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An Oxford and Wellington College scholar, a World War II veteran and a distant relative of Ian Fleming, Christopher Lee is a far cry from the likeness of the Hungarian actor he succeeded in the role of Dracula. However, Hammer worked mightily in joining the two by giving Lee Lugosi’s cape, as well as his well-groomed etiquette. But Lee, a student of the classics (as well as an enthusiast for things occult), preferred pulling in theory more stringently from Stoker. His Dracula was mean, violent and treated his victims like the cattle that they were.
Watch Dracula 2000 online for free full movie on GoMovies now!! A group of thieves break into a chamber expecting to find paintings, but instead they release the count himself, who travels to New Orleans to find his nemesis' daughter, Mary Van Helsing.
Nonetheless, under the shockingly bright color palate of the Hammer films (all the better to accentuate the red splatters), Lee’s classical approach was forcibly evolved (or undermined) by something vital to Hammer’s mostly teenage male audience: Nubile young victims. If Stoker viewed the vampire as a metaphor for the destructive power of sexuality (saintly women once bitten would turn into fallen street-walking angels), and Lugosi’s hand gestures made theatergoing female patrons swoon, Lee would give boys something to gaggle over as well when Dracula’s mere presence would send the countless, buxom young peasant women into frenzied ecstasy. One need not be Freud to take an educated guess at what the image below could be construed as by both genders of an audience on the cusp of the sexual revolution. Indeed, by the end of Lee’s nine(!) film run as the Count in 1973, his victims were little more than promiscuous one-night stands; the Dracula girls that EON passed on for their 007 adventures. Dracula was still pure evil incarnate, but eventually it felt as if the writers did protest too much. Seeing Dracula punished for his diminishing crimes was like witnessing the last visage of Victorian restraint clinging to its crucifix. In a world that had moved well past Woodstock, such square morality was as unhip to audiences as Van Helsing’s unending Bible thumping.
In the “Me Decade,” audiences were ready for a Dracula that didn’t apologize after sticking his fangs in. In fact, when you turn your head just right, there is even something sweet about the old, awkward loner who always comes calling in his Sunday best When Frank Langella took on the Broadway role of Dracula in 1977, the times were a-changin’. Besides the aforementioned shift in view about the “evils” of promiscuity, even vampires were actually becoming pretty decent folk when you opened a bottle of O-Negative and got to know them. The year prior to the second and last time Dracula would cross the Great White Way as a play, Anne Rice saw her first novel published: Interview with the Vampire. Suddenly the walking dead of European folklore were pretty, pretty young men who were just.like so totally misunderstood.
While Rice’s Lestat is French, what he really might be is a Dracula in touch with his feelings. Hence when Langella and company dusted off the old Dean and Balderston play, the basis for the Lugosi film, it was done with a sense of camp and irony. If Lugosi’s magnetism packed the house, Langella’s easy-going smile and bare-chested V-shirts had them lined out the door and around the block. It’s no surprise that Hollywood came calling too with Universal ultimately remaking the play a second time in 1979 with Langella as the undead gentleman and Sir Laurence Olivier as the entirely unreasonable Van Helsing.
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