There’s a lot to be said for knowing when to step away from a series or concept. In the case of Universal’s monster franchise, they kept driving that gravy train into the ground with too many sequels and crossovers, instead of creating awesome new monsters and stories.
1944’s House of Frankenstein at least had a consistent, coherent plot, despite being an obvious B movie. House of Dracula is riddled with plotholes, unbelievable reactions, and shamefully poor use of Frankenstein’s Monster.
I would say Universal redeemed itself with the final group appearance of the Monster, Dracula, and the Wolf Man in Abbott and Costello Meet Frankenstein, but then they proceeded to run that concept into the ground as well with a total of seven A&C Meet… films.
Dracula (John Carradine) shows up at Dr. Franz Edelmann (Onslow Stevens)’s castle at five in the morning, introducing himself as Baros Latos and begging for a cure for his Vampyrism. Dr. Edelmann, who’s been sleeping fully-clothed in a chair in his office, is amazingly chill about a stranger entering his home at that hour and saying he’s a Vampyre. Maybe that’s a more common occurrence than I thought!
Dr. Edelmann and his nurses, Milizia (Martha O’Driscoll) and hunchbacked Nina (Jane Adams), begin work on a possible cure. Nina is very disappointed he’s interrupting his work on curing her hunchback, but he assures her he’ll fix her next.
Dracula’s dirt-lined coffin is moved into the cellar while Dr. Edelmann prepares for the blood transfusions which he believes will turn Dracula into a normal human. (Odd how Dracula never sought a cure in any of his previous movies! Also odd how he managed to come back to life after his demise in the previous film.)
Dr. Edelmann is in the middle of these very important experiments when Larry Talbot (Lon Chaney, Jr.) arrives, desperately begging for a cure for his lycanthropism. He insists he can’t wait for Dr. Edelmann to finish what he’s doing, since a full Moon is coming up. Larry then goes to the prison and begs the cops to put him in a cell for his own safety, a request they fulfill.
That same night, Dr. Edelmann goes to see Larry, after learning where he went, and sees him transmogrifying into the Wolf Man as the full Moon rises. Convinced of the seriousness of his condition, Dr. Edelmann takes him to the castle in the morning.
Dr. Edelmann believes Larry’s lycanthropism isn’t caused by the Moon, but cranial pressure which can be cured with spores from clavaria formosa flowers. This mysterious plant’s spores allegedly reshape bones.
Larry doesn’t want to wait for more spores to be harvested, and jumps off a rocky ledge into the ocean.
Dr. Edelmann goes after Larry, finding him in a cave and transformed again into the Wolf Man. Because it’s such a smart idea to look for a werewolf during a full Moon, and to not have backup in case things get ugly.
Larry attacks him, but turns back into his human form when the Moon disappears behind clouds. As they’re making their way out of the cave, they find Frankenstein’s Monster partly buried in quagmire, and are quite nonchalant about it.
Also with the Monster is the skeleton of Dr. Niemann from the previous film, and Larry doesn’t say anything about their close acquaintance.
Dr. Edelmann takes the Monster into his castle via a tunnel leading to the cellar and starts reanimating him, but is prevailed upon by his nurses to stop. The Monster is too dangerous and powerful to risk yet another reign of terror.
Meanwhile, Dracula is trying to seduce Milizia and turn her into a Vampyre, efforts which are interrupted when Dr. Edelmann tells Dracula he needs another blood transfusion. Strange antibodies were found in his blood.
Nina is on to Dracula’s scheme, and when she tells Dr. Edelmann her suspicions, he prepares a different type of transfusion, one which will destroy Dracula.
Dracula hypnotises Dr. Edelmann and Nina so he can reverse the blood transfusion and turn Dr. Edelmann into a Vampyre. As bad as this film is, it’s notable for the only instance of Dracula turning another man into a Vampyre, albeit not in the usual way so as to avoid homoerotic overtones.
Now the stage is set for an increasingly intense parade of horrors.
House of Dracula was released 7 December 1945 and became a commercial success, though it’s not so highly-rated today.