There is nothing like the ability of a film maker to pull every last bit out of a classic genre. In the world of horror flicks there is one name that is certain to get the attention of people, Dracula. Originally this started out as a novel by Bram Stoker back in 1897. With was considered one of the most frightening books of its time. It made stories of vampires acceptable for the upper class and allowed such horror tales to gain general popularity. In the silent film days one for the earliest vampire movies was Nosferatu. This was so close to the original story of Dracula that the Stoker family sues the production company and wins. There turn would come though. In 1924 a major stage production of the core Dracula story hit Broadway and was a huge success. This was also the time that talking motion pictures were taking hold. Fortunately for the throngs of yet unborn horror fans Universal Studios took notice and in 1933 Dracula was released. This was the golden age of Frankenstein’s Monster, Dracula and the Wolf Man, the first of the monster movie icons. Now, many, many years later the trend is still alive. The Dracula legend has be retold from ever conceivable angel imaginable. There was a little known set of short stories that preceded the story of the original novel, ‘Dracula’s Guests’. There is a belief by some that this was actually the first chapter of the novel which was removed by Stoker and made into a separate group of short stories. Now, after so many years these prequel tales are committed to film with ‘Dracula’s Guests’ by film maker Michael Feifer. This will not stand as one of the truly great installments of the franchise but at least it does return us to some of the original stories of Bram Stoker. Lion’s Gate is releasing this tale of terror to DVD and while it takes some missteps it is well worth while.

The film was written and directed by Michael Feifer. Most of his experience is in the horror and thriller genres so this is a man who knows what the audience expects and how to deliver it. Much of his work is as a producer but he has extensive credits in directing, second unit and camera work. Unlike so many of the newbie horror writer/directors around today Feifer has built a reputation for himself based on many years crafting films of this type. He has even dabbled in some real monsters such as the serial killers, Ted Bundy, Richard Speck and BTK. This gives him a perspective that is completely missing in so many of the recent string of slash and dash flicks; realism. It is one thing to scare the audience with gallons of fake blood and rubber intestine but Feifer has looked into what is truly frightening. The best terror comes not from the eyes but from the mind. He has used this with real human monsters like the above mentioned serial killers. What makes there stories so hard hitting is the potential for it to happen to the audience. In this film Feifer takes something as unrealistic as a vampire and makes it seem plausible. In a lot of the more recent vampire flicks there is a return to having this creature of the night portrayed as a feral, ravenous thing. What made the original Dracula so scary is how he could be utterly charming and cultured. This taps in the eternal dichotomy of good and evil. Pure evil can exist in a pleasing façade; the better to draw in its unsuspecting victims. For an original story idea about vampires you cannot do better than to return to Bram Stoker. There is also underlying themes here that help humanize the story. Instead of a bunch of stoned out twenty somethings running around from the guy with the fake teeth this movie has a real story with motivation to hold the plot together. Elements of drama such as youthful rebellion from parental authority and star crosses lovers form the foundation of the tale told here.

The film begins in during the late Victorian era. A man, Bram Stoker (Wes Ramsey) is running through the desolate landscape shouting for Elizabeth (Kelsey McCann). He finds her behind a locked gating. He wants to get her out but she can only be released from the inside. She tells him that she is alright but broken; ‘he’, her captor, took something from her she was saving for Bram, he raped her. She is afraid that a demon spawn is now growing inside of her. Of course the captor is Count Dracula (Andrew Bryniarski). Feifer employs a time honored technique of giving a little teaser of the middle of the story just to pull in the audience. In this case it works out quite nicely. Okay, the dialogue here is on the corny side but in a way it adds to the period feel and the charm of the movie. It harkens back to when many of the original actors in talkies came from silent film or the theater where overreaction was required. Again, this is something that many may find annoying but you have to surrender yourself to the motif of the film. We move back in time a mere week before the tearful reunion of Bram and Elizabeth. Bram and his friend Malcolm (Ryan Christiansen) are dressed in white running near a beachfront. They are both carrying fencing foils and are getting ready for a friendly match. Elizabeth’s father, Admiral Murray (Dan Speaker) is not happy with her wanting to marry Bram but this scene demonstrates that Bram is from a well to do family. Let’s face it, the poor didn’t do much fencing. Back at home Bram is introduced to Count Dracula. He is looking for a residence in London and hopes Bram can hope him find a suitable place. Bryniarski has the right air about him for the role. He is charming and debonair but there is a hint of menace just below the surface. What is making the choice of properties so difficult is the count has some rather demanding specifications and requirements. Meanwhile the Admiral has requested that Elizabeth take a year off from seeing Bram; just to make sure their love is true. She rebels against what she perceives as a draconian demand and runs away from home and her father’s influence. At the train station she crosses paths with the count and he adducts her taking her back with him to his homeland of Transylvania. When Bram hears about the kidnapping he sets off to save the woman that he loves.

This is good old fashion gothic horror. It is about time somebody realized that you can make an independent horror film without naked coeds and fountains of blood. This is more a psychological thriller than anything else. It is refreshingly melodramatic and for film buffs that appreciate the details of the old methods this is a great find. It is a return to the horror of the thirties. Sometimes you have to move back to make progress in a genre and this is a prime example. Once again Lion’s Gate has looked through the tom of Indy flicks and found a hidden gem.