Mark of the Vampire (1935)
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Mark of the Vampire is Tod Browning's remake of his own 1927 thriller London After Midnight, which unfortunately no longer exists. The sudden appearance of ghostly vampires in a remote mittel-European community is seemingly tied in with an old, unsolved murder case. Police inspector Neumann (Lionel Atwill) and occult expert Prof. Zelen (Lionel Barrymore) investigate, with the full cooperation of leading citizen Baron Otto (Jean Hersholt). For awhile, it looks as though the vampires -- Count Mora (Bela Lugosi) and his chalky-faced daughter Luna (Carroll Borland) -- will continue to hold the community in thrall, but the truth behind their mysterious activities is revealed midway through the film, whereupon the story concentrates on identifying the well-concealed murderer. In the original London After Midnight, Lon Chaney played both Count Mora and Prof. Zelen, which should provide a clue as to the film's incredible outcome. … More
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Critic Reviews for Mark of the Vampire
Like most good ghost stories, it's a lot of fun, even though you don't believe a word of it.
A real touch of class is present in James Wong Howe's magnificent photography, not to mention Carol Borland's stunning apparition as a vampire.
There isn't much in the story that one hasn't seen before, until the very end when Browning and the script turn everything on its ear.
Scores high marks for creating a sense of otherworldly dread that depends very little on whether or not what we see makes any sense.
Suffering from a flagging pace and patchy script, the film has its plus points nevertheless -- notably a good use of visuals.
Audience Reviews for Mark of the Vampire
wonderful gothic atmosphere but there's an odd tone to the film and you'll soon discover why. i still can't decide if the ending is clever or just ridiculous. not browning's finest hour but worth seeingMore
Ultimately disappointing vampire story, whose only saving grace is Carol Borland, who really spooked me in her role as the female vampire.More
One gets the distinct feel that Mark of the Vampire could and should have been really something, but sadly Browning's film fell prey to the fall-out of his own trend-setting. Mark was initially supposed to depict an incestuous relationship between the father and daughter vampires terrorising the town. But MGM were all over Browning after the controversy caused by his masterwork Freaks, that they immediately cut that out without any consideration for how it would affect the plot. As a result, Lugosi sports a bullet-wound throughout the film for seeingly no reason. Besides this, we endure some leaden acting and frightful staginess, irregardless of Browning's honest attempts at atmospherics. Exposition is also a problem, the events unfolding as if read from an instruction maual. Redeemingly, the picture does sport a delightfully unusual ending and features more comedy than you'd expect, making it at the very least entertaining.More
Godawful script (due, at least in part, to the numerous scenes that were never shot and a number of others which did not make the final cut) is somewhat redeemed by some decent atmosphere, a spectacular sequence (with some very impressive special effects) and a very creepy performance by Mr. Lionel Atwill.
Is this a remake of "London After Midnight"?
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