Вампир белгісі: Ақиқат пен алдаудың арасындағы құпия

1935 film by Tod Browning

Sir Karell Borotyn is found murdered in his house, with two tiny pinpoint wounds on his neck. The attending doctor, Dr. Doskil, and Sir Karell's friend Baron Otto von Zinden are convinced that he was killed by a vampire. They suspect Count Mora and his daughter Luna, while the Prague Police Inspector Neumann refuses to believe them. Sir Karell's daughter Irena is the Count's next target. Professor Zelen, an expert on vampires and the occult, arrives in order to prevent her death. After Irena is menaced by the vampires on several occasions, Zelen, Baron Otto, and Inspector Neumann descend into the ruined parts of the castle to hunt down the undead monsters and destroy them. When Zelen and Baron Otto find themselves alone, however, Zelen hypnotizes the Baron and asks him to relive the night of Sir Karell's murder. It is then revealed that the "vampires" are actually hired actors, and that the entire experience has been an elaborate charade concocted by Zelen in the hopes of tricking the real murderer —Baron Otto— into confessing to the crime. Acknowledging that the charade has failed to produce its intended results, Zelen, along with Irena and another actor who strongly resembles Sir Karell, compels the hypnotized Baron into re enacting the murder, effectively proving his guilt. During the re enactment, Baron Otto reveals his true motive: he wished to marry Irena, but her father would not allow it. He also reveals how he staged the murder to resemble a vampire attack. With Baron Otto arrested, Irena explains the plot to her fiance, Fedor, who was not involved in the subterfuge and believed that the vampires were real. The film ends with the actors who played the vampires packing up their supplies, and "Count Mora" exclaiming, "This vampire business, it has given me a great idea for a new act! Luna, in the new act, I will be the vampire! Did you watch me? I gave all of me! I was greater than any REAL vampire!" which is met with general lack of enthusiasm by his fellow thespians.

Upon its initial release, reviews of the film were relatively positive; a New York Times review by Frank Nugent claimed the film would "catch the beholder's attention and hold it, through chills and thrills " The review finished, "Like most good ghost stories, it's a lot of fun, even though you don't believe a word of it." It received similar praise from The Los Angeles Times, The Hollywood Reporter, and Motion Picture Daily. The film earned a tidy profit of $54,000, though it drew some distinct criticism as well, most notably from Dr. William J. Robinson, who claimed in a letter to the New York Times that,

blockquote|text= a dozen of the worst obscene pictures cannot equal the damage that is done by such films as The Mark of the Vampire I do not refer to the senselessness of the picture. I do not even refer to the effect in spreading and fostering the most obnoxious superstitions. I refer to the terrible effect that it has on the mental and nervous systems of not only unstable, but even normal men, women and children. I am not speaking in the abstract; I am basing myself on facts. Several people have come to my notice who, after seeing that horrible picture, suffered nervous shock, were attacked with insomnia, and those who did fall asleep were tortured by the most horrible nightmares. In my opinion, it is a crime to produce and to present such films. We must guard not only our people's morals we must be as careful with their physical and mental health. Some viewers thought that the ending compromised the film; Bela Lugosi reportedly found the idea absurd. Some critics, including genre critics Kim Newman and Steve Jones, have suggested the film may be a satire of the conventions of the horror film, pointing to the broad performances by Barrymore and some of the supporting characters, as well as the film's twist ending.