"The Brides of Dracula" is considered by many fans of the Hammer studio to be one of their best efforts. To some degree, I can understand why. First of all, the movie looks very nice, with excellent production values and professional photography. As the vampire hunter, Peter Cushing gives another solid performance, coming across as believably skilled and cunning against his foes. And the movie has a pretty good climax that you'll remember for a long time afterwards.But at the same time, I couldn't help but notice some flaws, namely with the script. The first thirty or so minutes are pretty good, fast-paced and with a lot going on. But after the thirty minute mark, there are a number of long and slow bits where little to nothing important is happening. Some actions from the characters are a bit hard to swallow, like how the heroine decides to free the Baron from his being chained up after talking to him for just a minute or two. And it's odd that the vampire Baron actually doesn't appear that much in the movie despite him being the main threat.Don't get me wrong - if you are a fan of Hammer horror movies, you'll probably enjoy this particular production. But if you are unfamiliar with Hammer, I would suggest you first watch some of their other (and better) productions to get an idea if you'll enjoy this somewhat flawed one.

The Brides of Dracula, it may surprise first time viewers to know, is notable for the absence of Christopher Lee, and much speculation has ensued as to why he didn't recreate his most famous role. Lee himself always claimed he was never offered a chance to appear; but it's possible that Hammer, having focused on the Baron in their Frankenstein pictures, decided to focus on Van Helsing in its vampire ones - a perfectly logical choice as they considered Peter Cushing their star name.Whatever the reason, this is a terrific movie, with only its episodic script reducing its effectiveness. Beautifully photographed by Jack Asher in his last Hammer Horror movie; superbly directed by Terence Fisher. And of course, Peter Cushing himself on top form.David Peel makes an excellent vampire nemesis for Cushing's Helsing, and in an opening prologue is set free by Marianne Daniel (Yvonne Monlaur) - a finishing school teacher on her way to a new job. It's strongly implied that the Baroness Meinster (a wonderfully icy yet ultimately sympathetic Martita Hunt) has offered her shelter merely in order to satisfy her son's blood-lust. In a rather kinky touch once loose Peel's first victim is his own mother!Enter Van Helsing, and from here Peter Cushing's authoritative performance totally dominates the movie. We get a stylish fight between Van Helsing and Meinster, a brilliant sequence where faithful servant Greta (Freda Jackson) coaxes a new-born vampire from the grave, and the classic scene where the locks fall off a coffin as Marianne watches over it. Only the rather comical bat disrupts enjoyment, prompting laughs rather than terror.All told, this is brilliant Hammer Horror, Cushing himself is vampirised towards the end and in a gruelling sequence, burns the bite from his neck with a red hot branding iron. Startling stuff at the time and still effective today.

I enjoyed this movie, but I found several flaws which some people have posted about.1. Incorrect vampire lore:1a. Van Helsing able to lift the Vampire curse through branding the bite and washing it with Holy water.1b. Moonshadow windmill (somehow missing the windmill building) able to completely kill Baron Meinster. I can see sunlight doing it, but the Baron is a creature of the night and moonlight should be in his realm.1c. Baron Meinster entering the school teacher's bedroom without being invited -- which maybe possible if entering the whole school per se was enabled through being invited by the school administrators. 1d. Shacking the Baron. I'm not sure the shackles really works, even if it was silver with holy markings. If so, it might burn the Baron (for Werewolves definitely, Vampires normally not) in addition to holding him. If it doesn't burn him, then what prevents him from tearing it out of the wall or turning into a bat (or mist form) and escaping. From what I can tell, the Baron isn't supernaturally strong as in later Dracula movies.2. Bad coincidences: 2a. Van Helsing somehow finds Marrianne in the middle of the forest while driving by in a coach. Very unlikely. If she was on the road, I would have bought it. 2b. Running into the con artist doctor who tells Van Helsing about the death at the Girls School. 2c. Greta escapes the priest easily and off screen.Things unsaid: The Baroness is feeding young ladies to her son. We'll unless she is staking or burning the bodies of his victims, there should be a lot of Brides in the area. So, I assume she or Greta must be disposing of their bodies properly.Here's what I loved about the movie: 0. Peter Cushing as Van Helsing.1. Baroness Meinster though creepy wound up being sympathetic. But why wait until sunrise until dispatching her? Unless Van Helsing thinks that it would spare her pain, but he was wrong as she made a sound when he dispatched her. So, that makes me believe that Van Helsing isn't as experienced in Vampire lore as he says he is. 2. The Nurse Greta was sufficiently creepy especially in the scene where she wakes up one of the Baron's Brides from the grave. A very iconic and nice scene. But from Van Helsing's view point, he seems surprised and scared which tells me he's not as experienced as we've seen him in other Dracula movies. 3. Marianne actually being the instrument of her own peril by freeing the Baron. I loved how she tied the key to a handkerchief and threw it to the Baron vs just tossing it. 4. Con artist doctor. I loved how this guy is scamming everyone and is a man of science. The Anti- Van Helsing. 5. The locks dropping off Gina's coffin during the wake and the horse in distress. That was a great scene and extended sequence. 6. Van Helsing being bitten and then using the brand and holy water to un-vampire himself was a cool scene though incorrect vampire lore. Van Helsing rarely gets bitten in the Dracula movies. 7. Using the hot coals by both Van Helsing (to cure himself) and by the Baron to create a fire barrier for his escape and also inadvertently setting the windmill on fire and burning his brides. 8. The windmill shadow was also a cool scene, but I wished it only stopped the Baron long enough for Van Helsing to stake him vs killing the Baron outright.Overall there was much more to like than to dislike with iconic scenes and a very robust 47 year old Peter Cushing doing stunts.

An excellent slice of early Hammer, showcasing all of the Gothic atmosphere we have come to expect from the company. THE BRIDES OF Dracula has a fast pace, which is somewhat unusual compared to other films of the time, but it keeps the action moving along nicely and the tension never lets up for a second. The sets for this film are excellent and the camera-work also impressive. It is an injustice to merely say that the film looks nice; it is in fact beautiful. If one film were needed to showcase Hammer horror at it's finest, then this would be it.Peter Cushing is once again superb in his role as the stern Doctor Van Helsing, courageous and brave, battling the vampires at every turn. Yvonne Monlaur is also very pretty in her role as the heroine, and is not the screaming girl we are used to seeing in some other Hammer films. She is more than adequate and quite memorable too. David Peel looks suitably handsome as the Baron, and there is something strange about him which makes him a very good vampire.There are a number of substantial supporting actors and actresses, such as Martita Hunt, a suitably fearsome old woman, and Freda Jackson who gives a performance which recalls Dwight Frye in some aspects (the manic laughter being one). Miles Malleson turns up as comic relief yet again after his role in Hammer's original Dracula, and it is always a pleasure to see Michael Ripper in a role, however small.With excellent production values, an appropriately powerful score, and some very memorable scenes, as well as a brilliant ending (truly ingenious), this film is a good, well-rounded slice of Gothic dread from Hammer. There are even some Freudian elements added into the brew. The only criticism would be that the plot is rather shallow and simple, but that doesn't detract from the film at all. A worthy sequel in every sense of the word.