I hope you’re all enjoying a restful holiday this weekend.
this weird review ambitious project reviewing this peculiar film, let’s get it over with proceed with the Big Finish.
And here’s the previous part, for your reading pleasure. 🙂 I’ll start where we left off!
These were the final feature films made by director William Beaudine. And they didn’t call him “One Shot” Beaudine for nothing. Apparently, Beaudine was famous for getting pictures “in the can” (as the lingo used to go, back when pictures came in cans) as fast as fucking possible. So he’d do one shot of the scene. Cut! Done! On to the next one.
Oh, and the … uh … continuity. Be sure to look for the stage hand with the white T-shirt whose image appears inside the stage coach at one point. He was operating the bat, which he brought in for a landing behind the stage coach, which allowed Carradine/Dracula to simply emerge from behind it and avoid the need for fancy/expensive special effects.
Finally, there’s the big confrontation between Billy the Kid and Dracula. And, even though the female doctor (who used to be a schoolteacher, you know) tells him that bullets won’t kill a vampire, Billy insists
like a moron on shooting him. To no effect, of course. But then he simply hurls the gun at Drac, who gets beaned on the nose and promptly falls over. Just like that. And it’s like … what the fuck just happened there?
But Billy uses his advantage and hammers a silver scalpel through Drac’s heart. And a bat flies off, while Carradine makes his (no doubt grateful) exit from the film by turning into a well-dressed skeleton. The bat falls to the ground, looking shaky.
And just like in The Searchers, Billy picks up Betty (who has already revived from her Drac-induced hypnotic state) and says, “Let’s go home.” And they walk out of the cave through an opening that frames them like the front door of the house in that other (much better) movie by a director that I keep mentioning/alluding to over and over. 🙂