Saturday, August 1, 2009

Dracula Over London

DRACULA, A.D. 1972 (1972)
THE SATANIC RITES OF DRACULA (1973)

"Hammer find of 1971" Caroline Munro on the alter
in DRACULA, A.D. 1972.

WHEN Warner Brothers noted the success of AIP's COUNT YORGA, VAMPIRE (1970) - in which Robert Quarry prowled present-day Los Angeles - they consequently ordered two Hammer Dracula’s to follow suit, bringing the character to modern-day London and away from the Eastern European neverwhere which had died its final death with SCARS OF DRACULA (1970). What should have been a fresh new direction resulted in DRACULA, A.D. 1972, one of the studio’s most glorious mishaps. Beginning in Hyde Park, 1872, Lawrence Van Helsing (Peter Cushing) dies from the strain of destroying Dracula (Lee). During Van Helsing’s funeral at St Bartolph’s, one of the vampire’s disciples - Alucard (Christopher Neame) - buries his master’s ashes nearby. Jumping to Chelsea, 1972, we see Alucard organising a black mass at St Bartolph’s, supposedly for teen thrills. The culmination of the ritual, however, is the rejuvenation of Dracula, and Alucard lures young victims to the deserted graveyard for his master's pleasure, one of which is buxom Jessica Van Helsing (Stephanie Beacham), descended from the line of vampire hunters and the Count’s favoured target. Her grandfather Lorimar (Peter Cushing) - equipped with all the devices to snare the Count - subsequently confronts his arch enemy.

The major flaw of the film is that once Dracula is resurrected, he never leaves the derelict church where he's been revived, so the movie might as well take place in 1872, where the film's rousing pre-credits sequence takes place. Innovations such as Dracula claiming his first male and black victim are overshadowed by the phoney younger characters, who seem a good decade behind the times with their hilariously misconceived banter. Cushing relishes his Van Helsing role, and at least tries to act as a voice of reason to Jessica and the film in general, although the script insults the audience’s intelligence when Van Helsing - of all people - has to take up pen and paper to work out that Alucard is Dracula spelled backwards.

Vampires in the bargain basement: THE SATANIC RITES OF DRACULA.

Warner expressed little enthusiasm for the direct sequel - the sombre and apocalyptic THE SATANIC RITES OF DRACULA - and never released the film in America, where it wouldn’t be in general circulation until independent distributor Dynamite issued the film under the flaccid title COUNT DRACULA AND HIS VAMPIRE BRIDE late in 1978. This time, rather than the Count skulking in crypts and pouncing on Hammer’s latest nubile protégé, Van Helsing (Cushing) discovers that reclusive property developer D.D.Denham is in fact the Count (Lee), who intends to wipe out the human race with a newly perfected strain of bubonic plague. The script creates another own-goal in a plan which will inevitably deprive the vampire of his own food supply (a mournful echo perhaps of Lee’s own overwhelming desire to put Dracula behind him). The Count is morphed into a hybrid of Howard Hughes and Fu Manchu for an almost James Bond-like adventure yarn; this will probably be the only Dracula film to have the Count employing a gang of motorcycle-riding toughs to do his daylight dirty work.

What makes Hammer’s modern-day Dracula’s so disappointing - both directed by Alan Gibson - is that they ignore the maturity and foresight that Bram Stoker bought to the source material. It is a book about the unrestrained movement of the threatening other. Stoker reiterates the sense of London as both heart and image of the Empire, using its familiar locations to heighten fears of invasion, contamination and disease (at least THE SATANIC RITES OF DRACULA hints at contagion). Association with the East End links The Count with foreigners, especially Jews from eastern Europe and Orientals, as well as with an area connected in the public mind with crime. The author marshals discourses to those we are familiar with now in the war against terrorism: the threat of shape-changing terrorists from the east, among us and invisible. In the invasive other, British culture sees its own imperial practices mirrored back in monstrous forms; Dracula resonates not least because his actions approximates those of the colonising Englishman.