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In this direct sequel to Dracula: Prince of Darkness, two priests accidentally resurrect Dracula (Christopher Lee) from his icy grave. He commands one of the priests to help him catch a hot, virginal blonde (Veronica Carlson), who’s the niece of the other priest (Rupert Davies). Once she falls under Dracula’s spell, it’s up to her hunky boyfriend (Barry Andrews) to launch a rescue mission.
Dracula Has Risen from the Grave breaks free of the ‘Van Helsing vs Dracula’ formula that sustained Hammer’s three previous Dracula movies, and ends up feeling like an early slasher movie. The film opens with a requisite kill scene, followed by an implausible resurrection of the title monster, who then proceeds to dispatch of the film’s most sexually indiscriminate character, a likeable floozie friend of Carlson’s played well by Barbara Ewing. We don’t normally think of the slasher phenomenon starting before the ’70s, but Hammer had a lot of the genre’s pattern locked down in this and the Dracula films that followed.
The story, written by Anthony Hinds (under a pseudonym), isn’t as visceral or propulsive as others in the series, but the cast of characters are more charismatic and engaging than usual. I particularly liked Barry Andrews as the defacto hero of the piece. He interacts playfully with all the other characters, including his barkeep boss played endearingly by Hammer regular Michael Ripper. Of all Hammer’s Dracula films, this one leans more heavily into religion, transforming Andrews’ character from an atheist to a believer after his dealings with the forces of darkness. Rupert Davies gives a strong supporting turn as the elder priest who scoffs at Andrews’ atheism. Christopher Lee makes the most of his limited but memorable screen time. The film is notably the first time that Lee speaks dialogue as Dracula. He said nothing in Dracula: Prince of Darkness, and only spoke in early scenes of Horror of Dracula, before any bloodsucking commenced.
Dracula Has Risen from the Grave doesn’t necessarily breathe new life into the franchise, but it does keep it alive for all those who enjoy wrapping themselves up in the warm blanket of Hammer gothic horror. Director Freddie Francis, a two-time Oscar winning cinematographer (Glory, Sons and Lovers), makes it perhaps the most beautifully-shot film of the series, and composer James Bernard elevates several scenes with his romantic score.
With Ewan Hooper and Marion Mathie.