prayers. The Priest dies and Paul holds Maria with perhaps a stronger religious conviction than anyone else on the planet.
Barry Andrews would have another high profile role as Ralph Gower in genre movie, The Blood On Satan’s Claw (1971), one of the greatest devil movies in history.
Zena works at the inn with Paul. She is the likeable tart with a heart that makes her a victim by default. She is friends with Paul and jealous of his love for the virginal Maria. She laughs the loudest when Paul spills ale all over himself as he is dressed to meet her parents. He arrives at the inn later looking very dejected and orders three shots of the strongest schnapps. Keeling over very quickly, Zena helps him to his room and undresses him for bed, stealing a kiss – “I bet she doesn’t kiss you like that” – as Maria enters seconds later she leaves the lovebirds to their own devices. As she winsomely makes her own way home through the forest she is followed by a runaway coach en route seemingly driven by a man in priests robes. Further into the forest she is intercepted by a tall man with burning eyes who seems to kiss her all night! Back in the tavern the next night, she finds herself snapping at Paul and hiding the strange marks on her throat. She has found herself strangely allied with the Priest in servitude out of her love for the Master. Problems abound when the Master rejects her in favour of Maria whom she has kidnapped for him. When the girl escapes, Zena is thwarted again as the Count orders that she bring her back and decides to give the dark man a piece of her mind. He gives her one final kiss draining her completely and has the Priest feed her husk to the flames in the baker’s oven. Although Zena and Paul are the only barstaff at the inn, it is strange that no one seems to go looking for her and Max puts her disappearance down to taking off with a student.
New Zealand born Barbara would go on to guest star in the Donald Sutherland mystery The Eye of the Needle (1981), following this with many credits in UK dramas and soap series on television.
Director Freddie Francis always admitted that his work on Dracula Has Risen From the Grave was strictly by the numbers. He took on the role when Terence Fisher fell ill. Mr Francis had a plethora of genre films behind him in a very distinguished career both as director and cinematographer. High profile films – as director – include The Evil of Frankenstein (1964), Dr Terror’s House of Horrors (1965), and Tales From the Crypt (1972). He died age 89 in 2007.
Christopher Lee maintains that Sir James Carreras went on his knees to get the actor to play Dracula in this movie and Lee’s distaste at having to pull the stake from his chest is now common knowledge. To the actor’s detriment however, the two scenes – the second being the impalement on a large crucifix – that he hated the most are the best sequences and the most memorable of the film. A stake through the heart is the end of the vampire, but Hammer needed Dracula to rise again. Filled out with deftly directed action sequences, Dracula Has Risen From the Grave is perhaps the most grim of all their Dracula output. The religious additions leaving aside the notion of comedy being brought into the proceedings, but it was rife in their advertising campaign, particularly in the USA. A black and white photograph of a girl with two pink plasters on her throat and the title: Dracula Has Risen from the Grave! Below this, the one word: “Obviously.”
Marking many turning points, a shift in management at Hammer and a change of residence for the company, the film suffers and benefits in perhaps equal measure. Handing the larger portion of the film over to the young leads is a crippling move, but necessary as the studio failed to see the opportunities inherent in the titular character. One would have liked to have seen The Monsignor himself take on the vampire in the finale in the best Van Helsing tradition. As
Barry Andrews would have another high profile role as Ralph Gower in genre movie, The Blood On Satan’s Claw (1971), one of the greatest devil movies in history.
Zena works at the inn with Paul. She is the likeable tart with a heart that makes her a victim by default. She is friends with Paul and jealous of his love for the virginal Maria. She laughs the loudest when Paul spills ale all over himself as he is dressed to meet her parents. He arrives at the inn later looking very dejected and orders three shots of the strongest schnapps. Keeling over very quickly, Zena helps him to his room and undresses him for bed, stealing a kiss – “I bet she doesn’t kiss you like that” – as Maria enters seconds later she leaves the lovebirds to their own devices. As she winsomely makes her own way home through the forest she is followed by a runaway coach en route seemingly driven by a man in priests robes. Further into the forest she is intercepted by a tall man with burning eyes who seems to kiss her all night! Back in the tavern the next night, she finds herself snapping at Paul and hiding the strange marks on her throat. She has found herself strangely allied with the Priest in servitude out of her love for the Master. Problems abound when the Master rejects her in favour of Maria whom she has kidnapped for him. When the girl escapes, Zena is thwarted again as the Count orders that she bring her back and decides to give the dark man a piece of her mind. He gives her one final kiss draining her completely and has the Priest feed her husk to the flames in the baker’s oven. Although Zena and Paul are the only barstaff at the inn, it is strange that no one seems to go looking for her and Max puts her disappearance down to taking off with a student.
New Zealand born Barbara would go on to guest star in the Donald Sutherland mystery The Eye of the Needle (1981), following this with many credits in UK dramas and soap series on television.
Director Freddie Francis always admitted that his work on Dracula Has Risen From the Grave was strictly by the numbers. He took on the role when Terence Fisher fell ill. Mr Francis had a plethora of genre films behind him in a very distinguished career both as director and cinematographer. High profile films – as director – include The Evil of Frankenstein (1964), Dr Terror’s House of Horrors (1965), and Tales From the Crypt (1972). He died age 89 in 2007.
Christopher Lee maintains that Sir James Carreras went on his knees to get the actor to play Dracula in this movie and Lee’s distaste at having to pull the stake from his chest is now common knowledge. To the actor’s detriment however, the two scenes – the second being the impalement on a large crucifix – that he hated the most are the best sequences and the most memorable of the film. A stake through the heart is the end of the vampire, but Hammer needed Dracula to rise again. Filled out with deftly directed action sequences, Dracula Has Risen From the Grave is perhaps the most grim of all their Dracula output. The religious additions leaving aside the notion of comedy being brought into the proceedings, but it was rife in their advertising campaign, particularly in the USA. A black and white photograph of a girl with two pink plasters on her throat and the title: Dracula Has Risen from the Grave! Below this, the one word: “Obviously.”
Marking many turning points, a shift in management at Hammer and a change of residence for the company, the film suffers and benefits in perhaps equal measure. Handing the larger portion of the film over to the young leads is a crippling move, but necessary as the studio failed to see the opportunities inherent in the titular character. One would have liked to have seen The Monsignor himself take on the vampire in the finale in the best Van Helsing tradition. As
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