raveling the last few kilometers on foot due to the reluctance of the coachman to get too close to Castle Dracula, distinguished scholar Jonathan Harker’s (John Van Eyssen) journey in 1885 is destined for doom (narrated by reading his diary entries). Once he enters the forbidding gothic abode (though it’s surprisingly well lit), he’s treated to a decent meal in a grandiose hall, but his host is nowhere to be found; instead, he’s eventually greeted by a ghostly woman who sneaks up and says only ominous pleadings and warnings. “He’s keeping me prisoner! Please help me to escape!”

When Count Dracula (Christopher Lee) does make an appearance, late into the evening, he too is cryptic, briefly introducing himself and offering up an excuse to be gone for the next day, leaving Jonathan to make his own way about the premises, primarily tending to the library – the first of many deviations from the classic Bram Stoker novel. As directed by Terence Fisher from a Jimmy Sangster screenplay, the second twist is that Jonathan is already well-versed on Dracula’s reign of terror; he’s not the unsuspecting estate agent tasked by Renfield to sell a property. It doesn’t exactly help him, however, as he’s soon attacked by a vampire woman (Valerie Gaunt), which leads to expected consequences.

Interestingly, Dracula is revealed early on to be quite the literal, bloodthirsty fiend, showcased by a spectacularly startling sequence in which his bloodshot eyes and gore-soaked fangs receive a booming-music-embellished close-up. And Harker carries with him both the knowledge of what a neck-bite suggests and the tools to save his soul: wooden stakes and a mallet. But with the change in storytelling – by informing audiences quickly about the already popular vampire routines – comes additional alterations for the sake of new horror avenues; this may be the first of Hammer’s Dracula pictures starring Lee (indeed, the original title was simply “Dracula”), but it isn’t interested in retelling the standard tale, especially with the era’s updated capabilities for makeup effects and visual unpleasantries.

Established characters do make an appearance, however; Doctor Van Helsing (Peter Cushing) is the authority figure on vampire slaying, while Arthur Holmwood (Michael Gough), his wife Mina (Melissa Stribling), and his sister Lucy (Carol Marsh) are in the mix as potential victims of the bloodsucker. Ironically, their involvement works to dispense with some of the mystery of the changes; the roles exhibit confusion and ignorance as to the causes of sudden illnesses and puncture wounds near the throat, but viewers know exactly what is going on. The occasional succumbing to exsanguination is thoroughly anticipated.

“The study of these creatures has been my life’s work.” Even Van Helsing’s wising-up and proffering of solutions is customary. The potential of Hammer’s involvement and reimagining of the immortal horror masterpiece provides only moderately greater gore; worthwhile modifications and the excitement or suspense that might come from it are exceptionally limited. Though it would make a splash both critically and commercially during its theatrical run, as well as spawn numerous sequels (thanks largely to Lee’s uniquely fearsome portrayal), it’s too straightforward and predictable to be memorable beyond the mere imagery of ’50s-levels of violence and Dracula’s specific appearance (as well as, perhaps, an amusing finale).

– Mike Massie