Customer Reviews

Dracula's Daughter/Son of Dracula (Universal Studios Dracula Double Feature)

5 star:		(7)
4 star:		(15)
3 star:		(5)
2 star:		(0)
1 star:		(0)

 

 

This DVD puts together Drac's two offspring, "Dracula's Daughter" and the "Son of Dracula" (although it IS Dracula, not his son. Oh well).

These two films often wind up low on fans' lists of favorite Universal Monster Movies, and are dismissed as second rate. I beg to differ- these two are actually some of the more original films made by Universal. Especially "Son", where Dracula is not the prime mover- one of his victims is! The story has some very interesting twists and turns, and is one of the most clever of the Universal Monster movies.

Much is made of Lon Chaney Jr's portrayal of Dracula as a well fed and burly vampire. True, but he also brings a brute quality to the vampire. This is one vamp who is a dangerous adversary physically, if not mentally.

A nice addition to anyone's horror collection.

Well no, there's nothing on the level of "Bride of Frankenstein" contained in this collection, but these movies aren't as awful as they might sound. Sure, Universal was a factory back in the day, pumping out sequels without any real concern for the content. Still, there's some very good stuff to be found here.

Dracula's Daughter is, in my opinion, the weaker of the two Dracula sequels. Perhaps it's just too much of a departure from the original premise, featuring an almost likable vampire who enlists the aid of a psychiatrist to cure her of her blood addiction. There's little development in plot or character, no honest progression from point A to point B. Still, the acting and directing are both adequate, and Marguerite Churchill (Janet) really steals the show as the goofy, vivacious love interest who speaks her mind and cuts her over-serious boss down to size whenever she gets the chance. Add to that a truly unusual premise (even when it fails to deliver much), and some incredibly sexually charged subtext, particularly when the Countess abducts a young woman under the false pretense of having the girl "model" for her. This is one odd-ball film, full of concepts, sexual issues, and gender politics that were way ahead of its time. Not a great film in and of itself, but it certainly deserves a viewing.

Son of Dracula is a much stronger film in contrast. It comes dangerously close to being an incredibly impressive film, with stunning special effects (we actually SEE Dracula transform into a bat, as well as turn into vapor), an incredibly complex, emotionally charged plot, and some breath-taking acting (particularly from Robert Paige and Louise Allbritton). Unfortunately, there are two things that prevent the film from achieving greatness. The first is most certainly Lon Chaney Jr., assuming the role of Lord Alucard (Dracula backwards). Chaney never seems comfortable in the cloak, portraying a weirdness that is too subtle and unfocused for the role he is attempting to undertake. He's never an impressive character, neither as monster nor villain.

Perhaps the bigger problem with Son of Dracula is the camera work. Director Robert Siodmak is clearly a master of the technical aspects of directing. Movement and camera angles are almost always highly impressive, as well as smooth and unimposing upon the film. However, in a picture that contains such strong elements of passion, desperation, fear, insanity, and (of course) the supernatural, the camera always resists these forces, maintaining a stubbornly grounded and literal perception of the scene. The film always feels too realistic, unwilling to surrender to escapism, never daring to achieve something artistic and powerful. This is particularly disappointing in the final scene, which could have easily been immortalized as the greatest, most moving moment in Universal Monster Movie history had it been shot differently.

All in all, Dracula's Daughter and Son of Dracula are both worthwhile sequels that hold their own merit. While I would probably never watch Dracula's Daughter a second time, the first time viewing experience was certainly worthwhile. In contrast, I expect to return to Son of Dracula again and again. It's almost a brilliant film, and "almost brilliant" is still good enough for me.

Well, Universal released these two great classic horror films, Dracula's Daughter and Son of Dracula together on DVD. On Laserdisc, Dracula's Daughter was released with "Ghost of Frankenstein". "Son of Dracula" and "Son of Frankenstein" were released individually on Laserdisc. The pairing of the films for DVD makes much more sense, with Ghost of Frankenstein being released with Son of Frankenstein and the Dracula films being released together. It is also more economical for the buyer to make two purchases instead of three and still get all four films. Both vampire films are quite good and a must for any classic horror collection. If only to hear Gloria Holden say that she "does not drink...wine! What does not make sense, however, is why all these Universal films have gone out of print on DVD less than a year after they were released. The same goes for the Universal 1940's "Mummy films" on DVD. The Laserdiscs were available for years! Ditto for the VHS tapes which have had multiple releases. Many people are just now buying DVD players as I speak and are going to be very dissapointed not to be able to buy the entire Universal Monster Classic collection on DVD! If anyone has more information please pass it on and let Universal know we want these movies made available on DVD.

Make no mistake, this movie is creaky and slow. It is old, and it is not a great cinematic triumph by any means. Nevertheless it is a gem. And it deserves to be seen as a classic of the genre. Gloria Holden is powerfully compelling as the tortured daughter of Dracula, an elegant and sensitive aristocrat who dreams of somehow escaping the curse of her vampire nature in order to embrace life. That she is a painter adds to her mystique. And the scene in which she seduces a lonely and vulnerable young female model in her studio is chilling, without recourse to special effects. Like all good horror films, this one has a strong moral point of view. Vampires are evil and must pay for what they are and what they do. Yet one finds here all the promise of the vampire concept which will be endlessly explored in later books and films. Here we have a supernatural monster who was once human and remains somehow human, a thinking and feeling abomination that is doomed to suffer excruciating torment as the price for the promise of eternal life. The vampire here is a metaphor for the outsider, the outcast, the lonely one in all of us, and the predator in all of us, too. The tragic dimension of the vampire is much more deeply explored here than in the original Dracula, and the atmosphere of the film, set in a very foggy London, enforces the overall theme of romantic gloom. I recommend this to anyone who wonders why vampires fascinate so many, and especially for those who want to understand the early twentieth century horror classics that inspired countless later films. I also find this an entertaining film. There is a delicacy and poignancy to it that has enduring appeal. I would love to see a faithful remake of this film, but until that happens, if it ever does, there is nothing quite like the original. Enjoy.

Everybody knows that Universal went from producing some of the most stylish monster flicks of all times (in the '30s) to producing some of the dumbest and cheapest (in the '40s). "Dracula's Daughter" inhabits some weird boundary zone in between. It's actually a rather dull story, filmed on the cheap, but enlivened by the performances of its actors and an underlying plot subtext that can only be described as lesbian vampirism. It still has enough of the grand Universal style of the 1930s to merit an occasional viewing. "Son of Dracula," on the other hand, is '40s Universal schlock at its campiest, and quite enjoyable as camp. Lon Chaney, Jr., is a very beefy Count Dracula. (OK, OK, "Alucard" as he's known in the film. When I was about 10, I thought that was the height of clever chic.) In this flick, he's menacing the American South which, given the date of the film, is almost completely populated by people who were rejected by the WWII draft for some reason or other. Not exactly juicy pickings for a vampire you might say, and you'd be right. Somehow it works as a movie plot, certainly better than the plots of any of those truly dreadful Frankenstein and Mummy spin-offs that the studio seemed to crank out every other month during the war. Anyway, I like vampire movies where the "hero" gets the girl, and the Count succeeds here beyond his wildest dreams only to have the girl (by now Undead) turn on him in a neat plot twist that proves that somebody working on this movie had a real imagination. It doesn't bear a lot of analysis, but, hey, that's pretty much the point about horror films. If you take them seriously, "well, I warned you ....".

I first saw Dracula's Daughter years ago as a kid, and I remember not liking the movie because I didn't know what to make of it. Try explaining to a fourteen-year old (back then, at least) what lesbian vampirism is. But I always wanted to see it again, and when I finally did, I loved it. It's an underated classic. Gloria Holden is dead on as Countess Valeska, eerie and seductive. It didn't need to have special effects to make it scary. I don't think the "wine" line she says was meant to be a pun on Dracula, but if she had said it the way Lugosi did: "I never drink . . . wine," then it would have been a hoot! In Son of Dracula, you do have those wonderful special effects which may seem primitive today, yet still remain original and creative. Plus the tingling music and Gothic atmosphere make it all the more creepy. Note: There are those who wonder why it's called "Son of Dracula" when he's called Count Dracula. But he's described very briefly as being a descendent of the Count. A must for nostalgia fans.

Dracula's Daughter, staring Gloria Holden, is the first sequel to Bela Lugosi's Dracula. The movie starts with the final scenes from Dracula, where Edward Van Sloan continues in the Van Helsing role (he is arrested for the murders of Dracula and Renfield). As Dracula's daughter, she is condemned to be a vampire but wants to be free. She seeks the help from a psychologist, Otto Kruger, that advises her that she must confront her problem if she wants to be free.
In Son of Dracula, Lon Chaney Jr. plays Count Alucard; Dracula spelled backwards, the second sequel to Bela Lugosi's Dracula (after Dracula's Daughter). Alucard is set on establishing himself, out of Transylvania and into Louisiana, by marrying the daughter of an upper-class family. He proceeds by turning his new wife into a vampire. Lon looks at ease in his role, has a cool moustache, transform to a bat, and moves as a puff of smoke.

Once again, Universal Pictures have released another double feature DVD: DRACULA'S DAUGHTER and SON OF DRACULA. The first film is a direct sequel to the original Bela Lugosi classic, in which his sinister daughter (Gloria Holden) carries on his dreaded legacy. The film begins with the arrest of Professor Van Helsing (Edward Van Sloan repeating his classic role) for the "murder" of the count!! Only Van Helsing's friend, Dr. Garth, played by Otto Kruger can help him. The twist in this story is that Holden's vampire WANTS to be cured of her bloodlust as she seeks Garth's help. The cast is solid in this stylish thriller. Van Sloan is his usual rational self as the vampire hunter. Kruger adds warmth and a little humor to his rather typical role as the hero. Holden's cool beauty is put to great advantage in her title role. In the other feature, SON OF DRACULA, the mysterious Count Alucard (read the name backwards, folks)comes to the American South to seek out "new blood," so to speak. He enlists the beautiful owner of a local plantation, played by Louise Allbritton, to aid in his nafarious plot. Caught in the middle is the owner's fiancee, played by Robert Paige. Lon Chaney, Jr. plays the sinister vampire. While he is a little too well-fed for an undead monster, Chaney does have his effective moments and conveys the physical power of Dracula. Ms. Allbritton is wonderful as the fascinated beauty who flirts with the undeath that Drac brings. Scream queen Evelyn Ankers is unfortunately wasted in the minor role of Allbritton's sister. The film does move a bit awkwardly at times, but there are many effective moments including an eerie scene in which Dracula rides his coffin across a fog-enshrouded swamp. Overall, both films are fun, fast, and filled with their share of old-fashioned chills. Highly recommeded for horror film fans.

Very entertaining stories.
Dracula's Daughter continues where
the 1931 Dracula movie ended.
Gloria Holden is excellent in her
role as Countess Marya Zaleska
AKA Dracula's daughter.

The Son of Dracula story is
closer to the book by Bram Stoker.
Lon Chaney Jr.is as good as ever as
the evil vampire. The film is
certified a classic by the performances of actresses
Evelyn Ankers and Louise Allbritton.

A wonderful double-feature DVD you will enjoy.

"Son of Dracula" succeeds on many counts, (no pun intended) by virtue of its absolutely serious approach towards its material. Unlike other Universal horrors of this period, with their unfunny comedy relief antics, (bumbling, pop eyed police inspectors, burgomasters etc.) director Siodmak wisely eschews such sch-tick, and foreshadows the tragic ending of the story, with an increasingly oppressive sense of doom. In other words, unity of mood.

Indeed every aspect of the production is put at the service of conveying this doom, from George Robinson's highly expressionistic, shadowy photography to Vera West's (Hollywood's most under-appreciated designer) costume design.

The casting is excellent. It has been rightly observed that Lon Chaney Jr. is not an entirely comfortable choice for the Count, and it is certainly true that his Midwestern dialect and general deportment is not even remotely aristocratic. Still, his virility breathes menace, and in a scene where he traps a character in a basement, he evokes genuine dread. All told, he passes muster, and even more so, when you think of what a hokey disaster someone like John Carradine would have been in the part.

Robert Paige is superb--his increasingly manic desperation in the role of the suitor "Frank" goes a long way in lending the yarn credibility. In many ways it's his film. Evelyn Ankers is as always, very easy on the eyes, and though she is given little to do here, she does it fetchingly.

Which brings us the the protagonist, Kay Caldwell, (Louise Allbritton) the melancholic daughter of an aristocratic line, and the proprietress of its creepy plantation mansion--"Dark Oaks." This is a juicy assignment, and Miss Allbritton runs with it to the full.

From the moment she arrives on the veranda, a striking brunette clad in a billowing, peignoir like gown, she delineates her literally spell-bound character by offering the audience a spell bindingly detached characterization.

Who can resist her otherworldly gaze, as, staring outside of the frame, she smoothly articulates her certainty in telepathy, eerily chiding Miss Ankers for scoffing at ESP, and later her asperity at local gossip: "What can they know of these occult matters?-blind fools!" Visually, she is unforgettable, aided by Vera West's outré costumes, (even Miss Allbritton's day wear is mysterious--as witness her scalloped black waistband peplum ensemble with black under-dress, in the will reading sequence) and a black wig, which connects her with another black wigged anti-heroine from that same year--Jean Brooks in Lewton's "The Seventh Victim."

To abet these characterizations, and to conceal what seems to be a somewhat paltry budgetary outlay by Universal, director Sidiomak fills the screen with interesting visuals--Miss Allbritton's unforgettable trek through the nocturnal bayou to visit the gypsy, the gypsy's ensuing death in a bat attack, Chaney gliding across the misty swamp, and unsettling, shadowy close-ups of an unhinged Mr. Paige speaking through the bars of a prison.

Photographer Robinson is with him all the way, and composes and lights his shots to consistently interesting effect, (note the superb introduction to "Dark Oaks," with the camera panning through a creaking gate at night, whilst the whole frame is overlaid with the violent twist of brambles and vines) by foregrounding his shots with interesting objects on right or left--thereby lending depth and texture to his visual tableaux.

The ending with Mr. Paige finding his former love, Miss Allbritton, literally buried within the childhood detritus of her own attic, to which, after placing his ring on her finger, he sets afire, provides a fitting finale. A finale of marked and deeply felt tragedy, as a darkly romantic musical score swells, the camera treks in on Mr. Paige's blank, despairing gaze, his empty eyes lit by the shadows of the flames.

"Son of Dracula" is a deeply romantic dark dream of a film. Recommended.