Horror of Dracula Blu Ray Warner Archive Review

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S E A R C H D V D B due east a v e r

directed by Terence Fisher
UK 1958

Blu-ray Version reviewed HERE

Information technology is always a please to enter the Hammer otherworld of garish lighting, luscious beauties, starched Englishmen and red-paint blood. And this delight is never greater than in the example of the studio's 'Horror of Dracula' (Terence Fisher, 1958), which marries these charming qualities with stark social commentary and a good deal of historical prescience. Indeed, the moving picture might be regarded as a Gothic counterpart to the class-conscious, social realist films that were another component of British cinema in the late-1950s.

The success of Hammer's previous effort – 'The Expletive of Frankenstein' (1957) – must have given the studio the confidence to create in 'Horror of Dracula' a much more than ambitious picture; both in terms of its intellectual rigour and in the liberties that information technology takes in adapting the source novel. Of course, some of these liberties – such as the removal of many of the book'southward characters and central scenes – may well take been down to straightforward restrictions in both plotting and budget. Yet at that place is nonetheless a definite sense that the moving-picture show makes very intentional departures from the traditional Dracula mythos, and that information technology revels in these transgressions. Jonathan Harker's (John Van Eyssen) daytime arroyo to Castle Dracula – as opposed to the usual, stormy night arrival – is both an barb to viewer expectations also equally a statement of revisionist intent. And this intent is carried forward by Christopher Lee'due south delirious central performance: a Dracula who vacillates between charismatic charm and feral, red-eyed bloodlust, and who is a earth autonomously from the stilted Count (Bela Lugosi) in Tod Browing's 1931 production.

Well-nigh shocking – and successful – of all, nonetheless, is 'Horror of Dracula''s handling of the original novel's latent eroticism. What was once sub-textual is hither foregrounded, and at that place is now no uncertainty that the film'south women relish Dracula'southward advances. Indeed, in preparation for his nocturnal visits, the "victims" even open doors, remove crosses from their necks and adapt themselves artfully on their beds! This complicity highlights the fact that film's menfolk are mere cuckolds, and paints their frantic efforts to stop Dracula equally the laughable last stand of injured male pride. This is 'Dracula' equally projected through the prism of Chaucer's 'Miller'southward Tale'.

Yet these designs accept much more than serious undertones. Take, for instance, the scene in which Mina Holmwood (Melissa Stribling) speaks to her hubby, Arthur (Michael Gough), on the morning after her first meet with Dracula. Gone is the dour housewife of previous scenes to be replaced by a more vivacious, sensual and – if her smiles are any indication – happier woman. This sparkling transformation indicates that the true enemy of the piece is the stifling Victorianism which has previously crushed Mina's femininity and squandered her well-being. This estimation is bolstered past Peter Cushing's wolfish and ambiguous turn as Van Helsing. Obsessed by his pursuit of Dracula and unmoved by the numerous stakings that he has to perform, Van Helsing is one of the screen'southward most brutal and efficient reactionaries.

In contrast to all previous portrayals, then, Dracula actually catalyses life, and it is Arthur, Van Helsing and their fellows who preside over the true realm of the undead; a realm contoured by the aforementioned stuffy mannerisms and values that sadly prevailed in post-War Britain, at the time when the motion-picture show was fabricated.

In the end, the overall transaction isn't bloodless for the viewer, and this is what may explain 'Horror of Dracula''s timeless appeal as a fright picture. Indeed, the motion picture sets out to vandalize all preconceptions, conventions and comforts, especially those that must have been held past contemporary audiences. Rather than portray Van Helsing's battles with Dracula as a straightforward tale of good versus evil, Fisher recasts the monster equally a counter-cultural hero, and one whose values would soon make furtive progress during the upheaval and sexual revolution of the Sixties. However, that the changes of those years were to be largely undone by the forces of conservatism demonstrates that Fisher was right on even so another count: Van Helsing always wins in the end.

Pete Hoskin

Posters

Theatrical Release: June - 1958 - U.k.

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DVD Review: Warner Brothers - Region one - NTSC

DVD Box Cover		CLICK to guild from:
	Also available in the Hammer Horror Collection which includes The Expletive of Frankenstein / Dracula Has Risen from the Grave / Frankenstein Must Be Destroyed / Horror of Dracula / The Mummy and Taste the Blood of Dracula. Bachelor HERE:
Distribution	Warner Brothers Region 1 - NTSC
Runtime	1:21:26
Video	i.78:one Attribute Ratio 16X9 enhanced Boilerplate Bitrate: 5.55 mb/s NTSC 720x480 29.97 f/s
	Note: The Vertical axis represents the bits transferred per 2nd. The Horizontal is the time in minutes.
Bitrate
Audio	Dolby Digital 1.0
Subtitles	English language, French, Castilian Portuguese, None
Features	Release Data: Studio: Warner Brothers Aspect Ratio: Widescreen anamorphic - one.78:i Edition Details: • Theatrical trailer • cast and crew biographies • 'Dracula Lives Once again!' text feature DVD Release Date: October 1st, 2002 Snapper case Chapters 26

Comments:

Blu-ray Version reviewed HERE

This Warner release's anamorphic transfer is – similar the disc'south Dolby Digital mono soundtrack – serviceable enough. The print is clean; colours are rewardingly vibrant; and detail is sufficient, if perhaps a niggling hazy. The prime disappointment is that the 1.78:1 framing crops the flick's original 1.66:1 aspect ratio.

Extras are limited to the film'due south theatrical trailer and a couple of text features (bandage/coiffure biographies and 'Dracula Lives Again!', which chronicles the production'southward history).

There has been talk that Warner are to revisit their Hammer backdrop and release them in more lavish editions. Whilst this would certainly exist welcome in the instance of 'Horror of Dracula' – if merely to afford the film an OAR presentation – this disc's faults are non so great as to forestall information technology from being a worthy stop-gap. Every bit an end-note: Posters over at the wonderful Archetype Horror Flick Board are reporting that a new restoration of 'Horror of Dracula' is to be screened at this year'southward Cannes; a suitably grand award for this most essential horror film, and i which augers well for that 'special edition' release in the hereafter.

- Pete Hoskin

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Screen Captures

Warner - Region - NTSC DVD TOP vs. LionsGate - Region 'B' - Blu-ray (Reviewed HERE) BOTTOM

Warner - Region - NTSC DVD TOP vs. LionsGate - Region 'B' - Blu-ray (Reviewed Hither) BOTTOM

DVD Box Cover

CLICK to lodge from:

Also bachelor in the Hammer Horror Drove which includes The Curse of Frankenstein / Dracula Has Risen from the Grave / Frankenstein Must Be Destroyed / Horror of Dracula / The Mummy and Gustatory modality the Claret of Dracula. Available HERE:

Distribution

Warner Brothers

Region 1 - NTSC