As it's #WorldGothDay there's really only one tale to tell; a legendary Hammer Horror that mixed the groovy with the ghoulish.
This is the story of Dracula: 1972 A.D...
Peter Cushing had a long career in drama and horror. He played the lead in the BBC's 1954 adaptation of Orwell's 1984. Quatermass author Nigel Kneale wrote the screenplay and the Room 101 scene was apparently so horrific one viewer died of shock.
Christopher Lee had took a more unusual route into acting. He was (probably) a member of the SAS during WWll; he always declined to discuss this. He did fight at Monte Cassino and was a post-war Nazi hunter in Vienna.
Christopher Lee and Peter Cushing had previously appeared together in the 1958 film Dracula, based on the original Bram Stokes novel. The film was well received and set the template for future Dracula movies.
But it was the success of another vampire film, Count Yorga (1970), that prompted Warner Bros to commission a modern Dracula story from Hammer Films. The timing was fortuitous...
In 1970 Britain's tabloid press was full of tales about a sinister ghostly figure - 'The Highgate Vampire' - and bizarre occult rituals taking place at the famous North London cemetery. Two rival vampire hunters, Sean Manchester and David Farrant, fuelled the stories.
Writer Don Houghton used these ideas to bring the Dracula story up to date, and try to inject fresh blood into what was then seen as an old-fashioned and period story. Christopher Lee wasn't a fan of having a modern-day Count, but production went ahead.
The Dracula: 1972 A.D. story starts in 1872, as Count Dracula and vampire hunter Lawrence Van Helsing fight to the death atop a movie carriage. Both are later buried nearby by locals.
A century later a groovy gang of Chelsea hippies leaves their swinging party to take part in a black mass at an abandoned church, which brings Dracula back to life.
Leader of the satanic groovy gang is Johnny Alucard, the descendant of the man who originally buried Dracula. Johnny wants to bring Dracula back to life so that he can gain immortality himself.
Also in the group is Doctor Van Helsing’s great, great grand daughter, Jessica. Her grandfather Lorrimer Van Helsing is an occult expert, although Jessica refuses to believe in such nonsense!
In the end Johnny Alucard is killed by running water - he's pushed into a bathroom shower - and Dracula is finally finished off in a pit of sharpened stakes. "Rest in Final Peace" appears on screen as Van Helsing leads Jessica away.
Christopher Lee was cast as Dracula, with Peter Cushing playing both Laurence and Lorrimer Van Helsing. Stephanie Beecham took on the role of Jessica.
Dracula: 1972 A.D. was also Caroline Munro's Hammer debut, and convinced her to focus on a career in acting rather than modelling.
Location filming took place on the King's Road, Chelsea and in Notting Hill. Former Manfred Mann member Mike Vickers composed the rather funky soundtrack and early electronic group White Noise performed the main theme “Black Mass: An Electric Storm in Hell."
Critical reception for Dracula 1972 A.D. was not great: many saw it as the low-point of the Hammer Dracula series. Swinging hippies were also out of date by 1972, and the funk soundtrack seemed out of place.
However there are many great things about this film, not least the fight scenes between Peter Cushing and Christopher Lee. It was a worthy attempt to update the Dracula story and it's also pretty fun to watch.
The 1973 follow-up movie The Satanic Rites of Dracula only happened due to contractual obligations. "I'm doing it under protest" said Christopher Lee, "I think it is fatuous!"
But that's a story for another time. Happy #WorldGothDay everybody...
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Today I'm looking at a few books from New York publishing house Grosset & Dunlap...
London After Midnight, by Marie Coolidge-Rask. Grosset & Dunlap, 1928.
This is a movie tie-in version, although the last known copy of the film was destroyed in 1965 at a fire at MGM's vaults. It's one of the most sought-after lost silent films now.
A Thousand Years A Minute, by Carl H Claudy. Grosset and Dunlap, 1939. Cover by A C Valentine.
Part of the Adventures in the Unknown series, this is a time travel novel sending its heroes back to the prehistoric world.
One of the best #Christmas presents you could ever get was a View-Master! It sold over one billion reels across the world, but it's based on Victorian technology. How did one simple gadget get to be so popular?
Let's take a look at the toy that took over the planet...
Stereographs are cards with two nearly identical photographs mounted side by side. Viewed through a binocular device they give an illusion of depth. By 1858 the London Stereoscopic and Photographic Company had published over 100,000 of them.
Sawyer's Photo Finishing Service began in 1919 in Portland, Oregon. By 1936 they had teamed up with William Gruber, who had been experimenting with stereoscope photography using the new Kodachrome colour film.
Today in pulp I look back at a few forgotten '80s sci-fi movies and ask: is it time to reappraise them?
Spoilers: not all of these are available on Betamax...
There were a huge number of mid and low budget sci-fi movies released throughout the '80s, many of which went straight to video. Today they lurk in the far corners of your streaming service.
Should you watch them? Well let me take you through a few you might be tempted by.
Battle Beyond The Stars (1980) was Roger Corman's retelling of Kurosawa's Seven Samurai in space. James Cameron did an impressive job on the SFX with a small budget and the film certainly has a distinctive look.
"A dream to some. A nightmare to others!" As it's Christmas let's look back at a film that I think helped redefine an old genre, captivated the imagination and launched many successful acting careers.
Let's look at John Boorman's Excalibur!
For a long time the film industry found the King Arthur story amusing. Camelot (1967) was a musical comedy; Monty Python and the Holy Grail (1975) was pure comedy.
But director John Boorman had been thinking seriously about the Arthurian legend since 1969, particularly Sir Thomas Malory's 1469 telling of the story 'Le Morte d’Arthur'. The mythic theme greatly appealed to him.
Today in pulp I'm looking back at some Michael Moorcock books, and having a think about the New Wave of science fiction that started in the 1960s...
In Britain the New Wave is often associated with New Worlds magazine, which Moorcock edited from 1964 to 1970. Financial troubles caused the magazine to close in 1970, but it made sporadic comebacks over the subsequent years.
However he started as editor of Tarzan Adventures in 1957, where he introduced Sojan the Swordsman - perhaps his first stab at creating an 'eternal champion' character