4K Ultra HD Critique – Scars of Dracula (1970)

      Scars of Dracula, 1970.

      Directed by Roy Ward Baker.

      Featuring Christopher Lee, Dennis Waterman, Jenny Hanley, Michael Gwynn, Michael Ripper, Patrick Troughton, Christopher Matthews, Bob Todd, and Anouska Hempel.

      SYNOPSIS:

      Following the murder of a young man while at Castle Dracula, his younger brother embarks on a quest to find him.

      The year 1970 was pivotal for Hammer, as the vibrant sixties came to an end, and the emergence of a grimmer style of horror film from the United States posed a challenge. With George A. Romero’s Night of the Living Dead and Roman Polanski’s Rosemary’s Baby ushering in a wave of terror that brought the horror from remote Eastern European castles to modern society, Hammer was compelled to elevate its production approach. This shift would eventually lead to their departure from Gothic narratives, but not before giving their iconic monsters one more film. In Dracula’s case, Taste the Blood of Dracula had been released earlier that year, featuring the Count in early 20th-century Victorian London. Although the update was minimal, the tawdry narrative and familiar backdrop paved the way for the subsequent, much-maligned but enjoyable Dracula A.D. 1972, which may have been better received had it followed directly. However, in a peculiar decision, Hammer returned to the fog-shrouded hills of Eastern Europe for one last Gothic tale featuring the Count.

      The film begins with a (rather unconvincing) bat regurgitating blood onto the decayed remains of Count Dracula (Christopher Lee), reviving him. The origin of the bat or the reason for its bloody act remains a mystery, but this opening sets the tone, as the scene is comically poor, with the unrealistic blood and over-the-top theatrics, while Lee still looks striking in his cape and fangs, though his pale makeup adds a certain age, possibly intentionally.

      After the Count kills a local woman, the villagers retaliate by attempting to burn down his castle. Upon returning home, they discover that all the women in the village have been slaughtered. Meanwhile, the womanizing Paul Carson (Christopher Matthews) is accused of rape and flees his village, ultimately meeting Dracula’s servant Klove (Patrick Troughton), who brings Paul back to the ruins of the castle to meet Dracula.

      Concerned for their brother’s safety, Paul’s sibling Simon (Dennis Waterman) and his fiancée Sarah (Jenny Hanley) search for him, eventually arriving at Dracula’s castle, where the Count takes an immediate interest in Sarah, as does Klove. However, Klove’s intentions are more benevolent, as he aids their attempt to flee, inciting the ire of his master. When Simon returns with a priest, Klove’s assistance wanes, setting the stage for a climactic struggle to eliminate Dracula's evil for good.

      Scars of Dracula, arriving a few months after Taste the Blood of Dracula, feels like a regression. It lacks vibrancy, with a standard search-and-rescue plot reminiscent of Hammer’s own Dracula from 1958, albeit without the grandeur of Peter Cushing as the lead. Here, Dennis Waterman assumes this role but appears ineffective and weak, portraying Simon as an innocent without character growth, concluding the film as passive as he began. This stems largely from the writing, as Simon lacks the charisma of Van Helsing; he's not even as assertive as Paul from Dracula Has Risen From the Grave (played by Barry Andrews), who, despite being bothersome, at least had a journey to undertake.

      However, the film reintroduces Klove, last seen in 1966's Dracula: Prince of Darkness and originally portrayed by Philip Latham. In this installment, Patrick Troughton portrays him, bringing a more rugged and sympathetic interpretation to the character, akin to Bela Lugosi’s Ygor from Universal’s Son of Frankenstein in both appearance and demeanor.

      On the subject of presence, Christopher Lee still commands attention with minimal effort, and for this film, he has more dialogue than in past entries. In fact, it marks the first time since the 1958 film that his Count has had significant lines, including some from Bram Stoker’s original novel—a detail Lee cherished, especially after being convinced to reprise the role annually despite disliking sequels where Dracula merely looked intimidating in a desecrated church.

      This time, Lee’s Count exhibits greater brutality, particularly in how he punishes Klove, branding his rebellious servant with a red-hot sword—a sadomasochistic scene previously unseen from Hammer. This indicates a slight shift in Hammer's approach to violence, yet it has a significant impact, as Lee appears almost demonic while inflicting torment on Troughton, with both actors effectively conveying the agony of their actions.

      Presented in a sturdy slipcase with new artwork, two posters, and a collector’s booklet, the 4