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The delicate dance of ambiguous horror can backfire on a filmmaker if the audience is eager to see genuine monsters onscreen, but John Hancock's film about a woman who retreats to a secluded country home after a traumatic event-only to find that something horrific might already be there-is an example of ambiguity going as well as it possibly can. Vibrant, sexy, and led by two iconic performances, it remains a bloody good time, and inspired more than a few solid sequels. Horror of Dracula, the first of several films to star Christopher Lee in the title role and Peter Cushing as his nemesis, Van Helsing, is hot in all the ways that Lugosi's Dracula is chilling. Tod Browning's Dracula is a moody, quiet, understated exercise in otherworldly terror, which is why Hammer Studios's first attempt to bring the bloodsucking Count to life runs in almost entirely the opposite direction.
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Gloria Holden is mesmeric in the title role as a woman trying to free herself from her father's curse the lesbian overtones of the story are surprisingly progressive for their time and the film has a lot of rather compelling things to say about being part of such a horrific legacy. It's a bold statement, especially considering how much the Count would come back to Universal Pictures in later years, and the first of many daring moves in this subtly progressive sequel. In the opening minutes of Dracula's Daughter, the title character literally sets the body of her father on fire. From shots of clouds moving behind weathervanes to the way the light hits a skull to the simple, slow turning of a key in a lock, Dreyer's film creates an atmosphere that's very similar to a nightmare that you don't quite understand until you've woken up. Shot with minimal dialogue and often nonprofessional actors (the star is the guy who funded the movie), Dreyer makes excellent use of mood-setting visuals to convey an overall tone of dread. Vampyr (1932)Ĭarl Theodore Dreyer's moody masterpiece might move a little slowly for modern audiences, but if you let its shadowy world creep into your psyche just a little bit, it'll never leave again. The eerie, scoreless silence the subtle touches of spookiness lurking around the main plot and Lugosi's earnest power all still work all these decades later. While some viewers have come to prefer other versions of the Count-including the Spanish-language Dracula shot alongside the Lugosi version-the pure, spooky aura of Tod Browning's original Universal Pictures adaptation still casts a strange spell. There's a reason you can ask almost anyone to do a Dracula impression and you'll still usually hear Bela Lugosi's accented, almost otherworldly cadence, and it's not just because a Sesame Street character picked it up and ran with it. Even now, nearly a century after it was made, the image of Schreck simply walking into a dark bedroom at night is enough to leave you chilled. Even if you've never seen it you know the image of Max Schreck as the needle-fingered, wide-eyed vampire Count Orlok, and Murnau never misses an opportunity to maximize the raw power of Schreck's performance.
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Murnau's legendary silent classic is famously a Dracula adaptation with the serial numbers filed off, but what's lasted about this gorgeous nightmare of a movie is not its reliance on the Dracula structure. Here are our picks for the 25 greatest vampire films of all time (in chronological order). Along the way, some truly great movies have come along. Throughout the decades we've seen vampire stories ranging from psychological dramas to comedies to all-out monstrous terrors, using these bloodsucking characters as metaphors for everything from wealth to sin to drug addiction to sexual taboos. Filmmakers have been making movies about vampires almost since the inception of motion pictures, and our public fascination with these creatures of the night has not yet dimmed.