Though Universal Pictures owned the rights to the name of Dracula in the 1930s and '40s, it didn't stop Columbia from making this rather obvious Dracula clone flick starring the man who had made his name playing the Count back in 1931 - Bela Lugosi.
Now your appreciation of this film depends on whether you like the classic Universal horror movies of the '40s or not. In many ways this is a distinctly underrated alternative to the "monster mash" movies that Universal was doing at about the same time; films like FRANKENSTEIN MEETS THE WOLF MAN and HOUSE OF DRACULA, where the usual suspects (mad scientist, John Carradine's Drac, the Wolf Man and the Frankenstein monster) were teamed up to cause a predictable amount of mayhem and terror.
Here Lugosi plays Armand Tesla, a blood drinker at large in London in 1918, aided in his nocturnal dining habits by Andreas - a werewolf completely under his thrall. Whilst Andreas' makeup is very much weaker than the contemporary Lon Chaney Jr's Wolf Man look, this combo of vamp and tame wolfie makes for an unusual and interesting scenario. Moreover, the Van Helsing role here is played by a strong woman doctor! Surely an idea which makes this film decades ahead of its time.
Tesla's activities are quickly halted when he's served up a course of stake. But you can't keep a good monster down and during the blitz of WWII his resting place is uncovered and a couple of dopey air-raid wardens pull the offending instrument out of Tesla's skeleton. So Lugosi is once again free to do what a vamp's gotta do. I'm sure you can guess the remainder of the plot...
Not a masterpiece by any means. But a fun little B-picture that shows Lugosi at his dignified and commanding best. Sadly, the only other times he was allowed to don the black, satin-lined cloak and evening dress after this was in dire "comedies" like ABBOT & COSTELLO MEET FRANKENSTEIN or(heaven help us)MOTHER RILEY MEETS THE VAMPIRE. So this is a chance to see just what it was that made Lugosi so wonderful in this kind of movie. It's actually far more watchable than the stagey 1931 DRACULA for which he's best remembered, largely because of its short running time, fairly pacey narrative, good lighting and liberal use of dry ice!