Louise Allbritton in Robert Siodmak’s Son of Dracula (1943); click here, or on the image above, to see the trailer for the film.
I’ve been meaning to blog on this film for quite some time, but something always came up; in any event, Son of Dracula, one of the last of the truly serious Universal horror films of the 1940s, is a remarkable film in many respects, not least of which is the fact that it’s the first horror film to combine distinct elements of film noir with the Dracula legend, transported here to America’s south for the first time, and directed by the gifted noir stylist Robert Siodmak (at a salary of just $150 per week), from a screenplay by his brother Curt, both refugees from Hitler’s Germany who wound up in Hollywood, and brought their Expressionist style of cinema with them.
Son of Dracula’s plot begins in a fairly straightforward manner; Count Alucard (try spelling it backwards; persuasively portrayed by Lon Chaney, Jr.) shows up at the Dark Oaks plantation in New Orleans, invited by Katherine “Kay” Caldwell (Louise Allbritton), a wealthy young heiress with a disturbingly deep interest in the supernatural. In short order, Alucard dispatches her father, Colonel Caldwell (George Irving), and marries Kay, who seemingly dismisses her long time fiancé Frank Stanley (Robert Paige) without a backward glance. Kay soon becomes one of the undead, and it seems as if Kay and Alucard are destined for a life of brutal immortality, scouring the countryside on a nightly basis for victims.
But — and here is the twist that makes the film unusual, and also constitutes a spoiler, so be warned — Kay has only one plan in her mind; after becoming a vampire, she infects Frank, hoping to turn him into a vampire, as well, so that Frank and Kay can live forever, as soon as Kay destroys Alucard by driving a stake through his heart. In short, Kay is a stylish 40s femme fatale, whose true motives can only be divined more than two-thirds of the way through the film, and who dares to double cross even the Prince of Darkness himself to obtain eternal life for herself and her beloved.
Siodmak thought the script was junk, but he’s wrong; it’s a smooth, solid piece of genre craftsmanship, and the film served as his “trial by fire” at Universal, as he soon moved up to more prestigious assignments, such as The Spiral Staircase (1945), The Killers (1946), based on Ernest Hemingway’s short story, and The Dark Mirror (1946), all certifiable noir classics. In addition, George Robinson’s atmospheric cinematography brings out every last nuance of the dark, decaying mise en scene of the film, and John P. Fulton’s masterful special effects — the first time Dracula transforms into a bat on screen, or a trail of vapor in another memorable instance — adds much to the film’s overall impact, to say nothing of Hans J. Salter’s suitably sinister music score, one of many for Universal’s classic horror cycle.
But in the end, it’s Louise Allbritton’s performance — alluring, sensual, willful — that serves as the centerpiece of the film, and balances nicely off Chaney’s masculine interpretation of Alucard. Son of Dracula is a one of a kind movie, made just as the Universal cycle was coming to an end — it would collapse entirely in 1944 and 1945, with House of Frankenstein and House of Dracula, respectively, but here, for one last time, with a top flight director who would go on to much greater things, and a serviceable cast that responds intuitively to his authoritative direction, the Dracula legend is taken seriously one last time, and the results are well worth watching.
Incidentally, I’ll post in a few minutes on Film Forum’s tribute to Universal and Robert Siodmak, an event those of you who live in or around Manhattan absolutely should not miss.