User Reviews

Supernatural concludes with 'Dorabella', and in a series that has set out to tell stories inspired by gothic horror, there has thus far been a notable absence amongst the ghosts, werewolves and Frankenstein homages. Thus, it comes as no surprise that 'Dorabella' features vampires.

'Dorabella' is narrated by David Robb's Philip Hambleton, who recounts a tale of his travels with his friend Walter Von Lamont across Europe, during which Walter encountered and was seduced by the mysterious Dorabella. Only ever seen at night, Dorabella leads the pair on a journey to her ancestral home, a castle where her father awaits and seeks to add a new member to their ancient species.

There is literally nothing here that isn't predictable, but as a traditional gothic vampire story that isn't all that surprising and Muller's script means that the doom-laden story unfolds with dark inevitability. Muller clearly expects the audience to realise that Dorabella is a vampire long before the word is ever uttered on screen, and if the revelation that it is Philip who eventually becomes a vampire rather than Walter is meant to be a twist then it isn't a very surprising one. But this episode has time-honoured tradition on its side and works because of - not in spite of - its predictability. Points are also awarded for the fact that Muller doesn't treat vampirism as remotely romantic, but as a literal living death.

Robb gives a fine performance as Philip Hambleton, although the real star is Jeremy Clyde as Walter. Clyde conveys Walter's descent into madness and death very well, and the rest of the cast impresses too, from Jonathan Hyde's weird, sweaty performance as Amadeus to Ania Marson's alternately seductive and terrifying Dorabella. John Justin (who appeared with Jeremy Clyde in Schalcken the Painter) is well cast as Dorabella's father.

Director Simon Langton does a great job, making striking use of various interesting camera angles and getting the benefit of some location filming, although the obvious stock footage insert of a European castle is a bit clumsy. There are some quite creepy moments, for example when Walter sees the face at the window and when Walter and Philip find Amadeus' exsanguinated corpse. Wisely, Langton eschews the use of dodgy dentures, instead revealing the vampires' inhumanity via contact lenses that turn the actors' eyes milky white. The score goes for haunting rather than chilling, with good results.

'Dorabella' makes a decent end to Supernatural, a decidedly odd series that achieves some of Muller's aspirations but in a decidedly uneven fashion. But whatever failings it may have, for fans of other British television horror serials such as A Ghost Story for Christmas or Dead of Night, this celebration of all things gothic is essential viewing.

I have thoroughly loved each installment of this series. The final episode Dorabella is a nice way to finish off the series. A vampire tale set in an undeclared location, it conveys suspense and mystery despite a slow pacing for the modern viewer. The acting is very good and the filming really helps this story. It adds to the atmosphere. I found this quite reminiscent of some Hammer Horrors which is a good thing. Also the slow build allows for characters to develop and transform.