The Satanic Rites of Dracula



IMDb Rating 5.6 10 4685


Uploaded By: FREEMAN
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January 14, 2019 at 07:56 AM



Christopher Lee as Count Dracula
Joanna Lumley as Jessica Van Helsing
Peter Cushing as Professor Lorrimer Van Helsing
Freddie Jones as Professor Julian Keeley
720p.BLU 1080p.BLU
732.39 MB
23.976 fps
1hr 27 min
P/S 0 / 2
1.39 GB
23.976 fps
1hr 27 min
P/S 0 / 5

Movie Reviews

Reviewed by signofend 7 / 10

end of an era

Hammer's last throw with Christopher Lee who refused to do another Dracula after AD 1972. He regarded the last Hammer's as such a departure from Stoker as to be sacrilegious. This replaces horror with a thriller. Dracula in a thriller? French Connection was a thriller. How does the suave and deadly Count become transplanted into a more style which uses more realism? He cannot, he is incongruous. Consequently Dracula makes almost no appearance until the last 15 minutes. The rest of the film is a chase between his henchmen and Cushing with the police. The quality of the Dracula films had deteriorated in their glamour and stylishness and transferring to the modern day was an attempt to inject glamour again. The most interesting piece of this film is the satanic rite of the title. Its images and practises have been used by the Church of Satan and other occult groups. The actor, scientist and parapsychologist Stephen Armourae has referred to it in articles and the actress Mia Martin has appeared in some of his drawings and paintings. Oddly despite such a high profile release none of the actors including Pauline Peart and Mia Martin did anything since despite their glamour and looks.

Reviewed by TheEdge-4 8 / 10

Not the usual Hammer Dracula but I like it anyway

I yield to no one in my liking for the standard Hammer Gothic horror set in the Mittel Europe Carpathian mountains complete with villagers who refuse to go near to Castle Dracula unless armed with flaming torches to burn the place down. But every so often, Hammer tried something different, with varying degrees of success. "The Devil Rides Out" was set in 1930s England and is generally regarded by many (including me) as being one of Hammer's very best films. Others such as "Dracula A.D. 72" (often known unofficially as Dracula meets the hippies) and this one, "The Satanic Rites of Dracula", which drag Dracula into modern seventies London, were less critically regarded.

Any film set in present day will always date quicker than a film set in the past. "Dracula A.D. 72" suffers in this respect more than "The Satanic Rites of Dracula" as the former features a supposedly wild gang of hippies who are in fact nothing of the kind (one of which includes a very young Michael Kitchen, years before "Foyle's War"). "The Satanic Rites" of Dracula", however, largely escapes this fate (apart from the motorcycle hit men with a dodgy preference for fur-lined waist coats and long sideburns). I still enjoy "Dracula A.D. 72" nonetheless even though I would class it as very much a guilty pleasure. The "Satanic Rites of Dracula" is literally another story however.

One of the highpoints of "Dracula A.D. 72" however is the stylish direction of Canadian director Alan Gibson and Hammer brought him back to helm this final Hammer Dracula (unless you count (sorry) Dracula's cameo appearance in "The Legend of the Seven Golden Vampires"). Thanks to Gibson, several scenes here work wonderfully (the scene in which Joanna Lumley is menaced in the cellar by the female vampires is particularly well done and the scene in which William Franklyn's character is shot in slow motion was obviously Gibson's idea of an homage to Sam Peckinpah which I promise you you will never see in another Hammer film).

In fact, this film is different from nearly all the other Hammer films in a number of ways. It's probably one of the best photographed of all the Hammer films, thanks to cameraman Brian Probyn who had photographed some of Terence Malick's seminal masterpiece "Badlands". The film has a glossy look the belies the small amount of money that was probably spent on making it. In fact, the whole style of the film is different. One of the previous posters here has likened it to an episode of "The Avengers" (rather appropriate as Joanna Lumley, here playing Peter Cushing's granddaughter, Jessica Van Helsing, would go on to play Purdey in "The New Avengers" just a few years later). I'd agree with that and as a result the story plays more as a thriller rather than the standard Hammer Gothic horror. I always thought that bringing Dracula into the present day is a spectacularly bad idea, but if you are going to do it, then the way it is done here works fine. The idea of presenting Dracula as a present day Howard Hughes, hardly seen by anyone is a good idea (a real bloodsucking businessman, that has to be a first). And John Cacavas' music is effective, even though it is completely different to Hammer regular James Bernard's usual style (then again so was Mike Vickers' music in "Dracula A.D. 72").

Acting wise, Lee and Cushing are the usual class acts (Lee as usual has little to do other than quote a few lines from Stoker's original when given the chance). Michael Coles, William Franklyn, Freddie Jones and Joanna Lumley are good in support (even though Lumley's responsible character of Jessica Van Helsing seems to have changed radically from Stephanie Beacham's rebellious portrayal in "Dracula A.D. 72" - still perhaps nearly falling victim to a vampire does that to a girl). And Valerie Van Ost makes a great vampire (once she takes those glasses off, she's beautiful - who knew?) If you approach this film as a thriller rather than the traditional Hammer fare, I think you will enjoy it. Just as long as you don't expect any villagers with torches to turn up in the third act (although Pelham House does go up in flames anyway - unlike certain vampires, some traditions never die).

Reviewed by KenLiversausage 5 / 10

Last rites for a once great franchise

The legendary Mr. Lee's last outing for dear old Hammer Studios in his red contact lenses and silk-lined cape. And what a sorry end to what was once one of the real jewels of British cinema, the Hammer horror franchise.

While there are one or two glimmers of the style and talent that put Hammer at the top of the tree in the 50s and 60s, this awkward hybrid of espionage thriller and supernatural horror never really gets off the ground. Lee has so little screen time he could probably sue the filmmakers under the Trade's Descriptions Act - "The Satanic Rites of a Bunch of Other People You Don't Give a Stuff About, not the Famous Vampire Count You Were Hoping For" might be a more accurate title.

What irks me about this film is not just that it represents a cheap, slipshod ending to the Hammer Dracula cycle, but that it's not even true to the spirit of those wonderful originals. What few thrills there are derive mostly from some motorcycle stunts and a bit of fashionable nudity. Lee might as well have phoned in his part, and poor old Peter Cushing, still reeling from the death of his beloved wife Helen, walks through what little action he's given like a refugee from Plague of the Zombies.

And as for the ending, well, there used to be a well-defined mythology in these movies, a vampiric rulebook that everybody abided by. Bram Stoker made most of it up in the first place, but once they'd put their spin on it, the Hammer boys generally stuck to it: garlic, stakes, holy water, silver bullets, running water, all that stuff we'd all rely on to dispatch the bloodsucking nobleman if he ever started licking his lips in our bedrooms. But suddenly, out of nowhere, there's this new lethal substance, something else that can do for a vampire - the King of the Vampires even. And what is it? A hawthorn tree. Yes, you heard right; Dracula, immortal, super-powerful, supreme monster that he is, curls up his pointy toe-nailed tootsies and shuffles off this mortal coil because he gets his cape caught in a bloody hawthorn tree. Ho hum. (Mind you, they can give you a nasty scratch can those hawthorn trees.)

Clearly Hammer had seen the writing on the wall splattered there by Night of the Living Dead and The Exorcist, but although it tried, it simply couldn't adapt. The truth is that the classical Hammer ethos doesn't really translate to the modern idiom. The films were very much of their time, and the times, as Mr. Dylan so helpfully reminds us, they are a changin'.

So charge your glasses with the best of British blood, leave this one in the rental store and check out something from the golden era of Hammer. Contrary to one of the film's many misleading alternative titles, Dracula is not alive and well and living in London. He's dead. And Hammer buried him.

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