NOTE: The below Blu-ray captures were taken directly from the Blu-ray disc.

ADDITION: Kino Blu-ray (October 2025): Kino have transferred three films to Blu-ray as part of their Dan Curtis' Classic Monsters package, cataloged as Kino Cult #39. We compared the Opening (French,) MPI (US) and Odeon Entertainment (UK) Blu-rays of Dan Curtis's Dracula HERE. The Kino set delivers the three films in high-definition transfers sourced from their original production formats (Hyde and Frankenstein in 1080i / Dracula in 1080P), preserving the authentic look of 1960s and 1970s television horror while navigating the inherent challenges of archival materials. The Strange Case of Dr. Jekyll and Mr. Hyde (1968) and Frankenstein (1973) were originally shot and edited on analog videotape, a cost-effective choice for TV productions at the time, which introduces unavoidable artifacts such as occasional dropouts, minor tape noise, color bleeding in high-contrast areas, and a softer overall sharpness compared to film-based sources - these issues are explicitly acknowledged in an on-screen caveat warning that precedes each film, stating, "The following motion picture was shot and edited on analog videotape. Despite efforts to restore the image, some dropouts and artifacts remain," emphasizing Kino's transparent approach to restoration. This is more noticeable in a clunky, rather than smooth, playback. Frankenstein is slightly superior over The Strange Case of Dr. Jekyll and Mr. Hyde. Efforts to clean up these transfers include color correction to enhance the muted palettes (grays and earth tones in Jekyll, richer blues and golds in Frankenstein), improved contrast for better shadow detail in dimly lit scenes like Jekyll's laboratory transformations or the Creature's decay sequences, and stabilization to minimize video jitter, though the electronic sheen remains evident, giving them a vintage, soap-opera-like aesthetic reminiscent of Curtis's Dark Shadows. In stark contrast, 1974's Dracula was captured on 35mm film, allowing for a more robust and cinematic transfer with finer grain structure, deeper blacks, enhanced detail in textures (such as the crumbling castle walls or foggy moors), and vibrant color saturation in key elements like crimson blood effects or candlelit interiors; this film's visuals benefit from a max'ed out bitrate encoding, resulting in superior clarity during hypnotic close-ups of Jack Palance's piercing gaze or the stormy Demeter shipwreck. Overall, the video quality varies by source - serviceable and improved for the videotape films, excellent for the film-based one - but collectively represents a respectful upgrade from prior VHS, DVD, or streaming versions, ideal for fans prioritizing historical accuracy over modern polish, with the two-disc set's encoding ensuring smooth, consistent, playback. Cinematography, by Oswald Morris (Dracula - as well as Beat the Devil, Moby Dick, Heaven Knows, Mr. Allison, A Farewell to Arms, Our Man in Havana, The Guns of Navarone, Lolita, The Pumpkin Eater, The Spy Who Came in from the Cold, Reflections in a Golden Eye, The Taming of the Shrew, Sleuth, The Mackintosh Man, The Odessa File, The Man Who Would Be King, Equus, The Seven-Per-Cent Solution,) employs shadowy Victorian sets, fog-shrouded exteriors, and close-ups to evoke claustrophobia, drawing from Hammer Horror influences but tempered for American TV audiences. Budget limitations meant practical effects over CGI precursors: Hyde's transformation relies on makeup and Palance's physicality, the Creature's decay uses progressive prosthetics by Roy Ashton (a Hammer veteran,) and Dracula's vampirism emphasizes hypnotic stares and crimson blood rather than gore. A pivotal shared element is actor Jack Palance, who stars in Jekyll and Hyde and Dracula, bringing a rugged, intense presence that Curtis favored after their initial collaboration.

The first seven Kino Cult titles are Lorna the Exorcist, Alien Outlaw, The Dark Power, Sinner - the Secret Diary of a Nymphomania, Underworld aka Transmutations, Drifter and a Bettie Page Double Feature. We have also reviewed the sub-label's Frogs, Empire of the Ants, The Food Of The Gods, Kingdom of the Spiders, Nudie-Cutie Triple Feature, Frankenstein's Bloody Terror, and Death Packs a Suitcase. I love the idea of this and hope it continues.

NOTE: We have added 138 more large resolution Blu-ray captures (in lossless PNG format) for DVDBeaver Patrons HERE

On their Blu-rays, Kino use DTS-HD Master dual-mono tracks (24-bit) in the original English language for all three films. staying true to the original television broadcasts' single-channel sound design without any artificial upmixing to surround formats, which maintains the intimate, front-focused delivery suited to the era's production values. For The Strange Case of Dr. Jekyll and Mr. Hyde and Frankenstein, the tracks derive from analog videotape masters, leading to some inherent limitations like subtle background hiss during quieter moments (such as Jekyll's introspective monologues or the Monster's anguished grunts in Frankenstein,) occasional dynamic compression that flattens peaks in louder effects (e.g., Hyde's guttural snarls during tavern brawls or the crackling electricity and thunderous footsteps in Victor's lab and the Creature's rampages), and a narrower frequency response that emphasizes midrange dialogue and Robert Cobert's (Dan Curtis' Trilogy of Terror, the Producer's TV Movie features - Shadow of Fear, The Invasion of Carol Enders, Come Die With Me, and Nightmare at 43 Hillcrest plus the TV series of Kolchak The Night Stalker, plus The Norliss Tapes, Scalpel, Burnt Offerings etc.) orchestral scores over deep bass or expansive highs - despite restoration efforts, these exhibit minor distortions in intense sequences, such as the pounding drums underscoring Hyde's nocturnal rampages or the mournful piano motifs evolving into dissonant strings for the Monster's growing isolation and rage, but dialogue remains clear and intelligible, with Palance's gravelly intonations shifting dramatically between Jekyll's cultured restraint and Hyde's feral snarls, while Foxworth's measured anguish as Victor and Strasberg's emotional pleas as Elizabeth cut through effectively, and Svenson's sparse, guttural vocalizations as the Monster convey pathos without overacting. Dracula stands out with a cleaner, more robust mono track sourced from 35mm elements, offering better fidelity in sound effects like howling winds across the moors, bat wings fluttering in the castle halls, or the squelching stakes piercing undead flesh, alongside a fuller representation of Cobert's haunting waltzes and theremin tones that blend regal menace with romantic longing during Palance's hypnotic seductions; this film also includes an optional Spanish language DUB in lossless, providing accessibility for international viewers, though it lacks the nuance of the original English performances. Subtitles are available in English SDH for all films, aiding in deciphering period accents or muffled whispers (particularly useful for the Monster's labored speech in Frankenstein), and the overall mixing prioritizes authenticity - loud ambient cues like thunderclaps in the climax of Frankenstein or creaking doors in Dracula's lair are balanced to evoke dread without overwhelming, though modern audiophiles might note the absence of low-end rumble in monster roars or atmospheric swells. Kino's audio restorations focus on noise reduction and equalization to minimize tape degradation, resulting in tracks that, while not audiophile-grade, faithfully capture the Gothic melodrama's sonic essence -  from the intimate echoes of Strasberg's screams in Frankenstein to the swirling fog-enhanced howls in Dracula - making them a significant step up from compressed streaming audio and enhancing the home-viewing immersion for these TV classics. Kino's discs are Region 'A' Blu-rays.

The Kino Blu-ray extras package is thoughtfully curated to appeal to horror scholars and fans of Dan Curtis's oeuvre, offering a mix of new and archival materials that provide context, analysis, and behind-the-scenes glimpses without bloating the runtime, though it's lighter on quantity compared to some boutique releases. Each film receives an introduction by Jeff Thompson, author of House of Dan Curtis: The Television Mysteries of the Dark Shadows Auteur, delivering concise yet informative overviews: the Dracula intro runs just over 7 minutes, delving into Curtis's directorial choices, the reincarnation motif's romantic innovation, and fidelity to Bram Stoker's epistolary structure; Frankenstein, at 4 minutes, explores the Sam Hall script's faithful yet emotionally charged adaptation of Shelley’s novel, highlighting Bo Svenson's sympathetic portrayal of the Monster as a misunderstood giant and the production's videotape-shot intimacy that mirrors Dark Shadows' serialized dread; and Jekyll and Hyde at 4 minute highlights the psychological depth, Palance's visceral dual performance, and its place as a gritty precursor to the trilogy's themes of inner monstrosity - these serve as excellent primers, blending historical trivia (like Frankenstein's ABC Wide World of Mystery airing in January 1973) with thematic insights on humanizing Gothic icons. Dracula boasts the richest supplements, including an audio commentary by Mark Dawidziak (Kolchak: The Night Stalker Chronicles) that tracks the production's innovations like equating Dracula with Vlad the Impaler, Palance's feral charisma versus Christopher Lee's aristocratic aloofness, and scene-by-scene breakdowns of the Demeter storm and staking climax; a 4 minute archival interview with Jack Palance discussing his preparation for the role's hypnotic menace and physical demands; a 4 minute interview with producer/director Dan Curtis reflecting on adapting Stoker for TV budgets, location shooting in Yugoslavia, and pushing broadcast boundaries with implied sensuality; 6.5 minutes of alternate footage and deleted scenes showcasing unused takes from the castle seduction sequences and extended Van Helsing hunt; and an original trailer emphasizing the film's Gothic romance and Palance's brooding intensity. Frankenstein features two audio commentaries: one by film scholar Rodney F. Hill (Hofstra University and co-author of The Francis Ford Coppola Encyclopedia,) analyzing the script's philosophical layers on creation and isolation, influences from Boris Karloff's Universal portrayal, Curtis's focus on the Monster's innocence (praised for Svenson's hulking vulnerability), and deviations like the De Lacey family's expanded role; the other with actors Robert Foxworth (Prophecy, The Black Marble, Columbo, Ants,) playing Victor Frankenstein and John Karlen (Otto Roget), sharing anecdotal memories of filming in California studios, working with Susan Strasberg (Scream of Fear, Kapo, Sweet Sixteen, The Manitou, Psych-Out, Night Gallery,) on Elizabeth's tragic arc, Svenson's improvisational physicality during the Monster's "birth" scene, and the challenges of videotape's live-TV feel; plus 10 minutes of ABC-TV Wide World Mystery promos, rare archival spots that capture the era's hype for the event, including teasers of the laboratory sparks and the Monster's first roar. Dr. Jekyll and Mr. Hyde includes an audio commentary by author, artist, and film historian Steve Bissette (Cryptid Cinema: Meditations on Bigfoot, Bayou Beasts & Backwoods Bogeymen of the Movies,) who dissects the adaptation's Freudian undertones on repression, bold deviations from Stevenson's novella (like the dance-hall romance,) and its raw intensity as a bridge to Curtis's later works; and a short interview with makeup effects artist Dick Smith, detailing the subtle prosthetics for Palance's Hyde transformation - scarred brows, hunched posture aids, and quick-change techniques suited to videotape shooting - along with anecdotes on evoking savagery without gore. These features emphasize expert commentary and rare interviews, making the set a valuable resource for deeper appreciation, for students of TV-age genre film or simply collectors.

Dan Curtis, best known as the creator of the cult daytime soap opera Dark Shadows (1966-1971), which blended Gothic romance with supernatural elements, extended his influence into made-for-television horror films during the late 1960s and early 1970s. This period saw him producing and often directing adaptations of classic 19th-century Gothic literature, leveraging the constraints of TV budgets to focus on atmospheric tension, psychological depth, and character-driven narratives rather than spectacle. Three standout entries in this oeuvre - The Strange Case of Dr. Jekyll and Mr. Hyde (1968), Frankenstein (1973), and Dracula (1974) - form a loose trilogy of monster tales, each reinterpreting iconic figures from Robert Louis Stevenson, Mary Shelley, and Bram Stoker, respectively. These films, all aired on major networks (ABC for the first two, CBS for the third), reflect Curtis's signature style: a commitment to fidelity with innovative twists, brooding visuals inspired by his Dark Shadows aesthetic, and explorations of human frailty amid the monstrous. Together, they encapsulate the era's television horror boom, where Gothic revival met the intimacy of home viewing, influencing later adaptations and earning renewed appreciation. Produced amid the cultural shifts of the Vietnam War era and rising interest in psychological horror (post-Psycho and pre-The Exorcist), these works collectively probe themes of scientific hubris, inner duality, and eternal damnation, while highlighting Curtis's knack for humanizing monsters through tragic backstories and emotional arcs. All three films were conceived as prestige TV events, (the longest being the two-part Frankenstein), allowing for more expansive storytelling than typical episodic fare but still bound by censorship and commercial interruptions. Curtis collaborated with key talents like composer Robert Cobert, whose haunting scores - reminiscent of Dark Shadows - unify the trilogy with eerie strings and organ motifs that amplify isolation and dread. Jack Palance's performances anchor the films' psychological focus, portraying monsters as extensions of human flaws rather than pure evil. Scripts, penned by talents like Richard Matheson (Dracula,) prioritize literary roots while adding modern psychoanalytic layers - e.g., repressed urges in Jekyll, ethical dilemmas in Frankenstein, and romantic tragedy in Dracula. Denholm Elliott (Brimstone & Treacle, Ghost Stories for Christmas, The Night My Number Came Up, Hammer House of Horror, Station Six-Sahara, The Holly and the Ivy, The Sound Barrier, Voyage of the Damned,) delivers a poignant and understated performance as Mr. George Devlin, the steadfast friend and confidant to Jack Palance's tormented Dr. Henry Jekyll, infusing the role with a quiet sympathy that anchors the film's exploration of moral duality and Victorian repression. In summation, Kino Lorber's Dan Curtis' Classic Monsters Blu-ray set, stands as an essential archival collection for aficionados of Gothic horror, television history, and Dan Curtis's influential body of work, bundling three landmark made-for-TV adaptations - The Strange Case of Dr. Jekyll and Mr. Hyde, Frankenstein (1973, the Curtis-produced version directed by Glenn Jordan with Robert Foxworth's tormented Victor, Susan Strasberg's resilient Elizabeth, Bo Svenson's poignant Monster, and Robert Gentry's steadfast Henry Clerval), and 1974's Dracula - into a cohesive package that balances fidelity to the originals with thoughtful enhancements, correcting any prior conflation with the similarly titled but distinct Frankenstein: The True Story (also 1973, featuring Michael Sarrazin and James Mason.) The Blu-ray video transfers, while hampered by the analog videotape origins of Jekyll and Hyde and Frankenstein (complete with honest caveat warnings about persistent artifacts that slightly soften Svenson's imposing frame during chase scenes or Foxworth's lab frenzy,) offer noticeable improvements in clarity, color grading, and stability over prior formats, with Dracula's 35mm-sourced presentation emerging as the visual highlight for its cinematic polish in fog-shrouded castles and blood-red accents; audio tracks remain authentically mono and serviceable, prioritizing clear, era-appropriate dialogue (like Strasberg's heartfelt pleas amid the Monster's guttural cries) and Cobert's evocative leitmotifs without modern gimmicks, capturing the trilogy's brooding soundscapes from Hyde's snarls to the Creature's echoes. The extras, though not exhaustive, shine through scholarly commentaries (e.g., Hill's dissection of Frankenstein's Shelleyan humanism,) rare interviews with talents like Palance, Curtis, Foxworth, and makeup wizard Dick Smith, and promotional materials that evoke the 1970s TV landscape, providing substantial value for fans seeking context on Curtis's Dark Shadows-infused style and his humanization of monsters - be it Palance's dual id, Svenson's innocent giant, or the Count's vengeful romance. Packaged in a standard keepcase with slipcover, this two-disc set runs serves as a gateway to underappreciated TV classics (The Classic Ghosts - 70's Gothic Television, Dan Curtis' Late-Night Mysteries) that probe scientific hubris, moral duality, and eternal longing through psychological depth and tragic narratives; it's not a flawless remaster due to source limitations, but its respectful approach, niche appeal, and corrections to casting details make it a worthwhile investment for horror collectors, outperforming bootlegs or streams in quality and extras, and solidifying Curtis's legacy as the "King of TV Terror" in high-definition.

Gary Tooze