Supreme Sequel to the first Hammer 'Dracula' which also rips along at a whip - cracking and furious pace ( Yes, that's Terence Fisher on top form again !! ) The story picks up ten years after the Count's demise, but there are still no shortage of idiotic unbeliever traveller types about, that are foolish enough to stay a night at the Count's Pad ( even though he is officially 'No More' .... would You ? ) The Bloodsucker's cunning Manservant, 'Klove' ( the name should be enough to tip you off !! .... ) sees to the traveller's needs, then promptly slits one of their throats, over 'Drac's open coffin .... the rest as they say, is History - and Christopher Lee pops up once again to claim his Blood Money !! .... It's a great rousing slice of Hammer Horror with familiar faces - Francis Matthews, Andrew Keir and Hammer Scream Queen, Barbara Shelley on hand, to assist Lee in the nefarious goings on !! A very good sequel and for me the best of the Hammer Dracula Sequels ( there are 5 or 6, I… more »

Supreme Sequel to the first Hammer 'Dracula' which also rips along at a whip - cracking and furious pace ( Yes, that's Terence Fisher on top form again !! ) The story picks up ten years after the Count's demise, but there are still no shortage of idiotic unbeliever traveller types about, that are foolish enough to stay a night at the Count's Pad ( even though he is officially 'No More' .... would You ? ) The Bloodsucker's cunning Manservant, 'Klove' ( the name should be enough to tip you off !! .... ) sees to the traveller's needs, then promptly slits one of their throats, over 'Drac's open coffin .... the rest as they say, is History - and Christopher Lee pops up once again to claim his Blood Money !! .... It's a great rousing slice of Hammer Horror with familiar faces - Francis Matthews, Andrew Keir and Hammer Scream Queen, Barbara Shelley on hand, to assist Lee in the nefarious goings on !! A very good sequel and for me the best of the Hammer Dracula Sequels ( there are 5 or 6, I think ? .... ) The series had a tendency to deteriorate with each sucessive sequel unfortunetely ... but this first one is pretty much as good as the Original ( Almost .... ) Bloody Well - Done !!

Now - I don't want to do Christopher Lee down, but it's something that's always bothered me - the Transylvanian Count with the upper-class English accent; and that - for me - is why this film works. Lee has no dialogue at all, but, nevertheless, his huge presence pervades the whole film; even, in fact, before he appears. You're aware of him, of the Count, in every shadow...

Starting with a re-cap of the Count's excellent demise from Hammer's first Dracula outing, the film then follows four travellers who are caught in a trap set by the long-dead Count's faithful manservant with the object of raising the vampire from the dead.

Victorian repression gives way to blatant sexuality as Barbara Shelley - Queen of the Hammers - succumbs to the revived Count's attentions and then attempts to seduce her brother- and sister-in-law prior to her capture. Her subjugation by staking from wild-animal, hissing, lunging, into soul-at-peace is excellent. The Count's own exit from the… more »

Now - I don't want to do Christopher Lee down, but it's something that's always bothered me - the Transylvanian Count with the upper-class English accent; and that - for me - is why this film works. Lee has no dialogue at all, but, nevertheless, his huge presence pervades the whole film; even, in fact, before he appears. You're aware of him, of the Count, in every shadow...

Starting with a re-cap of the Count's excellent demise from Hammer's first Dracula outing, the film then follows four travellers who are caught in a trap set by the long-dead Count's faithful manservant with the object of raising the vampire from the dead.

Victorian repression gives way to blatant sexuality as Barbara Shelley - Queen of the Hammers - succumbs to the revived Count's attentions and then attempts to seduce her brother- and sister-in-law prior to her capture. Her subjugation by staking from wild-animal, hissing, lunging, into soul-at-peace is excellent. The Count's own exit from the proceedings isn't a traditional staking, either, which adds to the interest.

The predictable (and derivative) plot, with the odd shock along the way, is moved along by a strong cast and, yes, of COURSE it's tame by today's standards, but looked on as it should be, as a period piece, it still stands up there with the best of the Fifties and Sixties Hammer offerings.

One of Hammer's top three Dracula offerings. All it's missing is Peter Cushing.