Son of Dracula

Amid the dramatic horror music by Hans J. Salter (assisted by Charles Previn and Frank Skinner), the audience sees a spider’s web pushed aside by a pair of gloved hands, revealing the title and opening credits. The film’s first scene is at a train depot, where Dr. Brewster (Frank Craven) and Frank Stanley (Robert Paige) are waiting for an important guest, Count Alucard (Lon Chaney), but he is missing. The baggage cart holds many of his belongings, including a locked casket. Dr. Brewster reads the letters of his name backwards and begins to spell it halfway when Frank interrupts him.

By night, a carriage arrives at Dark Oaks plantation with Alucard’s belongings. The cart is greeted by Katherine Caldwell (Louise Allbritton), who looks disappointed that the actual man has not yet arrived. Her sister, Claire (Evelyn Ankers), asks if the Count has arrived. When Kate says no, Claire suggests installing a phone, but Kay says there are other ways to communicate. “You should allow your mind to explore the unknown, Claire. Then you wouldn’t laugh at me. I know Count Alucard will be here tonight, without the benefit of a telephone.”

Kay enters the swamp surrounding Dark Oaks, searching for someone. Sinister music plays in the background. She drifts into an old lady’s cabin deep in the swamp, Queen Zimba (Adeline De Walt Reynolds), who says, “You do not know why you came here tonight. It was because I wished you here … to warn you! The angel of death hovers over a great house. I see it in ruins, with weeds and vines growing over it. Bats are flying in and out of open windows.” But all Kay wants to know is if Count Alucard is coming. The old seer continues, “Alucard is not his name. You must stop him before it is too late! Stop him before death comes to Dark Oaks! I see you marrying a corpse! Living in a grave … I see …” A large bat hovers near the hut. In frantic jump cuts, the bat both attacks and drops Zimba to the ground, in what appears to be a heavily edited sequence. After making sucking sounds, the bat flies away. Kay runs out of the hut and again wanders the swamp.

People are partying at Dark Oaks, dancing to festive music. As the camera pans outside, we suddenly hear eerie, bee-like string music as we see a stoic, staring Count Alucard (Lon Chaney, Jr.). Cutting back to the crowded party, the Colonel (George Irving), Kay’s wheelchair-bound father, decides it's time for him to leave because he is infirm, elderly, and tired. As we focus back on Alucard, he transforms into a bat flying inside the house while the Colonel is being taken to bed. The large bat flies down the corridor and changes back into Alucard; he’s obviously a vampire (the first human-to-bat-to-human transformation on screen). As the servant is ready to leave, the Colonel asks for a cigar before heading to bed. Count Alucard waits for the servant to go downstairs while he sneaks into the Colonel’s bedroom.

Frank and Kay talk on the large front porch. Frank is very worried about her state of mind. “Wouldn’t you be upset if you gave a reception and the guest of honor didn’t show up?” Kay questions. Frank asks if that’s all, since she brought the old Hungarian Gypsy home with her, and she died tonight from a heart attack. Kay proclaims, “Ah, what do they know of these occult matters?” Frank scoffs at the occult and says that ever since she met Count Alucard in Budapest, she has changed. Frank says, “I hardly know you!” Frank pleads that he wants to get her away from all “this morbid business” by taking her on a six-month honeymoon. Kay asks Frank, no matter what happens, believe in me. Frank then delivers shocking news: Count Alucard is a fake and is not known at the Hungarian Assembly, according to a letter he wrote.

At this moment, the servant appears, calling for Miss Kay as smoke billows from her father’s window in the bedroom. A number of people rush upstairs to find the Colonel fully dressed, lying in bed. A small fire burns near the window, which people address. Quickly extinguishing the fire, they find the Colonel’s cigar, which they believe caused the fire. The current doctor says the Colonel’s heart just stopped beating, either before or after the fire. Frank says, “He looks as though he were literally frightened to death.” Frank notices two strange marks on his throat, not burn marks. Claire is in tears, but Kay remains emotionless.

As the servant sees all the guests out, a knock at the door occurs from Count Alucard. He requests a formal introduction, and the servant reports that Colonel Caldwell has unexpectedly died and that the family isn’t accepting visitors. However, Alucard insists on being announced, and the servant reluctantly complies.

Fans over the years have criticized Lon Chaney’s portrayal as Dracula, claiming he was miscast. Vampires, by definition, are gaunt and cadaverous in appearance. Their only sustenance is human blood, so Chaney’s rotund physique is off-putting. However, Chaney’s performance is deeply committed, all seriousness, and no-nonsense. He is impeccably dressed and exudes a creepy vibe. As the film unfolds, we see Count Dracula’s character serve as a foil to Katherine Caldwell, seducing her into evil, while Frank Stanley guides her toward the righteous path. The main character is Kay, since she will make all the major decisions. The movie centers on her.

Dr. Brewster calls to see if Professor Lazlo (J. Edward Bromberg) has received his request made half an hour earlier. While waiting for the return call, Brewster plays with a piece of paper and notices that Alucard is Dracula spelled backwards. Brewster asks over the phone, when Laslo returns his call, if Laslo knows anything about a family named Alucard. Lazlo says no such family exists, and the name isn't Hungarian. But then, Brewster inquires about the family name Dracula, and Lazlo’s face darkens. Lazlo explains that the last Dracula lived during the Middle Ages. According to Lazlo’s sources, Dracula became a vampire, part of the Undead, and was eventually destroyed in the nineteenth century. Lazlo warns Brewster to be very cautious of this Alucard, since he is somewhat of an expert on the subject.

Judge Simmons (Samuel S. Hinds) shares the Colonel's Last Will with his two daughters, who are his heirs. Kay announces that there is a more recent last will and retrieves it from a bookcase. The new will states that Kay receives only the plantation, while Claire gets all the cash and securities. She explains that this division aligns with her wishes so she can live in Dark Oaks indefinitely, avoiding the need to sell the house. Brewster comments that living at Dark Oaks, without servants, will be difficult, as none returned after that fateful night the Colonel died. As Dr. Brewster sees himself out, Claire wonders aloud about Count Alucard, suspecting that Kay might be seeing him secretly.

Brewster wants to examine Alucard’s belongings in the guesthouse. Some of his possessions are there, but others are missing. Although it may not be right to do so, Dr. Brewster decides to break into Alucard’s luggage to learn more about him. Brewster finds the luggage empty. Brewster wants Claire to escape to town, where she will be safer, and if Kay doesn’t leave, the doctor plans to have Claire file an insanity plea. Dr. Brewster says, "If Claire won’t leave voluntarily, we have to force her. We have to protect Kay from herself.”

One night, Kay rushes to her car to leave Dark Oakas temporarily, but not to flee Alucard. Frank, hidden behind a tree, watches her go. Kay drives to the swamp and gets out of her car. From the murky swamp water, an earth box rises to the surface. Eerie smoke emanates from the box and materializes on shore as Count Alucard. Both he and Kay smile at each other as he floats closer to her. The Count kisses her hand. Frank’s car pulls up at the swamp, and he exits the vehicle. While walking through the brush, he sees Kay driving away in her car. Alucard and Kay drive to the local Justice of the Peace, Jonathan Kirby. Knocking late at night, they wake up Mr. Kirby. Kay asks to come in to be married. As they enter Kirby’s house, the formerly gentle weather erupts into a wind-blown storm.

Count Alucard triumphantly carries Kay across the threshold at Dark Oaks, Kay saying how everything worked out, and Dark Oaks will be theirs forever. Alucard describes his homeland as dead, dried out, and desolate. Here, everything is so fresh. Alucard gushes, "You have a young and vital race.” Then comes an unexpected knock on the door. It is Frank. He asks for an explanation, knowing full well that Alucard and she are meeting secretly. Frank admits to following her tonight and explains that they were married. Alucard appears from behind the door. Frank confronts Alucard, telling him the marriage will be annulled and that Alucard will take the first train out of town. Then the vampire effortlessly grabs his throat, pushing him backward. Frank pulls out a pistol, firing at Alucard, who is unfazed, but Kay is hiding behind him. She is felled by the bullet. Frank sees Kay lying motionless and fires several more bullets into Alucard, none of which have any effect. Frank flees from the house, running through the swamp. A large bat follows him, and he runs until exhaustion causes him to fall unconscious to the ground at a small graveyard, the bat landing on his back and soon flying away.

Meanwhile, Dr. Brewster is at home reading a book about Dracula. He hears a knock on his door—it's Frank, disheveled and almost trance-like. Brewster helps him into a chair, lying down. The doctor gets him a stiff drink, and Frank appears in shock, staring into space. Frank slowly starts to speak and talks to the doctor. “Harry, I killed Kay!” He buries his face in his hands. “I shot her twice. Harry, am I insane? Could I have shot through Alucard and killed her without hurting him? I shot right through him! … I don’t even know if this is real. Maybe it’s a nightmare or something.

Back at the plantation, Count Alucard carries Kay’s dead body and carefully places her in a casket after putting her native soil in first. In a flash, Dr. Brewster appears at Dark Oaks. Brewster walks in through the unlocked door and looks around. Finally, going downstairs to the basement and seeing caged chickens, he opens a large earth box to find dirt and feathers. Alucard enters through the upper stairs and asks, “May I inquire what you are doing here?” The doctor confronts Alucard and says, “I was about to ask you the same question.” Count Alucard states that tonight he was married to Miss Caldwell and is now master of this house. “You see, you owe me an explanation,” he adds. Brewster then explains himself.

Count Alucard takes Brewster upstairs to a bedroom, where a smiling Kay lies awake under the covers. Kay states she was married tonight, just the way they wanted it, “quiet and alone.” Kay says both of them want to live apart from society, having no time for socialization. Kay requests that Dr. Brewster relay to all her friends that they not come here to Dark Oaks. If there are any legal papers to sign, tell people to bring them in the evening, as they will be doing scientific research during the day. Count Alucard tells Brewster that any visitors without permission will be considered trespassers.

Dr. Brewster returns home from Dark Oaks, and the maid is serving breakfast when the doctor asks her to set a second place for Mr. Stanley, who slept on the coach last night. But Sarah (Etta McDaniel) tells the doctor that no one is here. Soon, Judge Simmons arrives and sits down at the breakfast table. The judge wants to talk about the insanity papers he filed. Simmons says he has no evidence for his claim. Brewster says they were married last evening. The phone rings, and Sarah fetches the judge. His wife informs him that Frank turned himself over to the police for killing Kay. Brewster tells Simmons he just talked to Kay earlier this morning. As the men leave to help Frank, Brewster tells Sarah that Professor Laslo will be staying for several days. Be sure he is comfortable when he arrives later.

Sheriff Dawes (Patrick Moriarity) and his men, including Frank, head to Dark Oaks to investigate, but Brewster says the Alucards won’t be available during the day. They've all gone anyway. When the sheriff and accompanying men arrive at the plantation, the front door is wide open, and Dawes asks Frank to explain what happened. The sheriff then makes his way to a crypt housing two coffins. Inside, he opens one of the coffins containing Kay, and Frank breaks down.

Dr. Brewster arrives home to find Professor Laslo awaiting him. Brewster tells the incidentals of the last day to Laslo and says the sheriff is ready to hold him for being involved in the murder. Brewster states he didn’t inform the sheriff that they were dealing with a vampire. Laslo is convinced that Alucard is “indeed a vampire, probably a descendant of Count Dracula.” Laslo explains exactly what vampires are. Laslo says that Carpathian history, his homeland, makes you believe in vampires. Laslo vehemently states they must find his grave and destroy him. He continues by telling how Alucard must have brought native soil from his homeland to America, which he used to construct a grave in some hidden safe place. Laslo continues that the vampire can assume the forms of bats and wolves, and sometimes swirling vapors; and just then, a swirling vapor appears in the room with Brewster and Laslo as Count Alucard materializes before them.

Alucard tells Laslo that he is too brilliant for his own good. He admits he came here because America is a young and vibrant nation. The country has what the Count wants, what he needs, and what he must have. Alucard says, “Do you suppose I would allow any mortal to stand in my way,” grabbing Brewster by the throat. Brewster, acting quickly, produces a handheld crucifix and shoves it into the vampire’s face. Alucard, afraid, backs away and dissolves into a puff of mist. Soon after, a woman brings her unconscious son to see Brewster, telling how the boy encountered mist and a European man and sustained two neck wounds. But the doctor says he can still help him.

They talk about Kate being “morbid” and having a strong fear of death, and how Alucard’s offering her immortal life made him very appealing to her. Alucard poured native soil onto her grave after she literally chose to die by hiding behind Alucard’s body while Frank was about to shoot. This act turned her into a vampire. The phone rings, and Brewster answers. Claire says Frank is still irrational and wants to see her. The two men will pick her up in their car to ensure her safety, while they also want her to arrange for Kay’s cremation.

As the men leave to pick up Claire, Brewster tells the mother that her son, Tommy, can go home in a few minutes. Frank sleeps in his jail cell while Kay transforms into a bat and flies to Frank's cell. As he sleeps, the bat approaches Frank’s neck to drink blood and then flies away. Kay materializes in Frank’s cell, calling out his name and waking him up. Frank rambles about the real Kay being found dead. When she tries to hold him, Frank says, “You seem to be Kay, but there’s a strange difference — you seem to be cold like death! There’s a strange difference, almost as if I didn’t know you.” Kay wants Frank to share immortality with her, saying she doesn’t want Alucard. Her vampirism was all part of her grand scheme. “We will spend eternity together,” Kay purrs. Frank is completely dumbfounded, but then Kay says Alucard’s real name is Dracula. Frank rejects the outrageous plan with Kay, but she says she has already taken the first step by biting his neck. Kay asks, “Isn’t eternity together better than a few years of ordinary life?” Frank finally agrees with her. Kay says there is one thing to do while he is in his mortal form: destroy Dracula! Frank cunningly smiles and asks how he can keep him from his grave. Kay insists there are two easier ways: “Either drive a stake through his heart or burn his grave before he returns. You must do this, Frank! For us!”

As Brewster and Laslo arrive at the jail with Claire, she visits Frank while Kay disappears. Frank says he’s crazy during his conversation with Kay in the cell. Claire asks where he is during the day, which makes Frank suspicious. Claire mentions her ashes will be at Dark Oaks, and this upsets Frank because her body will be destroyed. Frank insists she isn’t dead and that her body mustn’t be destroyed. He begins to yell louder and louder.

While Claire leaves, Kay returns and says they may have to destroy Claire and Dr. Brewster to prevent her cremation. Kay vanishes into swirling mist, first saying she’ll unlock his cell and bring him his gun. Frank soon confronts Brewster and Laslo, breaking out of his prison cell now armed. His car speeds away from the prison. Frank is next seen running through the swamp, heading to the crypt to stake Alucard, but his body is nowhere to be found. Frank fills his casket with hay.

Meanwhile, a bat is outside transforming into the now-known Count Dracula. Frank runs outside the crypt to confront a smiling Dracula. Frank declares he knows all about him and he'll destroy him, but Dracula responds, “If you learned more about me, you wouldn’t have come here till after sunrise. Now it’s not I who is going to be destroyed” as Dracula advances on the smiling Frank. As Dracula advances further into the crypt, he sees a blazing infernal destroying his coffin. Angrily, Dracula approaches the fire to try to extinguish the flames, but cannot. Dracula yells at Frank to “Put it out,” man-handling him and choking him as Frank finally collapses in a puddle. Dracula uses a board to try to put out the fire. Dracula lifts the unconscious body of Frank but looks to the left to see the sun rising. It’s with utter fear that Dracula releases Frank, falling into a swamp bog where his arm disintegrates into bone. Frank frantically runs through the swamp as the sheriff, Laslo, and Brewster approach in their car, exit, and head to the Alucard crypt, where they find a dying fire and the remains of Dracula. The men want to find Frank since the sheriff believes he still murdered Kay.

Disheveled Frank enters Dark Oaks in search of Kay. He searches all the nooks and crannies and finds Kay’s casket and her Undead body inside. He takes off his ring and places it in Kay’s cold hand. As the sheriff, Laslo, and Brewster approach the room with Kay’s body, Frank solemnly exits the room with Kay’s coffin ablaze. Frank, as though in a shock, stands by and watches the fire burn, as music swells and credits appear over a hopeful sunrise.

Lon Chaney, Jr., who is usually known as an outrageous raver and whiner as the Wolf Man, here plays the most subdued horror genre character of his career (excluding the Mummy, who can't speak). He speaks slowly, without rhythm, and deliberately phrases each word, trying to be regal (as I said, trying) and to avoid emphasizing power through the word itself (until the fiery climax, when he erupts as daylight nears). But his dialogue delivery is completely flat. He relies on his courtly dress and commanding physical presence to do all the work. His line delivery tries to enhance his dominance. Even though his performance has flaws, I generally prefer Chaney, Jr. as Dracula over John Carradine’s, whose portrayals always seemed bloodless and tame.

Louise Allbritton as Kay is the actual main character of Son of Dracula. She doesn’t play the heroine who wants to be saved; she is the femme fatale who plots a path to immortality because she is morbid and fears death, and vampirism opens that door. A person who conspires to use and then plots to destroy Count Dracula is destined to be the worst of the worst. She is closer to a character from film noir than to a heroine from a horror film. But even when Robert Siodmak was directing all genres, here with a Universal horror film, he was thinking film noir, in this case, horror noir. His next film, which we discussed within the last few weeks, was Phantom Lady, and Siodmak never made another horror movie.

Son of Dracula created several tropes that would be used in other vampire films, as well as several that are one-of-a-kind. Co-writer Robert Siodmak was very interested in the mythology of vampirism. We have Count Dracula caught between his burning coffin and a sunrise. We have Count Dracula’s earth box rise underwater from the dark swamp water. We have the giant bat arrive on the scene to bite Queen Zimba to death. We have the male love interest shoot Count Dracula (but having no effect) and firing a bullet through him to shoot and kill Kay, his lover. We have the vampire materialize from swirling mist. We have bats materialize into vampires and back again. And the list goes on.

Universal’s Son of Dracula, a B vampire film with an eccentric premise, combines elements of horror cinema and noir. It features an atypical Lon Chaney, Jr. performance and features a woman as the star. It may not be the best horror film of the 1940s, but it contains originality in a decade of Universal retreads.

COUNT DRACULA (LON CHANEY, JR.) AND KATHERINE CALDWELL (LOUISE ALBRITTON)

QUEEN ZIMBA (ADELINE DE WALT REYNOLDS) GETS PURSUED BY A BAT AS KAY LOOKS ON.