Horror Express

A sci-fi monster movie with elements of a vampire film—and starring Dracula actor Christopher Lee! China, 1906: In Manchuria, British anthropology professor Saxton (Christopher Lee) discovers a prehistoric, human-like creature that he believes to be a “missing link.” Saxton packs his unusual find into a crate to transport it to Europe on the Trans-Siberian Express. But during the train ride, the creature—which can absorb memories through eye contact—begins killing passengers. Together with Dr. Wells (Peter Cushing), Saxton tries to stop the horror before all his fellow passengers fall victim to it... Director Eugenio Martín shot this stylish horror film in the early 1970s—and was able to secure two charismatic actors for the cast: Christopher Lee and Peter Cushing, both known for their roles in Dracula and Hammer films. Telly Savalas (“Kojak”), as an eccentric Cossack officer, provides a striking contrast to the demure duo. All three shine in an atmospherically dense genre blend that combines classic Gothic horror with sci-fi elements. Despite its low budget, the film builds an oppressive tension—not least because of the setting in the cramped, moving train, which intensifies the sense of isolation and paranoia. With its blend of pulp, retro charm, and philosophy, “The Horror Express” is now considered a cult classic, perfect for fans of classic horror films and 1970s British horror cinema. For vampire movie fans: It’s no coincidence that the cast, featuring Christopher Lee, evokes associations with vampire films. The creature aboard the Trans-Siberian Express does not kill its victims by drinking their blood in the traditional sense, but it nevertheless fulfills a central function of the vampire: the parasitic draining of other people to ensure its own survival. The victims are left emaciated and exhibit characteristic physical changes. Dramatically, too, the film follows patterns of the vampire genre. The action takes place in a confined space—the train, rather than the ship in *Nosferatu*—where the number of victims gradually increases. This structure is reminiscent of many classic vampire films in which an isolated community is haunted by an invisible threat. Furthermore, the character of the monk interprets the creature as a satanic being and lends the conflict a religious dimension, as in vampire films.