The fourth film in the Hammer Dracula series, where things definitely have started to feel very settled. It has the most religious focus of any of the Hammer Draculas, mostly following priest characters, as well as one notable atheist who’s of course shunned by them. His disbelief becomes an issue in the effort to fight Dracula, which makes the odd traditionalism, conservatism even of the Dracula myth as realised by Hammer stand out oddly. It feels less like myth and folklore and more like outright sanctimonious preaching to focus on lack of faith in that way. One longs for the subversive, ever so fun outsider priest of Father Sandor, from DRACULA: PRINCE OF DARKNESS.
There’s nothing really new here, so the good qualities (nice use of extreme close-ups, great production design, all-round competency) still come across as stale. One of the weaker Hammer Draculas. Two recitals of the Lord’s Prayer, and a bloody bell-tower.