The Mark of the Vampire, “Mass Marketing Modern Medicine”

1935
Metro Goldwyn Mayer and Todd Brown
Lionel Barrymore

The Mark of the Vampire is an attempt to make sense of the vampire myth. Mark of the
Vampire has Sir Karell Barrodon die presumably of bite “marks” on his throat. The theories presented
by the physician, the 'detective', and the household 'servants' include the existence of a vampire.
Where the film is set is 'ambiguous.' The servants were told by Baron Otto, an “old friend of the
family” that an 'inspector from Prague”, Lionel Atwill as Inspector Neumann, has come to 'survey' the
scene. Sir Karell, Irena, daughter 'betrothed' to Frederic is inconsolable. Fedor then suffers a 'collapse'
in front of the 'old castle' where Bela Lugosi as Count Mara and his vampire bride, Luna, preside over a
'collection' of weird creatures. Bats, 'fuzzy spiders', an 'opossum.' The servants at Karell's 'sprawling
mansion' see weird sights. Two see a bat coming from an 'open door'. As he 'changes' into a vampire,
a 'plume of fog envelopes the room.' According to the Czech peasants at the film's start, a 'herb' called
“bat thorn” will deter vampires. Two English “visitors” “poo poo” the peasants claims of vampires as
the innkeeper warns his “guests” of the threat of vampires in the area. “Vampires in the 20th century,
wait 'til I tell the boys at the club” the English “chap” says to the English lady. An “inquiry” is held.
The scene where the “old world” peasant explains the vampire myth to men of “science” is a “hand
off” of sorts. The myth of the vampire is “replaced” with the “wonders of science.” As if to
'emphasize this point' 'racks of chemical equipment' and medical 'instruments' were shot with the
'grieving friends' of Sir Karell. The 'local physician' Dr. Doskil tries to “testify” at the 'inquiry' on his
expertise from “The University of Prague” and is told to “shut up” by Mr. Carter after Mr. Carter calls
the peasants “poor deluded creatures” for holding vampire myths as credible. Doskil 'objects' to
Carter's 'snide' tone. Carter is 'supported by' Inspector Neumann in this regard as Neumann 'retorts' of
the vampire's 'transformation' from bat to man 'How versatile'. Here is the line 'drawn between
modernity and superstition.' The 'city dwellers' from Prague will 'solve' this mystery where the stupid
peasants won't. “This is 1900 and 35” says Carter and he concludes Sir Karell died of “unexplained
causes.”

Lionel Barrymore as “The Professor” 'speculates' with Baron Otto as they see Count Mara exit
Karell's 'residence' with the dead Sir Karell. The Professor is an “expert” on vampires. He knows the
“proper way” to kill a vampire. When he, Inspector Neumann, and Baron Otto “break into” Count
Mara's castle, they find a man at rest. He “looks like” the dead Sir Karell Barrodon Inspector Neumann
and Baron Otto 'peak' into the old castle where Irena is lured by the vampiress. As the vampiress tries
to 'bite her neck' the scene is 'interrupted' by Fedor. He has 'traced' Irena to the castle. He 'wrestles'
with Count Mara. “I can't go through with it.” Irena says to Inspector Neumann, in the last ten
minutes of the film. Suddenly, the film “switches perspective” to that of an 'elaborate plot' where
Count Mara as a vampire and Luna were 'actors' used by Inspector Neumann to 'foil' Baron Neumann
vampire 'set up.' Baron Neumann is 'the prime suspect' in Karell's death. He 'covets' Irena and is
furious at Karell's consent to Irena's betrothal to Fedor. Under 'hypnosis' from the Professor, Lionel
Barrymore, Baron Otto 'reenacts' his 'steps' to murdering Sir Karell and the 'cupping of blood' on the
neck of Sir Karell with 'scissors.' As the 'sole executor of Sir Karell's will' he had the dead man's
money and daughter on his mind when he murdered Sir Karell. The Professor orders Karell 'under
arrest'. He is 'cuffed' and led out. While the director tries to 'prank' Baron Otto and the viewers, several
scenes won't fit neatly into the conclusion. The “transformation” of Mara from a bat into a vampire,
and Luna's “white bat descent” from a window in Count Mara's castle.

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 The last minutes of the film 'apologize' for the dark mysticism and creepy sights the viewers
watched. “Don't take anything too seriously,” is the message. Death, crime, murder, theft, forcing a
'grieving' daughter to 'partake' in a plot, nothing is serious. The 'wonders of science' have 'solved' a
crime of greed and lust. While the film purportedly 'dismisses one myth' a new myth 'takes hold.'
Psychiatry is central to the film. Baron Otto is 'hypnotized' three times by “The Professor.” He is
hypnotized and then “dehypnotized” from his 'trance' where he 'reenacts' the murder of his “dear old
friend” Sir Karell by “poison'. Here 'the human psyche' is 'snatched' from the physical and proper
medical 'investigation' and stands 'alone' as a 'field of inquiry'. While Dr. Doskil is less “commanding”
a presence in the film, his 'compassion' for the peasants is what a good physician has. Understanding
and 'respect', not “practicality” is integral to treatment. Barrymore is the 'clever' foil for Doskil, a
'nervous, mousy' man. He “manages” the “devious” Baron Otto with “cunning” from his
understanding of “modern science” and “study of crime.” The Professor understands the
“subconcious” and that Otto has “buried deep within him” the “awareness” of his crime. He is a
“sociopath” and can “operate” on two “modes.” Metro Goldwyn Mayer and Tod Brown were adroit
“students of the subconscious” as 'quick, fleeting advertisements” for “tea services”, “interior design”
goods, and “luxury goods” “flit across the screen.” With these “material” goods, the “construction of a
cultural norm” is viewed with the “dismantling” of the “old-fashioned.” After the “railroading” of
“modernity” and “global norms” founded in “urban centers”, “mass medicine” and “psychology” have
the “cure” for what ails “modern man.”

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