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Seems like people either adore or despise this particular entry into the Hammer Dracula line of films. I, myself, enjoyed it very remarkable, and would recommend it to anyone alive to in the vampire genre.
Dracula Has Risen from the Grave (1969) has Christopher Lee reprising his role as the ultimate blood-sucking creature of the night, which is kind of irregular as in the last film, Dracula, Prince of Darkness (1966), he was destroyed…or so we belief. The film takes space a year after the last film, as Monsignor Ernest Muller (Rupert Davies) visits the tiny village come Dracula’s no empty castle to recognize how things are getting along. Well, things aren’t getting along too well as the Monsignor finds the church empty and in a rather abominable residence of housekeeping. Finding the priest at the local bar, he learns that the villagers contain that while Dracula may be slow, his castle projects an aura of infamous, casting a malignant shadow of cross on the town. The Monsignor decides the only course of action is to slither up to the castle, say a prayer of exorcism, and site a fairly gigantic improper at the doorway, expelling the curse forever. Taking the priest with him, the two initiate a long and arduous swagger up the mountain, but, as they advance the castle, the priest balks from dread, and the Monsignor continues on alone. He reaches the castle, says the prayer, and places the disagreeable (the result of both actions cause a rather freakish lighting storm…first-rate thing he rid himself of that enormous, metal detestable) . Meanwhile, the priest, who remained leisurely, starts freaking out, and begins to stumble down the mountain, trips, cracks his head inaugurate, and lands on and cracks a pool of ice, one which contains the body of Dracula, and begins to bleed onto the ice, to which the blood revives the sunless, yet frozen, one. Upon waking, Dracula takes the weak-willed priest into his service, and returns to his castle only to gain his entry putrid by the substandard affixed to the doors. This angers him, as his house has been defiled, and being a creature of spoiled, seeks revenge on whoever did this. Favorable thing he’s got the priest to gain him in on the details…
The Monsignor leaves the village to return to his home, which he shares with his sister and her daughter, Maria (Veronica Carlson), soon followed by Dracula and his unique tiny buddy. We also win to meet Maria’s boyfriend, Paul (Barry Andrews), who works in a local bakery/bar/hotel (intelligent combination, to be clear), but is only doing so until he can complete his education, and disappear on to bigger and better things. Anyhow, Dracula moves into the sub-basement (the sewers) below the bakery/bar/hotel, setting up his coffin and such, and begins with his plans to actual vengeance on the Monsignor and his house. He learns of the Monsignor’s niece, and sees a perfect opportunity to carry out his goal…does he sincere his revenge? Can anyone cessation this monster once and for all?
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Directed by Freddie Francis, who won academy awards for cinematography for his work on Sons and Lovers (1960) and Glory (1989), Dracula Has Risen from the Grave is certainly stylish, oozing with atmosphere and providing a edifying deal of suspense. Christopher Lee provides an edifying performance, despite his overall lack of dialogue. The settings are very worthy for this kind of film, enhancing the performances, and certainly add to the overall presence of oppressive contaminated throughout. Not really embraced by the critics when it first came out, with claims that the gore was a bit worthy, now it seems rather understated to the 21st century viewer. The film does depart slowly, but the pacing seems methodical, all building up to the thrilling climax.
Warner Brothers provides a crisp, neat looking wide shroud print here, but very minute along the lines of special features, including only a theatrical trailer for the film. I am appreciative that this film finally made it to DVD, as Warner Brothers, in general, is splendid stingy about releasing their catalog of films to this format, and even stingier when it comes to enhancing their releases with special features, falling support mainly on recycling ones released for the laserdisc format. If you are appealing in seeing the other films in this series, witness for Dracula, Prince of Darkness (1966), Taste the Blood of Dracula (1969), Scars of Dracula (1970), Dracula AD 1972 (1972), and The Satanic Rites of Dracula (1973) .
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“Dracula Has Risen from the Grave” opens to the sounds of James Bernard’s evocative, ominous main musical theme. Directed by Freddie Francis, the film stars alarm icon Christopher Lee in one of his many portrayals of cinema’s most famed vampire. This version features a lean, effective screenplay by John Elder.
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The film opens in a petite, pre-industrial village that had previously been haunted by Dracula, who is presumed to have been destroyed. As the title of the film indicates, however, Dracula soon rises from his grave to open a unusual campaign of bloodsucking villainy. His foes in this film are a Catholic monsignor and the boyfriend of the monsignor’s shapely niece.
Bernard’s solid earn is complemented by marvelous art direction. Francis makes effective spend of forest and rooftop settings as Dracula pursues his ends. Lee gets solid relieve from the rest of the cast. Barry Andrews makes a particularly intelligent young hero as Paul, the boyfriend of the monsignor’s niece. I also was impressed by Barbara Ewing’s performance as Paul’s sexy co-worker.
There is a pronounced sexual feel to vampirism in this film (as in the other Lee Dracula films I have seen), so there is a appetizing irony to the fact that one of Dracula’s key foes here is a Catholic monsignor, and thus presumably celibate. Also, a religous controversy among Dracula’s foes makes for an enthralling inequity to their battle against the undead villain. Overall, a well made and solidly spirited film.
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