When Lon Chaney, Jr., looking like he's just eaten about two dozen Big Macs, introduces himself at the Louisiana estate of Dark Oaks, as Count Alucard (spell it backwards), the fun begins. For those who like atmospheric horror, Son Of Dracula is a treat. The Siodmak brothers, director Robert and author Curt, both worked on this one. Made during the Second World War, at a time when Universal was producing mostly inferior horrors, this is one of the studio's best efforts of the period, with cinematographer George Robinson's camera prowling the homes, woods and bayous of American South with the surefooted gracefulness of a black panther. The acting is fine, with even such limited players as Robert Paige, Evelyn Ankers and Louise Albritton all turning in good work. Character actors Frank Craven and J. Edward Bromberg make a nice vampire-hunting duo, and their scenes together suggest a real alliance and not merely two actors going through the motions. Big Lon, as the Count, is very effective. He lacks Lugosi's old world charm, but makes up for it in bulk, drawing nicely on the natural arrogance that some big men are prone to, his vampire is a baleful figure, often prone to violence. There's more local color than one might expect in this sort of movie, with the character of the swamp-dwelling Queen Zimba providing an interesting link to the Cajun and Voodoo traditions. By today's standards I suppose Son Of Dracula is none too frightening, though it nicely suggests the link between horror and everyday life, normal emotions and regional traditions, which, while this might not mean much nowadays, certainly resonated in the America of sixty years ago, which it effectively evokes.