A weak priest provides the blood that revives the evil Count Dracula and becomes his servant in a typical dose of vampire flesh-creeping from the Hammer House of Horror.
A minor triumph of style over content, the third sequel to Hammer’s 1958 classic succeeds by virtue of Freddie Francis’s adventurous direction and his ability to extract religious irony from the formulaic script.
Moody red filters are used to enhance the sanguinary motifs, while the ever-reliable Christopher Lee evokes the customary chills and supernatural menace.
Dracula not dying after being gorily staked by an atheist is this iconoclastic picture’s most striking – if ludicrous – scene.
George A Cooper