Directed by Freddie Francis
In the shadow of Castle Dracula, the Prince of Darkness is revived by blood trickling from the head-wound of an unconscious priest attempting exorcism. And once more fear and terror strikes Transylvania as the undead Prince of Darkness stalks the village of Keineneburg to ensnare victims and satisfy his evil thirst.
Drácula vuelve de la tumba, Dracula regresa de la tumba, Drácula, o Perfil do Diabo, Drácula se levanta de la tumba, Draculas Rückkehr, Blodsugeren Dracula, Dracula nousee haudasta, Dracula on noussut haudastaan, Dracula et les femmes, O Drakoulas vgike apo ton tafo tou, Ο Δράκουλας βγήκε από τον τάφο, Dracula feltámadt sírjából, Le amanti di Dracula, Kaettekita Dorakyura, Powrót Draculi, O sinal de Drácula, Draculas vålnad, Дракула восстал из мертвых, Drakula Məzardan Çıxdı, Dracula 4: Dracula Has Risen from the Grave, דרקולה עלה מן הקבר, Drácula: O Perfil do Diabo, Dracula s-a ridicat din mormânt, 血溅坟场, 무덤에서 일어난 드라큐라, Dracula vstal z hrobu, Drakula Mezarindan Çıktı, 帰って来たドラキュラ, Dràcula torna de la tomba, แดร็กคิวล่าฟื้นคืนชีพ, 血濺墳場
Sweden7 
UK 
Ireland15 
USAG 
JapanG 
Germany 
France UK15 UK15 
Italy14+ France Germany Ireland Italy Japan Sweden UK USA 
I miss the days when films had huge, elaborate sets, constructed on sound stages. I miss matte paintings and practical effects. I miss the artificiality that films used to have. Where things didn't necessarily look real, they looked better than. A time when films had a dreamlike, or otherworldly quality to them. Painterly, even. Real life doesn't look like a movie set. Your eyes don't see in Technicolor, or in black and white. But, we watch films to escape from reality, don't we? I see so many film reviews which criticize films for not being "realistic enough." But, when did realism become so desirable? Why would we want our escapism to mirror the world we are escaping from? To me,…
Like a stained glass window if we worshiped Dracula instead of Christ.
A good movie for a day when you just cannot fucking believe they woke you up for this shit and you're just tired of having to get dressed and be charismatic all day long. And people comment on your red staring eyes and you're like look, the cat sleeps on my pillow cause cats just whatever and then I get cat in my eye and spend the early hours of the morning weeping. But if people just NEED to be told what to do and where to go then whatever, fine.
Um, cold, angry, staring, choker ripping Dracula is super hot. I knew it. There's something wrong with me.
This is #144.
SPOOKTOBER VI: THE HAMMER OF HORROR
Guess I’m in the minority with this one, as many seem to love it. And I suppose I can see why—a nice little twist on the Dracula tale by placing religion at its core, which surprises me hasn’t been done sooner. The way our Count returns isn’t quite as creative as last time, but I liked the whole concept of the source; it stays true to the movie’s themes. The ending felt a bit underwhelming, but as many have pointed out, it aligns with the film’s overall tone. Lee appears more on screen and seems to be having a good time—the horse riding with the fast whipping was kind of funny—and…
Boy, has he.
Saw this for the first time with my grandpa when I was six years old, in a double feature with Frankenstein Must Be Destroyed, at the Admiral Drive-In in Tulsa. It changed my life.
Still holds up. (What is Hammer Films without Freddie Francis or Terence Fisher?) Ostensibly set in 19th Century Germany, but clearly it’s post-colonial England — the Church seems especially moldy and ineffectual, in spite of the unconvincing reaffirmation at the end. And the cast is game: Christopher Lee, the scariest Dracula; Veronica Carlson, Hammer stalwart; Rupert Davies, touch of class; Barry Andrews, Chad and Jeremy charm; and Ewan Hooper is especially vivid here, appearing to have wandered in from an Edward Bond play.
The boy found the last ten minutes terribly exciting, and he started racing around the room. He gives it a thousand stars.
Dracula Has Risen from the Grave picks up a year after the events of Prince of Darkness and makes religion the central focus. The titular rising from the grave is abetted by an act of religious hubris, inspired because the shadow of Dracula's Castle is affecting the level of worship at the local church. The resurrection scene here entirely lacks the gravitas of the corresponding scene in Prince of Darkness, which is disappointing, but at least Christopher Lee has rediscovered his vocal chords. Dracula ends up basically being a side player in a plot surrounding a baker's assistant and his girlfriend, the niece of the Monsignor. The drama is interesting enough in and of itself, but there's no real narrative…
Dracula walking around in this one like he just took ten edibles. Bloodshot is an understatement.
Elaborate Gothic Sets, Stained-glass lighting and boobs.
The holy trinity of Hammer Horror films.
You think every time Dracula gets resurrected he's like "Okay gotta find a Renfield, Harker, Van Helsing, Mina and Lucy ASAP"
This movie looks amazing and I quite like Veronica Carlson, but god Paul sucks. I have never so desperately wanted Dracula to be victorious in my entire life, just to save Maria from that tool.
The cool ice cracks to bring him back to Earth. Blood spills, trickles under, from slumber to rebirth.
As thunder cries to lightning’s call, his name is whistled through winds to all.
A dance of glistening golds and cheeks, red as rose. A song of howling rain and fog.
Visions of the eye who forged THE STRAIGHT STORY, less the brain to blame for TROG.
The Count himself glides like a ghost, to dreams of forests — old as time.
Less lust to paint this Hammer Horror, still — Lee has never looked so fine.
The legend goes: one look is writ to fall beneath his spell.
In the cellar, by the tavern. Find those eyes and you’ll see Hell.
The myth has yet to be dispelled, of why such terror comforts so.
For even when no fangs are seen, blood warms his bod from head to toe.
Such a gorgeous film. The sets, costumes, and the lighting, are all magnificent.
