#Dracula resurrection torrent driver#

#Dracula resurrection torrent driver#

Naturally they ignore this sage advice and find themselves abandoned miles from anywhere by their panicky coach driver (John Maxim). He also tries to warn off a quartet of English tourists, Diana (Suzan Farmer), Charles (Francis Matthews), Helen (Barbara Shelley), and Alan (Charles Tingwell) to abandon their plans to visit the nearby town of Karlsbad. In English Gothic, Jonathan Rigby calls the plot “strictly by-the-numbers” and notes that Dracula’s appearances are “modelled precisely on episodes in the first film but, sadly, they’re all about 75 per cent less effective.” After a prologue replaying the spectacular climax of Dracula (1958), we’re introduced to the film’s Van Helsing stand-in Father Sandor (Andrew Keir) who prevents the disposal of a woman’s corpse by superstitious locals who believe her to be the victim of a vampire, adamant that Dracula has been truly dead these past ten years. The story is a rather hackneyed trot through bits of business that we’d already seen before. While the lion’s share of the money was lavished, in both cases, on the ‘A’ picture, both were less fun than their respective support film. Hammer announced its plans in January 1965, pitching Dracula Prince of Darkness and Rasputin the Mad Monk as the ‘A’ pictures and they were quick to get the ball rolling, Dracula hitting the studio floor at Bray 26 April 1965 under the direction of Terence Fisher and it was the first to reach the screen, supported by John Gilling’s excellent The Plague of the Zombies, opening in the ABC cinema chain on 9 January 1966. Determined to put an end to this they created their own double features, making Dracula Prince of Darkness and Rasputin the Mad Monk (1966) on using one lot of sets and The Reptile (1966) and The Plague of the Zombies (1966) using another. Many of their earlier films had found their way to the screen on the lower end of a double bill which meant that the company earned less from the box office take. When Dracula did finally return, in the shape of Christopher Lee who had been missing from Brides, it was as part of a cost-cutting exercise that saw Hammer make a block of four films that were made as potential double bills, reusing sets and even cast and crews, They’d done this sort of thing before of course – The Terror of the Tongs (1961) and Visa to Canton/Passport to China (1961) used the same sets for example – but this time Hammer were determined to maximise their profit.

A proposed Dracula III had morphed into The Kiss of the Vampire (1963) with no mention of Dracula at all. After the glorious The Brides of Dracula (1960), Hammer gave Dracula and his immediate acolytes a rest for six years, during which time they explored lycanthropy ( The Curse of the Werewolf (1961)), Poe-inspired Gothics ( The Shadow of the Cat (1961)), rollicking action adventure films ( The Pirates of Blood River (1962), Captain Clegg (1962), The Scarlet Blade/The Crimson Blade (1963) et al) and created a whole string of psychological thrillers inspired as much by Henri-Georges Clouzot’s Les Diaboliques (1955) as by Alfred Hitchcock’s Psycho (1970) (the sequence began with the excellent Taste of Fear/Scream of Fear in 1961).