Son of Dracula Reviews
Unlike the previous Dracula outings (DRACULA and DRACULA'S DAUGHTER), which had taken place either in Transylvania or England, SON OF DRACULA is set on American soil and stays there. It begins somewhere in the South where Frank Stanley (Robert Paige) and the family physician friend, Doctor Harry Brewster (Frank Craven) are at a train station awaiting for the arrival of an honored guest to Katherine Caldwell (Louise Allbritton), Count Alucard, whom she had met previously while visiting in Budapest, and is to be driven over to the Caldwell estate, but all they find are his crates and boxes (some of which consists of his native soil). That very night after a gathering in her home, Katherine's father (George Irving) mysteriously dies, with Dr. Brewster examining the body and finding two marks found on the late colonel's neck. Having noticed earlier on one of the crates that the name of Alucard spelled backwards is Dracula, Brewster decides to telephone Professor Lazio (J. Edward Bromberg), the well-known authority of the Count Dracula legend, who, after learning telling him all the details, warns Brewster that Katherine is in great danger, and intends on leaving Memphis to pay Brewster a visit to see what can be done. But it is too late. Katherine, who has a morbid fascination with death and eternal life, has already abandoned her fiance, Frank, whom has loved her since childhood, to marry Count Alucard. They ghoulist couple obtain a honeymoon cottage in an old house at Dark Oaks. Frank follows them there to get Katherine back and threatens Alucard to leave town. Ignoring his threats, this leaves Frank to take out his revolver and shoot Alucard, but in turn he has killed Katherine, who was standing behind her husband. Finding that the bullets have gone through Alucard and into Katherine, Frank rushes out of the house to tell Dr. Brewster what has happened. Brewster comes to the cottage to find Alucard, and much to his surprise, sees Katherine very much alive. When Frank arrives with the authorities, they find Katherine dead in her coffin. But after the arrival of Professor Lazio, more dark secrets are eventually learned, leading to a suspenseful climax.
Reportedly dismissed as just another horror film upon its release, SON OF DRACULA does have its share of bonuses that would have made the 1931 DRACULA a visual experience had such advanced technology in special effects been available, along with some real clever touches, including the visiting count using an alias by spelling his name backwards; a very creepy musical score, compliments of Hans J. Salter, dark atmospheric background and fine effects ranging from a cloud of vaper forming into the presence of Dracula, to his transformation from bat to human figure, etc. Aside from Lon Chaney's carnation of Dracula, Louise Allbritton stands out a close second with her creepy appearance, ranging from her unusual dark and gloomy hairstyle to icy facial expressions. Even before she becomes the wife of the mysterious Count, her Katherine is already obsessed by the supernatural. Her sister, Claire, played by Evelyn Ankers (who appeared opposite Chaney in THE WOLF MAN (1941) and THE GHOST OF FRANKENSTEIN (1942)), is the logical half of the Caldwell sisters, and although she doesn't get to belt out a scream or two as she did in the aforementioned films, her presence adds to the story, as does J. Edward Bromberg's Professor Lazio, the authority of the Dracula legend. Bromberg's role could have very well been Professor Van Helsing (as previously played in the first two Dracula films of the 1930s), but instead, his role was inspired by him. Robert Paige, another Universal contract player, does well with his Frank Stanley performance, rising above the usual mediocre love interest-types of the day.
The supporting cast includes Samuel S. Hinds as Judge Simmons, Etta McDaniel as Sarah; Patrick Moriarty as the Sheriff; and Adeline De Walt Reynolds as Queen Zimba, the fortune telling gypsy, who after warning Katherine of her destiny and danger in marrying a corpse, she is met with a destiny of her own when encountered by a vampire bat that puts an end of her fortune telling forever. Reynold's brief bit as the fortune telling old hag is reminiscent to the kind of role Lucille LaVerne (of silent and early talkies) that made her famous.
In spite of its misleading title, Count Alucard is never mentioned as Dracula's son, but as Count Dracula himself. SON OF DRACULA, which runs at 78 minutes, is the last really good and near original Dracula film of the 1940s. Before Bela Lugosi would do one more encore as Dracula in 1948's ABBOTT AND COSTELLO MEET FRANKENSTEIN, the Dracula character would be revived again in two quickie installments (HOUSE OF FRANKENSTEIN in 1944; HOUSE OF DRACULA in 1945) with John Carradine taking over as the Count, but only minor secondary performances.
SON OF DRACULA, which formerly played on the cable television's Sci-Fi Channel and American Movie Classics, is currently available on video cassette through MCA Home Video. This sure makes recommended viewing for a dark and gloomy Halloween night, or any night for that matter, particilarly for any classic horror movie lover.
It is difficult to judge one movie in this Dracula Legacy Collection as being better or worse than another. Each has some stronger and weaker elements, but I think most balance out, so I had to rate them the same. The writing and acting was pretty strong. This addition to the Universal Dracula series took itself seriously enough that it did not fall into cheesiness. Visual effects showed improvement too. The rubber bat was more controlled and there was at least a primitive attempt at showing the transformation from bat to man. Dracula finds a better hiding place for his coffin in the swamp, rather than being an easy target in the basement of whatever large house he is living in. As usual the rules are always being changed in these old horror films, so now we have it clearly stated that vampires can be killed by a stake through the heart or by burning their casket with their native soil before they can return to it at daybreak. Also vampires can transform into a cloud of smoke now besides a bat, werewolf (though this is never explored to keep it separate from Universal's other franchise), or rat (this being only used up to this point by Nosferatu). The death of a vampire is finally shown more explicitly too. But it doesn't matter because these monsters always live again to appear in another flick.
In this unrated continuation of Universals Dracula series, a mysterious count (Lon Chaney, Jr.) finds his way from Budapest to the swamps of the Deep South and finds himself fighting a medical doctor, a university professor, a jilted fiancé and the woman he loves.
The worst part of this flick ends up to be the lead performance. In taking over the role that his father was suppose to make famous before cancer took him, humdrum vampire Lon Chaney, Jr. brings about as much terror to the proceedings as fuzzy Muppet Count Von Count on Sesame Street. Oh, his tenure as a werewolf shows that he's capable of such range but there's none of that evident in this monstrously unscary Dracula follow-up. Robert Siodmak, who directed undisputed horror classic The Wolf Man in 1940, brings a great deal of atmosphere to the photography but not so much to the script. Rather than the sequel that Dracula deserves, he turns out some vamped up voodoo phooey. J. Edward Bromberg even sports an Eastern European accent in his thankless role as Professor Lazlo, a discount bin Van Helsing.
Bottom line: Slow Count
Worth a look, give it a rental.