Depend Dracula has been resurrected often times in the films, particularly in the Sort ones. Alternatively superheroes, he has also been killed off a lot more than once. When it came to picking out some very novel – and gruesome – ways of disposing of the evil rely, Sort films were truly outstanding in that respect.
In Dracula (1958), Hammer’s introduction picture in the Christopher Lee series, the rely is vanquished by his arc enemy Teacher Truck Helsing (played therefore wonderfully by Peter Cushing), who bravely leaps across a dining table, though chasing Dracula through his adventure, and pulls down the curtains, revealing the bloodsucker to the one thing that’s generally guaranteed to toast a vampire into dirty nothingness: the sunshine of dawn. As Dracula crumbles away beneath the mixed destruction of the sun’s rays and Truck Helsing’s makeshift crucifix, hastily formed from two bits of candelabra, we’re seeing the begin of what can get to be such an interesting, iconic series involving the vampire lord.
In Dracula, King of Night (1965), the rely is resurrected in the most gruesome fashion imaginable: servant Klove pieces the neck of a suspended corpse within the sarcophagus comprising Dracula’s remains… and while the blood flows down onto the ashes, the rely gradually materialises right back to life, whereupon he profits to party on the weak woman guests to his castle. At the climax of this sequel, Dracula slips beneath the snow to a watery grave as a priest shoots at the frozen moat around his castle.
Nevertheless you can’t keep a good vampire down. In Dracula Has Grown From The Grave (1968), the rely is resuscitated from his freezing grave by the blood from the head injure of a priest who stumbles and falls down onto the spot under which Dracula’s body is lying in suspended movement, breaking the snow and trickling the blood onto the vampire’s lips. The death scene in that film is actually my favourite Dracula quit of all. Following an eager battle with the hero Paul (played by Barry Andrews) external his adventure, Dracula falls off a ledge and becomes impaled on a sizable mix, formerly placed down there by the hypnotised heroine Maria (Veronica Carlson). Some brilliant Dracula death throes ensue, with the impaled rely unbelievable around the woods with the the surface of the enormous mix protruding from his chest, gasping and shouting in pain, blood pouring profusely from his body, as he steadily disintegrates, leaving just a crimson, viscous mess all over the mix and ground.
In Style The Blood of Dracula (1969), which follows the history close to from wherever Grown From The Grave left off, a entrepreneur (played by Roy Kinnear) who offers important artefacts, stumbles across Dracula’s remains, together with his cloak and ring. He gathers them up and takes them back to his shop, wherever he locks them away. Nevertheless, he is bribed into parting using them by the sinister Master Courtley (Ralph Bates), who then uses them for an occult routine in an old desanctified church. The way Dracula meets his end in that film has often been regarded a rather fragile and dubious one by several Sort fans. Following the hero has set a sizable mix on the entranceway and put down the church as if in preparation for a holy bulk, Dracula abruptly experiences odd hallucinations of the church coming to life, with priests chanting litanies amid an over-all environment of religious ceremony. Becoming dazed and puzzled as that unique bulk rings unbearably through his mind, Dracula falls down seriously to his death onto the church and, as generally, crumbles to red dust.
The next film, The Scars of Dracula (1970), shown a rest from the continuity of all the previous films, as we discover the remains of Dracula lying not in the old English church of the previous picture, but in a sarcophagus in his Transylvanian castle. As angry villagers fix his adventure, a vampire bat vomits blood all over his ashes, and once more our favourite rely is up and running, raging with anger at the villagers who look hell curved on ruining him. At the climax of this film, I believed that the way Dracula meets his death was a tad too easy and far fetched, for while the vampire is attempting to hurl a steel pike right back at the hero (Dennis Waterman), he is abruptly hit by a bolt of lightning. Whilst the shouting rely falls to still another death, body aflame, you’re left feeling a little unhappy that his death this time around was not treated a bit more wonderfully and convincingly, in place of depending on a little bit of fortuitous heavenly intervention from above. However, despite the fragile finishing, The Scars of Dracula remains one of my all time favourite Dracula films.
The break from continuity continued on into another film, Dracula AD 1972 (1972). Like Scars, the opening scene in that one appears to tolerate number relationship whatsoever to what continued in the earlier picture, with a titanic challenge between Dracula and Truck Helsing (Peter Cushing building a pleasant return to his role) on a runaway stage coach. The culmination of the struggle sees Truck Helsing die as he valiantly impales Dracula on a damaged coach wheel. Exactly a 100 years later, the rely gets his first style of blood in contemporary occasions, as he is revived (again in an old church) in a satanic routine done by a group of teenagers, led by a descendant of one of his fans, a Johnny Alucard. Mirroring significantly the stagecoach challenge that occurred back in 1872, a descendant of Teacher Truck Helsing affects Dracula in his lair, with a view to saving his kidnapped child from the count’s clutches. After having a cliffhanger of a fight on the stairs, Truck Helsing eventually triumphs, staking Dracula into the bottom with all the unwavering energy and perseverance that his ancestor had.