lies atop a freshly dug grave and implores the person within to rise. Cushing is of course wonderful. At one point we see something unexpected happen to Van Helsing, but his quick thinking is most impressive.Co-written by Jimmy Sangster, the script is questionable at times. And the poor bat effect may generate guffaws among some in the audience. But otherwise, this is a good, solid entry in this franchise, worthy viewing for old school horror fans.Seven out of 10.