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Peter Cushing returns in Hammer Films’ first of many Dracula sequels. Despite the odd absence of Christopher Lee this time out, The Brides of Dracula is more fun and engaging than 1958’s Horror of Dracula. The film opens with Yvonne Monlaur as a young teacher travelling to her new school in Transylvania. At a tavern layover, an elderly baroness (Great Expectations‘ Martita Hunt) invites Monlaur to stay the night in her castle. The baroness intends to feed Monlaur to her son (David Peel), a vampire she keeps chained in his room. But the baron works his wiles and convinces Monlaur to free him before the baroness can sacrifice her to him. This begins a string of murders in the vicinity that follow Monlaur’s character to her new school. Fortunately for all mortals involved, Dr. Van Helsing (Peter Cushing) is already on his way.
Cushing doesn’t appear in The Brides of Dracula until thirty minutes into the movie, and normally that would be a criticism. But the first thirty minutes are actually the best part of this movie, as the creepy baroness lures Monlaur’s character to the castle and we meet the deceptively sympathetic vampire Baron. Martita Hunt is a standout as the baroness. The colorful supporting cast also includes the avuncular Miles Malleson as a consulting doctor, fiendish Freda Jackson as the baroness’s knowledgeable housekeeper, and Andree Melly as one of the film’s victims — a comely bride of the vampire.
One of the film’s greatest weaknesses are the phony bats that fly through a few scenes on visible wires. Sticklers for vampire lore may take issue with some of the third act’s inventions — including Van Helsing creating crucifix shadows to hold Peel’s vampire at bay, and using a hot iron to heal a vampire bite. But if you’re just looking for a fun, gothic Hammer Horror romp, The Brides of Dracula delivers a little better than most. Malcolm Williamson’s score also charts well above average, including some hummable melodies and welcome use of a grand pipe organ.
Directed by Terence Fisher.