BLOOD OF THE VAMPIRE is a pseudo-Hammer film made to cash in on the huge success of Hammer's THE CURSE OF FRANKENSTEIN. It's a bit of a mixed success, at least in terms of the production: the low budget is evident from the limited number of sets, but what sets! The whole film looks delicious and colourful with a real Gothic atmosphere that rivals Hammer at their best. The rival producers even hired Hammer man Jimmy Sangster to write the screenplay, which is all about early blood transfusions rather than any real vampirism – so if you go in looking for neck-biting antics you'll be sorely disappointed.
Much of the film is set in an asylum for the criminal insane, presided over by sinister doctor Callistratus (played by renowned theatre actor Donald Wolfit, who looks uncannily like a bigger version of Bela Lugosi here). Vincent Ball is the dashing hero thrown into the chaos, finding himself at the mercy of brutal guards, vicious Dobermans lurking outside the asylum, atrocious conditions, torture, and a creepy hunchback (the sympathetic Victor Maddern, hidden beneath some delightfully grotesque makeup that puts his eye halfway down his cheek). Before long, the utterly beautiful Barbara Shelley is also on the scene and at the mercy of the villains...
Sangster's script reads like a half-baked version of THE REVENGE OF FRANKENSTEIN, and indeed he took many of the themes in this movie and strengthened them for the Hammer sequel. Still, even if the script is slightly sub-par, the pacing is spot on and there's never a boring spot here. The Gothic feel is spot on, with plenty of spooky atmosphere punctuated by sudden moments of the grotesque – a heart beating on its on in a tank, a limbless body kept alive, a corpse in a block of ice. I didn't even mind the lack of undead, as I've always enjoyed the scientific paraphernalia in these movies. Other moments of interest include brief appearances from John Le Mesurier as a judge and Bernard Bresslaw as a thief. The sole aim of this film may have been to rip-off Hammer and director Henry Cass may be workmanlike at best, but still I enjoyed this fun and colourful little romp.
Much of the film is set in an asylum for the criminal insane, presided over by sinister doctor Callistratus (played by renowned theatre actor Donald Wolfit, who looks uncannily like a bigger version of Bela Lugosi here). Vincent Ball is the dashing hero thrown into the chaos, finding himself at the mercy of brutal guards, vicious Dobermans lurking outside the asylum, atrocious conditions, torture, and a creepy hunchback (the sympathetic Victor Maddern, hidden beneath some delightfully grotesque makeup that puts his eye halfway down his cheek). Before long, the utterly beautiful Barbara Shelley is also on the scene and at the mercy of the villains...
Sangster's script reads like a half-baked version of THE REVENGE OF FRANKENSTEIN, and indeed he took many of the themes in this movie and strengthened them for the Hammer sequel. Still, even if the script is slightly sub-par, the pacing is spot on and there's never a boring spot here. The Gothic feel is spot on, with plenty of spooky atmosphere punctuated by sudden moments of the grotesque – a heart beating on its on in a tank, a limbless body kept alive, a corpse in a block of ice. I didn't even mind the lack of undead, as I've always enjoyed the scientific paraphernalia in these movies. Other moments of interest include brief appearances from John Le Mesurier as a judge and Bernard Bresslaw as a thief. The sole aim of this film may have been to rip-off Hammer and director Henry Cass may be workmanlike at best, but still I enjoyed this fun and colourful little romp.