Hammer Studios made nine Dracula films. I’ve seen all but one of them (Dracula A.D. 1972), but I’ve watched them all randomly and out of order. Which makes me get the timelines all screwed up in my head. I thought this one was the third in the series, but it is actually the fourth.

One year after the previous film (Dracula: Prince of Darkness), the village that Dracula terrorized still lives in fear. A visiting Monsignor, Ernst Mueller (Rupert Davies) berates the local priest (Ewan Hooper) for not holding mass. The priest, who has lost his faith and is found sitting drunk in a tavern, informs the Monsignor that his flock will no longer enter the church for the shadow of Castle Dracula still falls upon it.

The Monsignor grabs a giant cross, takes hold of the priest, and climbs the mountain toward the castle. The priest stops short of the castle while the Monsignor gives it a good exorcism and plants the cross at the front door.  The poor, dumb priest stumbles, cuts his head, and falls onto the frozen creek where Dracula (Christopher Lee) died in the last film. The ice cracks, the priest’s blood pours into Dracula’s mouth, and we get our title for this film.

The priest becomes Dracula’s slave, and Monsignor goes home. Dracula, unable to enter his castle, vows his revenge on the Monsignor and goes after his niece Maria (Veronica Carlson). She’s very much in love with our dopey hero, Paul (Barry Andrews). He’s an atheist, which very much annoys the Monsignor.

There are a lot of boring bits in the middle of this film. That beginning is pretty great, and the finale is excellent, but between the two are lots of filler. Paul works at a bakery/inn, but he studies at night to become a doctor or something. There are scenes of him working and talking to the flirty waitress (Barbara Ewing). He visits the Monsignor and Maria’s aunt. He gets drunk, and he kisses Maria. Etc. It all seems to exist to stretch the budget and the runtime to the appropriate amount. Dracula eventually shows up, sucks the neck of the waitress, and seduces Maria. It will be up to the Monsignor and Paul to save the day. The final battle is a good one, but lord, does it take its time getting there.

It does look amazing. Hammer was always good at making wonderful sets that look completely lived in and painting spectacular backdrops, and they certainly did that here. Maria often sneaks out of her home and walks across balconies and rooftops to visit Paul, and this gives some wonderful views of the town below from above. I believe it was all set work, and it looks great.

All in all, it is another fine addition to the Hammer Horror annals. It could have been a real classic if they’d spent a little more time developing the middle section, but the beginning and ending is well worth the watching.