TOMB OF DRACULA No. 2, May 1972 |
Plotted by Gerry Conway at a time when the Brooklyn-born
writer was by his own admission performing “at a level that was actually beyond
me”, Issue Two of “Tomb Of Dracula” is arguably heavily influenced by the “Hammer
Picture” fright flicks which enjoyed such popularity with movie-goers in the Fifties
and Sixties. Indeed “The Fear Within!” could quite easily have been a comic
book adaption of one of the British film company’s movies so similar is the
magazine’s narrative to the once “lucrative Hammer formula”.
But whereas the London-based producer enjoyed “huge box office
success” with its early vampire films, it is doubtful that this twenty-one page
storyline would have garnered too much praise had it appeared on celluloid. Being far more akin
in quality to the critically panned “The Satanic Rites of Dracula” than the
1958 box-office breaking release of Terence Fisher’s “Dracula”.
Admittedly there isn’t actually that much wrong with this response by “Marvel Comics Group” to the Comics Code Authority’s relaxation of its
rules regarding horror periodicals, except perhaps the cover’s rather comedic
subheading “Who Stole My Coffin?”. But Conway’s plot of an Englishman stealing
the Count’s casket and fleeing the Carpathians with it to “balmy London” is a
little fatuous and silly. Especially when it results in the Lord of Vampires
paying Clifton Graves’ “fog-wrapped city” a visit, dressed in all the foppish
trappings of a gentleman such as walking cane and fedora.
The storyline also struggles to purvey any genuine sense
of horror despite starting dramatically enough with the latest owner of “the
old count’s castle” discovering the vampire’s tomb amidst the fortification’s crumbling
ruins. This is predominantly caused by the New Yorker’s incarnation of Dracula
appearing to be a much more action-orientated villain than the secretive terrifyingly
intense ‘big screen’ version established by actor Christopher Lee. Something
which results in the Transylvanian nobleman preferring to duke it out with a
bar-room lout in a packed public house than simply stalk the shadows as an
unseen killer.
Fortunately artist Gene Colan’s illustrations are
engaging enough, if a little rough and undisciplined in places, such as Graves’
staking of his beloved Jeanie. But something has clearly gone awry with the
colouring of Dracula’s flesh a third of the way through the issue as the vampire
remains as white-skinned as ever despite Van Harbou relieving the Count of his “unearthly
pallor” early on in the adventure.
Story: Gerry Conway, Art: Gene Colan, and Inking: Vince Colletta |
Now this really is a blast from the past, Simon. Sadly, I find little to like about it despite liking tales about Dracula and admiring Gene Colan's artwork. The story did not grab me at all and I found the colouring far too lurid and garish. Block colours may have been a staple of 1970's comics but I much prefer the more sophisticated colouring of today's comics.
ReplyDeleteI wholly appreciate that the bright garish colours of the Seventies issues are an acquired taste, Bryan. Personally I love 'em as they make me nostalgic beyond measure. The writing for this one isn't great either but its not a bad read imho. "Tomb of Dracula" certainly improves once Marv Wolfman comes on board and gives the Lord of Vampires some actual direction.
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