Astute, eloquent, and immaculate: Peter Cushing as Van Helsing

‘I am in doubt, and so have done the best thing I know of; I have written to my old friend and master, Professor Van Helsing, of Amsterdam, who knows as much about obscure diseases as any one in the world. I have asked him to come over, and as you told me that all things were to be at your charge, I have mentioned to him who you are and your relations to Miss Westenra. This, my dear fellow, is only in obedience to your wishes, for I am only too proud and happy to do anything I can for her. Van Helsing would, I know, do anything for me for a personal reason. So, no matter on what ground he comes, we must accept his wishes. He is a seemingly arbitrary man, but this is because he knows what he is talking about better than any one else. He is a philosopher and a metaphysician, and one of the most advanced scientists of his day; and he has, I believe, an absolutely open mind. This, with an iron nerve, a temper of the ice-brook, and indomitable resolution, self-command, and toleration exalted from virtues to blessings, and the kindliest and truest heart that beats – these form his equipment for the noble work that he is doing for mankind – work both in theory and practice, for his views are as wide as his all-embracing sympathy. I tell you these facts that you may know why I have such confidence in him,’ writes Dr. Seward in a letter to Arthur Holmwood dated Saturday, 2 September with regards to Miss Westenra’s health.

With all his peculiarities of action, manner and speech, the character of the Dutch Professor Abraham Van Helsing, ‘M.D., D.Ph., D.Lit., Etc.’, has been interpreted and portrayed in many ways since the first stage and film adaptations of Bram Stoker’s Dracula. In 1957, when British Hammer Films were to adapt the novel for their second excursion into Gothic horror, Dracula, they turned to the star of their The Curse of Frankenstein, Peter Cushing, for a suitable actor for another role as both scientist and outsider.

Usually acting on very limited budgets, Hammer had to limit the range of characters and action to a minimum, so Van Helsing himself took on the role of the prime vampire hunter after his collaborator, Jonathan Harker, had become the victim of Count Dracula. Cushing’s Van Helsing then is not the wise old man who conducts the younger men in their hunt for Dracula; he is himself the active vampire hunter taking the lead, and very physically running and jumping about in order to hunt down and eliminate Dracula and his vampire women. He also becomes the one who employs the latest technological advances like a phonograph, much to the amazement of the common man who is unable to understand why Van Helsing is ‘talking to himself’.

Cushing’s Van Helsing is, as Cushing’s roles almost always are: ever as astute as he is eloquent and immaculately attired, revealing exactly that attention to detail that Cushing appears to have applied when preparing himself for his roles. All this is exemplified in the curious, but at the same time fascinating scene in which Cushing records his observations and conclusions regarding vampires on the phonograph.

As for his study of vampires, Van Helsing tells us that ‘the study of these creatures has been my life’s work. I’ve carried out research for some of the greatest authorities of Europe, and we’ve only just scratched the surface.’

We in the audience probably feel uncertain as to whether Van Helsing is actually a progressive scientist, as the reference to ‘the greatest authorities of Europe’ would lead us to believe, or he is dabbling in things that truly transcend any reasonable boundaries of scientific method, as in the case of Cushing’s other grand role, Victor Frankenstein. Although we experience that the vampire in Hammer’s Dracula is a real phenomenon, the boundaries between science and metaphysics are blurred, and when we learn more of Van Helsing’s encounters with another vampiric aristocrat, Baron Meinster, in the follow up, The Brides of Dracula (1960), the religious symbolism is no less apparent. The vampires are ultimately killed with the sign of the cross (using the sails of a wind mill, perhaps echoing Universal’s Frankenstein films), and, when Van Helsing himself becomes the victim of a vampire, he must cleanse himself from the infection using holy water.

In Hammer’s series of Dracula films, Christopher Lee’s Count Dracula acts a sexual threat against the bourgeoisie, tempting both unmarried and married women to stray from the accepted paths. In Taste the Blood of Dracula (1970) he exposes the double standards of the family fathers who live a philistine double life seeking to taste forbidden fruit outside their lives as faithful husbands, fathers and citizens.

Peter Cushing only plays the role of Van Helsing in some of the films, allowing others to act as the one who restores order to family and society. Van Helsing, however, appears to live outside the mainstream of society, no doubt because of his knowledge concerning the very forces that threaten society, while his intelligent and direct manner also appears to offend polite society.

Cushing did, however, also the play the role of a religious figure at the core of a society, a fanatical zealot who is not only chastising women in general, but is always on the outlook for both witches and vampires, in Hammer’s third variation on Joseph Sheridan Le Fanu’s Carmilla, Twins of Evil (1971).

Hammer’s Count Dracula himself was introduced as an eloquent aristocrat, but was soon turned into a nonverbal force that appeared to have a rather limited freedom of movement, and as Hammer itself struggled to maintain it’s existence, they tried to bring both Dracula and Van Helsing into the 1970’s in Dracula A.D. 1972 and The Satanic Rites of Dracula. Consequently, Cushing plays Lorrimar Van Helsing, a descendant of the original Van Helsing, but generally remains as astute and dynamic as his forefather, but unfortunately both films are, although not without some merit, in retrospect signs of the death agony of Hammer’s Gothic formula when compared to it’s competition: blockbuster horror films like The Exorcist and The Omen.

As is The Legend of the 7 Golden Vampires, in which Peter Cushing added vampire hunting in China to the curriculum vitae of Van Helsing. It certainly has entertainment value, but overall the whole idea of a series of Dracula films based on Hammer's formula was probably becoming obsolete at this time.

Peter Cushing himself remained closely related to the genre, but also got the chance to play an important role in the first Star Wars film. Still, among his finest moments are his roles as Victor Frankenstein in Hammer’s series of rather thematically and artistically coherent Frankenstein films, and as Van Helsing in first and foremost Dracula, which was released on Blu-ray in a magnificent and highly recommended, restored edition earlier this year.

This post is part of the Peter Cushing Centennial Blogathon celebrating the centenary of Cushing’s birth. Peter Wilton Cushing was an English actor born on 26 May 1913, who appeared in numerous films, including films produced by Hammer Films. He died on 11 August 1994.

The frightening borderlands of Enlightenment

The 'dynamic of historical change may have been less dialectical than is generally supposed,' is a quote from a book by David Lederer, that Peter J. Bräunlein uses in his introduction to his paper entitled The frightening borderlands of Enlightenment: The vampire problem (Studies in History and Philosophy of Biological and Biomedical Sciences 43 (2012), p. 710-719). I would suppose that it is unsurprising to readers of this blog, that the vampire debate of the 18th century clearly is not another - to use Bräunlein's phrase - 'episode to the successful series 'Science Conquers Superstition'', or as Bräunlein writes in his conclusion:

'Within the discursive field of vampirism, various expert cultures were active. On closer inspection, however, it becomes clear that the vampire debate does not lend itself to the construction of an opposition between science and religion. The existence of this dichotomy is widely assumed, but that is to read the present back into the past. Eighteenth-century physicians and theologians were both equally interested in the question of whether 'the relationship between the dead body and an illness of mind and body should be understood as a sympathetic, astral or diabolical effect' (Hamberger, 1992, p. 167). In the first half of the eighteenth century, we are not dealing with a single epistemic competition so much as a plurality of forms of knowledge, observing one another critically even as they communicated with one another.'

Personally, this is a major part of the fascination with the topic, so it is interesting to read Bräunlein's take on the complexity of issues at play. The paper is, to my knowledge, also one of the few texts in English that relates the eighteenth century development of the 'Vampyrus Serviensis' in relatively great detail, no doubt attracting some more interest to the subject. 'Vampires are good to think with,' as he says, and here is at least food for thought, as Bräunlein e.g. addresses questions regarding the attitudes under Ottoman rule towards vampires and the safe passage of deceased people from this world. Overall, however, he questions the widespread myths about Enligthenment, science and 'disenchantment', while also stressing that the complexity of the vampire in all his shapes and forms it takes deserves more analysis. Enlightenment does not necessarily lead to a disbelief in revenants: 'The idea that progress in knowledge will inevitably lead to factuality and truth is a dream of Enlightenment, and of some historians.'

I am, however, a little concerned to read that, 'In Viennese circles, it was even put about that a princess Eleonore von Schwarzenberg (1682-1741), was a practising vampire.' Only the well-known TV documentary is referred to as a source for this claim, so I have yet to see evidence that this princess was indeed believed to be 'a practising vampire,' whatever that should have been at the time. This, however, is just a detail that has no bearing on the premisses and conclusions of the paper.

Peter J. Bräunlein is Professor at the Institute for Social and Cultural Anthropology at the University of Göttingen.

Vampire furniture and artefacts for sale

Some of the artefacts from the Dracula e il mito dei vampiri exhibition in Milano are currently for sale on ebay, so if anyone happens to find these more or less macabre items worth investing in, you need to bid now...

L'Anche ti Pizarre

TV Fangdom

TV Fangdom, a conference on television vampires, takes place on June 7-8 at the University of Northampton. Although not exactly in the vein of this blog, there are a couple of talks on the programme that could be interesting and fun to listen to, like Zhana Popova from the University of Sofia on Vampires among Housewives and Mothers in Post-totalitarian Bulgaria and Maria Mellins from St Mary's University College on Fangtasia London: The True Blood Franchise and Vampire Lifestyle. More information on the conference website.

According to Dr. Lorna Jowett from the University of Northampton, who teaches horror and vampire fiction, 'The TV Fangdom conference aims to put the university on the map as a location where exciting media research is happening, to encourage research in all areas of television studies. We want to demonstrate to our own students, at all levels, that we have a dynamic research community and environment.'

Thanks to Jordi Ardanuy for mentioning the conference.

Austrian Books Online

Österreichische Nationalbibliothek, the Austrian National Library, now cooperates with Google Books in a joint venture called Austrian Books Online aiming at making the library's collection available online in digital format. 600.000 books are planned to be included in the online collection, and so far 100.000 are online.

Among the books is the Kronyka Czeska by Waclaw Hajekz Libocan aka Hagecius, one of the sources for two well-known tales concerning revenants: the shepherd from Blov and the 'witch' from Levin. Both were originally published in the Kronika Neplachov, but Hajekz embellished them in his chronicle. For more information about those revenant or vampire 'cases', follow the above links.

Kiss of the Butterfly in Print

'An exciting read ... A well-crafted mix of fact and fiction ... fascinating ... I can highly recommend Kiss of the Butterfly,' were parts of my review of James Lyon's novel. Now Kiss of the Butterfly is no longer only available as an e-book, but is now available as an illustrated paperback from e.g. Amazon.

America Bewitched

Owen Davies, Professor of Social History at the University of Hertfordshire and author of a.o. The Haunted: A Social History of Ghosts, has written America Bewitched: Witchcraft after Salem that has just been published by Oxford University Press. According to the publisher, it 'explodes the myth that the story of witchcraft in America ended with the Salem witch trials', and 'reveals how the story of witchcraft continued to sour the American dream for many until well into the twentieth century':

'The infamous Salem witch trials of 1692 are etched into the consciousness of America. Nineteen people executed, one tortured to death, four others perished in jail--the tragic toll of Salem remains a powerful symbol of the dangers of intolerance and persecution. As time passed, the trials were seen as a milepost measuring the distance America had progressed from its benighted past. Yet the story of witchcraft did not end in Salem. As Owen Davies shows in America Bewitched, a new, long, and chilling chapter was about to begin.

Davies, an authority on witches and the supernatural, reveals how witchcraft in post-Salem America was not just a matter of scary fire-side tales, Halloween legends, and superstitions: it continued to be a matter of life and death. If anything, witchcraft disputes multiplied as hundreds of thousands of immigrants poured into North America, people for whom witchcraft was still a heinous crime. Davies tells the story of countless murders and many other personal tragedies that resulted from accusations of witchcraft among European Americans-as well as in Native American and African American communities. He describes, for instance, the impact of this belief on Native Americans, as colonists-from Anglo-American settlers to Spanish missionaries-saw Indian medicine men as the Devil's agents, potent workers of malign magic. But Davies also reveals that seventeenth-century Iroquois--faced with decimating, mysterious diseases--accused Jesuits of being plague-spreading witches. Indeed, the book shows how different American groups shaped each other's languages and beliefs, sharing not only our positive cultural traits, but our fears and weaknesses as well.

America Bewitched is the first book to open a window on this fascinating topic, conjuring up new insights into popular American beliefs, the immigrant experience, racial attitudes, and the development of modern society.'

Harenberg: Vampire icon

It is highly unlikely that Johann Christoph Harenberg imagined that, 280 years after he originally wrote it, the title page of one his books would be sold as a poster in Italy. That, however, is what happened at the Dracula e il mito dei vampiri exhibition in Milan, and the book was, of course, Harenberg's Vernünftige und Christliche Gedancken über die Vampirs oder Bluhtsaugende Todten, published in Wolffenbüttel in 1733.

Source: Europeana

Harenberg was born on April 28 1696 in the village Langenholzen close to Alfeld in present day Lower Saxony. His parents were farmers and traders of cloth. Having given birth to four daughters, his mother prayed to God that, if God would grant her a son, she would devote him to the service of God. Besides, the young Johann Christoph was a delicate child, so he was allowed to devote his energy on learning to read, write and calculate in German as well as in Latin. At eight years of age he was sent to school in Alfeld, and at thirteen he went to Hildesheim to continue his education in various subjects and languages.

As he was walking from Alfeld to Langenholzen one Saturday in the Spring of 1708, he saw a well-dressed, old man nearby whom he recognized as a man he knew. Harenberg approached him, but he suddenly noticed that the man was transparent, and the closer he got to the man, the more transparent he became. Terrified, Harenberg retreated to his village, where he next day learned that the old man had died from consumption at about the time that he had seen the vision. This was only Harenberg's first of three encounters with apparitions in connection with the death of locals.

In 1715, at the age of nineteen he went to the University in Helmstedt to study the sciences as well as further languages. In 1719 he visited the universities in Jena and Halle, and the following year he was asked by the abbess and duchess of Gandersheim, Elisabeth Ernestine Antonie von Sachsen-Meiningen, to become headmaster of school belonging to the diocese. Besides teaching, he researched not only the Holy Writ, but also the history of the diocese. Several of his theological articles were published in the so-called Bremische Sammlungen published by Theodor Hase.

Merian's view of Gandersheim from Wikimedia

1734 was marked by ups and downs for Harenberg. He finished his voluminous history of the Gandersheim diocese, but fell into disgrace with the abbess and, although he accepted to become a parson at Bornhausen, he was finally appointed chief caretaker of the schools in the duchy of Wolfenbüttel. While there, he was in 1738 appointed a member of the Royal Prussian Academy of Sciences in Berlin. Incidentally, in 1732 this academy had been asked to write a memorandum on the Serbian vampires.

In 1745 Harenberg became Honorary Professor at the newly established Carolina collegium in Braunschweig and dean of the St. Lorenz convent in Schöningen. He died in Braunschweig on November 12 1774.

Göttingische Anzeigen von gelehrten Sachen November 26 1774, p. 1224
(He must have been 78 years of age, not 74).

Harenberg's multiple writings were mostly concerned with historical and theological topics, and particularly include a two volume book on the history of the Jesuit Order published in 1760. He was, however, also interested in other matters, like the fossil encrinus that was relatively common in Lower Saxony and also became the subject of one his shorter writings. In fact, at his death he left behind a large collection of these fossils, cf. Journal für die Liebhaber des Steinreichs und Konchyliologie Vol. II, pp. 524-7 (Weimar, 1775).

It was while he was Headmaster in Gandersheim that he wrote his book on vampires on the request of a high-ranking individual, no doubt the abbess herself. It must have been aimed at a wider audience, as it was not written in Latin like most of his other writings at the time, but in German. Postponing the publication in the hope that more examples would be published, he finished it on September 24 1732, and was consequently able to comment on a number of books on the subject that were published in the first half of that year. He also drew on his own experiences, including the above mentioned vision from his youth.

In Harenberg's view, the Serbs who claimed to be victims of vampires, probably suffered from angina (pectoris) that was caused by a) eating contaminated animal flesh, b) visiting other ill persons, and c) coming into contact with contaminated corpses. The illness then caused the blood to thicken, and as the blood began to stand still in the small vessels in the head, depression set in and the imagination malfunctioned. As the beliefs in harmful revenants were so impressed upon their imagination, the ill and their relations explained the illness, the chest pains and suffocation in terms of such vampires.

Ranft on Harenberg

Harenberg not only commented on a variety of theories that had been proposed since the publication of the Visum et Repertum, but also on subjects like werewolves. His etymology of the word 'vampire' was ridiculed by Michael Ranft in the third edition of his dissertation on the mastication of the dead. Ranft in fact ridiculed Harenberg and his efforts in general, leading to some controversy, when a review of both Harenberg's and Ranft's books were published in the supplements to the Leipzig Nova acta eruditorum, an anonymous review that was actually written by Harenberg himself. Obviously, Ranft felt obliged to vindicate himself, as years later, in 1742, he published a comment on the whole episode.

An in-depth study of Harenberg's book can be found in Anja Lauper's paper published in Begemann, Herrmann and Neumeyer's Dracula unbound: Kulturwissenschaftliche Lektüren des Vampirs (2008) and her subsequent book Die "phantastische Seuche": Episoden des Vampirismus im 18. Jahrhundert (2011).

Although it is, of course, his book and its subject that could be considered a 'vampire icon', one might still imagine a film inspired by Harenberg: His visions of the recently deceased and his considerations on the vampires could be intertwined and combined with machinations at the various courts and universities, perhaps even including some creative use of the controversy with Ranft, so that Hollywood could come up with stories of his own feverish experiences with bloodsuckers...

Geschichte Jetztlebender Gelehrten Vol. V (Zelle, 1732), pp. 94-144

Die Gräfin der Wölfe

A debut novel by German author Isabella Falk, Die Gräfin der Wölfe concerns the princess Amalia von Falkenstein, a character inspired by the life of the so-called 'vampire princess', Eleonore von Schwarzenberg, who was the subject of a documentary a few years ago. Born in 1682, Amalia von Falkenstein lives in a time of belief in witches and vampires. Although the daughter of a prince, the fates are against her, and in her quest to become more fertile, she begins to drink the milk of wolves. Local superstition, fear and hatred, however, all lead to her being accused of and finally diagnosed as suffering from vampirism.

Die Gräfin der Wölfe is published by Bookshouse as paperback, e-book and app:

'Die lebenslustige und intelligente Prinzessin Amalia von Falkenstein, geboren 1682, lebt in einer Zeit, die geprägt ist von Hexenglauben und aufkommender Vampirhysterie. Die Tochter des Fürsten von Torgelow ist mit einem unglückseligen Makel geschlagen, doch obwohl sie deshalb unter ihrem Stand heiraten muss, ist sie glücklich über ihre Vermählung mit dem Grafen von Falkenstein. Voller Vorfreude auf ihr neues Leben zieht sie mit ihm auf seine Burg. Der Einzug durch das Dorf wirft dunkle Schatten auf ihre junge Liebe. Ein missgestaltetes Kind wird geboren, kaum dass der Graf und Amalia die kleine Gemeinde passiert haben. Die abergläubigen Dörfler geben der neuen Gräfin die Schuld. Amalias Stand wird immer schwerer, und als sie beginnt, die Milch von Wölfen zu trinken, um ihre Fruchtbarkeit zu steigern, ist es um die Loyalität der Dorfbewohner vollends geschehen. Aberglaube, Gehässigkeit, Furcht und mangelndes Mitgefühl reißen Amalia in tiefe Verzweiflung. Schließlich diagnostiziert der langjährige Hofarzt ihres Gemahls auch noch die teuflische Krankheit: Vampirismus!'