The Big Picture The man who killed Dracula, created Frankenstein's monster, sneaked in turns as Doctor Who and Sherlock Holmes, and bossed around Darth Vader: Peter Cushing could, and did, do everything. A rare talent, the gentleman of horror's accomplishments encompass such a magnitude, the mind boggles to comprehend. Although Cushing's expansive oeuvre was mostly confined to the horror genre, he never failed to fulfill a single, simple decree: be captivating.
Marianne's stay at the Meinster castle unfolds with the portentous siren song of the original Dracula's prologue, but the castle's colorfully intricate sets sing the loudest. Hammer's production design is a character in its own right. Lush purple curtains drape from the ceiling. Candles, cobwebs, and a winding stairway sprawl across hostile architecture. The wood shows wear and tear. Everything has a grounded sense of placement.
Just like Curse of Frankenstein, Brides of Dracula is especially powerful for its silence. When Van Helsing investigates the Meinster castle, the score drops. His cautious footsteps and a ticking clock dominate the soundscape. Terence Fisher's camera follows Van Helsing at a close glide, stopping when he pauses. You'd need an obsidian knife to slice through the thick atmosphere.