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Director: Alan Gibson, Screenplay: Don Houghton, Executive Producer:
Michael Carreras, Producer: Josephine Douglas, Original Music:
Michael Vickers, Tim Barnes (song "You Better Come Through"), Sal Valentino
(song "Alligator Man"), Cinematographer: Dick Bush, Film Editor:
James Needs, Casting: James Liggat, Production Designer: Don
Mingaye, Makeup Artist: Jill Carpenter, Hair Stylist: Barbara
Ritchie, Production Manager: Ron Jackson, Production Supervisor:
Roy Skeggs, Assistant Director: Robert Lynn, Sound Editor: Roy
Baker, Boom Operator: Keith Batten, Supervising Sound Editor:
Claude Hitchcock, Dubbing Mixer: Bill Rowe, Special Effects: Les
Bowie, Wardrobe Supervisor: Rosemary Burrows, Continuity: Doreen
Dearnaley, Camera Operator: Bernard Ford, Music Supervisor: Philip
Martell
Cast:
Christopher Lee (Count Dracula), Peter Cushing (Professor Van Helsing),
Stephanie Beacham (Jessica Van Helsing), Christopher Neame (Johnny Alucard),
Michael Coles (Inspector), Marsha Hunt (Gaynor), Caroline Munro (Laura Bellows),
Janet Key (Anna), William Ellis (Joe Mitcham), Philip Miller (Bob), Michael
Kitchen (Greg), David Andrews (Detective Sergeant), Lally Bowers (Matron Party
Hostess), Constance Luttrell (Mrs. Donnelly), Michael Daly (Charles), Artro
Morris (Police Surgeon), Jo Richardson (Crying Matron), Penny Brahms (Hippy
Girl), Brian John Smith, (Hippy Boy), Tim Barnes, Sal Valentino, John
Blakeley, Brian Godula, Lynne Hughes, Deirdre La Porte, Cory Lerios, Lydia
Mareno, Steve Price, Annie Sampson (Musicians of rock group
"Stoneground"),
Jane Anthony (Debby Girl), Flanagan (Go-Go Girl), John Franklyn-Robbins
(Minister)
Much has been written about A.D.72 - most of it unfavourable - although lately the film appears to have undergone some kind of re-evaluation with a few lonely voices in the dark admitting to a liking to this groovy little gem of a movie. Although as a rule the actual idea to revive our Victorian anti-hero into modern day London is not necessarily itself critisised, most viewers do not like the idea of Dracula never actually setting foot into Swinging London and instead remaining in his refuge in an old abandoned desecrated church. He even leaves the selection of his victims to his modern servant Alucard (Christopher Neame as a dandified Ralph Bates copy)!
Most of the negative reviews IMHO concentrate too much on “What could have been?” as opposed to “What is the film like?” Although A.D. 72 may not be on a complete par with the original (Horror of) Dracula or some of the other Hammer favourites (Kiss of the Vampire), it is incredibly entertaining and far superior to the likes of Dracula Has Risen From the Grave or even its modern day counter-part Satanic Rites of Dracula. Sure, with a little bit of imagination it could have become much better, but even the way it is it still has a good number of stand out sequences that makes this flick a much more entertaining offering to a lot of other movies of its type.
To get things out of the way: Yes, the lingo was already out-dated at the time of shooting, but it is a lot of fun to listen to and beats the current crop of “Yeah, motherf*****, let’s shoot the f***** motherf***** in the f***** head” ingenuity of current genre entries.
The film begins with an amazing fight scene between Van Helsing and Dracula on top of a horse drawn carriage set 100 years previously (and as such also a few years BEFORE Hammer’s initial (Horror of) Dracula)! The two battle to the death and there’s a wonderful Kubrickian shot from a 19th century graveyard into the skies where we subsequently see an airplace cruising over modern day London.
The two most
intense scenes of A.D. 72 are the sacrifice of Laura (Caroline Munro),
Dracula’s first victim, and the destruction of Alucard by Van Helsing (Peter
Cushing at his usual best).
Alucard’s death is the true climax of the film. The destruction of Dracula is the usual run of the mill stuff, but Alucard’s fate is ingenious and one of the best scenes of the entire Hammer Vampire cycle (at least of the ones featuring Christopher Lee). This sequence alone merits watching the film. Bible, sunlight, mirror and running water – sorry: a shower (see: the lore *has* been updated after all!) – were hardly ever used as effective as here.
Laura’s sacrifice on the other hand is one of the most erotic blood sacrifices in movie history. Of course we all know by now that the image of the vampire is often an expression of latent sexuality. And Hammer itself has helped to make this much more obvious by having the gals drop their kits in the likes of Lust for a Vampire, but in A.D. 72 we again have a more clothed – and successful! - approach: Caroline Munro’s Laura undergoes a transformation from rivaling jealousy towards Jessica (Stephanie Beacham), Van Helsing’s niece, through sexual anticipation during the preparation of what she considers the game play of her sacrifice, up to the panic stricken look on her face when she discovers that this is indeed no longer a game.
In case I have not made myself clear enough: Seeing Caroline Munro’s quivering bosom splashed with sacrificial blood is HOT!!!!!
Come to think of it: Seeing Stephanie Beacham’s perk nipples underneath her white gown later on is equally hot!
The Dracula myth gets a slightly new twist when Dracula emphatically highlights Jessica Van Helsing to Alucard. Satisfying his thirst for blood appears to be secondary to his thirst for revenge against the entire Van Helsing clan. We also have another scene in which Jessica dreams about the death of her coloured friend (Marsha Hunt): The fate of the Van Helsing family appears inextricably linked with Dracula’s through a bond that goes far beyond that of a simple hunter/prey relationship.
Interestingly enough it is not just Dracula who doesn’t leave his refuge in the church. In the first half of the film – bar a few seconds where we see him walking towards his house – Van Helsing, too, seems to be entirely devoted to life in his house, some kind of self imposed mausoleum with an excellent library, old photographs and one very mediocre drawing of Dracula. He, too, is a relic from a long forgotten era who only faces modern times when it comes to defending his family. He is an old fashioned gentleman who acts perplexed as to the modern ways around him and certainly does not appear to have any understanding as to what makes his niece click.
Again: This is not a perfect film, but it is a lot of fun with a number of memorable scenes and overall much better than its reputation.
The new DVD by Warner Bros has excellent picture quality and presents the film in all its glory. Apart from a trailer, there is little in the way of extras, but it is a Must for all fans of the film and its mini skirted Glamour girls.
Dig it?
For a gallery of Lobby Photos from this film click HERE!
Further Reading:
DVD
Savant....
... didn't like it.
The Spinning Image...
... liked it a bit more.
Horrordvds.com...
... seems to like it the most. And provides a bunch of nice screen caps.
Buy: