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Mark of the Vampire

Mark of the Vampire

Mystery · Horror · 1935

Sir Borotyn, a prominent Prague resident, is discovered murdered in his home, with all indications pointing to a vampire assault. The victim's friend, Baron Otto, and the physician who analyzes the body, are certain that the vampire is the mysterious Count Mora or his daughter. Receiving little help from the law, Professor Zelen, an expert in the occult, is called in to assist with their investigation.

Movie details

Mark of the Vampire

“Undead…Yet living on the kisses of youth!”

1935 Mystery · Horror 1h 0m

Critical arithmetic

One number, for now.

TMDB

6.2 / 10

Community rating

Sir Borotyn, a prominent Prague resident, is discovered murdered in his home, with all indications pointing to a vampire assault. The victim's friend, Baron Otto, and the physician who analyzes the body, are certain that the vampire is the mysterious Count Mora or his daughter. Receiving little help from the law, Professor Zelen, an expert in the occult, is called in to assist with their investigation.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Mark of the Vampire?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Where it lives

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Streaming availability data supplied by JustWatch.

Names above the title

The people responsible.

Directed by

Tod Browning

Written by

Bernard Schubert · John L. Balderston · Guy Endore · H.S. Kraft

Lionel Barrymore

Lionel Barrymore

Professor Zelin

Elizabeth Allan

Elizabeth Allan

Irena Borotyn

Bela Lugosi

Bela Lugosi

Count Mora

Lionel Atwill

Lionel Atwill

Inspector Neumann

Jean Hersholt

Jean Hersholt

Baron Otto

Henry Wadsworth

Henry Wadsworth

Fedor Vincente

Donald Meek

Donald Meek

Dr. Doskil

Court is in session

Put Mark of the Vampire on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Popcorn Loyalist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.