Well this was a strange one. Beyond strange, really. Apparently Hammer’s Gothic horrors, so timeless and captivating today, were considered quaintly old-fashioned and rather unpopular by the time the 1970s came around, and Hammer panicked. How else to explain the curious mash-up of this curio, a film that paradoxically seems more dated than those older-fashioned films that preceded it? Its such a shame, how hard this film is clearly trying to be ‘cool’ and yet falls so short. Mind, although time has not been kind to the fashions of 1972, the delights of watching Peter Cushing delivering Hammer roles as fervently as he might Macbeth, or Christopher Lee reluctantly hamming it up as the snarling Count yet again (clearly a role beneath him, and likely as personally disparaged as Sean Connery and his Bond), or the beautiful appeal of both Caroline Munro and Stephanie Beacham in their youthful prime, will never get old. Or the sight of those old London Red buses or those cars. Films such as this accidentally become time capsules and with that an intrinsic appeal unintended: what was supposed to be new and cutting-edge become old and antique.
It sounds and looks like an episode of The Sweeney. Possibly the nearest thing to its funky-as-cardboard soundtrack by Mike Vickers is Ron Grainer’s brilliant score for The Omega Man from the year prior, although there are moments where the music sounds very Gerry Anderson (UFO and Space 1999-era Barry Gray). How much any of these similarities were intended, or just simply accidental as reflecting the zeitgeist of the time, I cannot say. Likely it was very ‘modern’ at the time (it does sound very ‘blaxpoitation’) but the passing decades have been rather cruel to stuff like this, while Isaac Hayes’ seminal Shaft score maintains its classic status. As usual for Hammer, the film-scale sensibilities of the production are suspect- most of the time it looks nothing more than a television episode of the period; from, say, a series like UFO or The Persuaders, which for someone who grew up a young lad watching those shows back then, gifts this film with a certain 1970s-television nostalgia.
Nostalgia, of course, is a double-edged sword and while it affords the inevitable perspective of rose-tinted specs this can inevitably excuse what is clearly bad writing, lazy direction and poor performances. The latter is likely unfair for this film- the actors are clearly limited by the script and that’s a pity: while Cushing and Lee are obviously actors with a screen mythology entwined in the horror genre, both Munro and Beacham could have done much more than simply push their bosoms at the camera and tease their cleavages, but they aren’t required to do so by that almost lazy script. Its a script that plays fast and loose with Vampire mythology often at odds with the (albeit dubious, I’ll admit) continuity of previous Hammer horror films. The central truth of this film is that Dracula is a Gothic creature, and unique to his period era: its something that was true of the BBC’s 2020 Dracula adaptation that started so well but became utterly derailed upon bringing its Dracula to our modern day. On the whole (and while I’m confident some comment will cite one that works well), it just never seems to work, to me, trying to modernise a character like Dracula, just like modern-day settings for Lovecraft adaptations or, say, War of the Worlds.
The weird irony of course is that for however ‘modern’ Dracula A.D.1972 was trying so sincerely to be, now, nearly five decades later the film seems to be exactly what it didn’t want to be- a period-set film, something from history. In 1972 it likely seemed forced, tired and broken, but now its really quite pleasantly fun. And yeah, kinda funky.
Dracula A.D.1972 has just been released on Blu-ray in the UK