Noted Catalonia surrealist Pedro Portobella shot this short subject on the set of Jess Franco's EL CONDE DRACULA.
I think there are a lot of things going for it: non-linear approach, uncomfortably dissassociative sound track, surreal juxtaposition of unexpected images, etc. Anyone expecting a linear documentary will be disappointed, even angry. This is a stand-alone work of cinema art, not a monster movie.
I think it's far more interesting and unsettling than, let's say, the 4 minute behind-the-scenes promo shot for DRACULA 72 AD, though it has a lot in common with it superficially. Both the promotional short and the Portobella film are shot silent; the only sync dialogue is a bit of Christopher Lee speaking about Dracula. Both show the practicalities of film making, the crew and cast in an "unreal" setting with lights and cameras; both place the Victorian central character in an uncomfortable contemporary location. The major difference is intent. The promotional short, "Prince of Darkness," is intended to hype a movie. Portabella's film is a ghostly work of art.
I think there are a lot of things going for it: non-linear approach, uncomfortably dissassociative sound track, surreal juxtaposition of unexpected images, etc. Anyone expecting a linear documentary will be disappointed, even angry. This is a stand-alone work of cinema art, not a monster movie.
I think it's far more interesting and unsettling than, let's say, the 4 minute behind-the-scenes promo shot for DRACULA 72 AD, though it has a lot in common with it superficially. Both the promotional short and the Portobella film are shot silent; the only sync dialogue is a bit of Christopher Lee speaking about Dracula. Both show the practicalities of film making, the crew and cast in an "unreal" setting with lights and cameras; both place the Victorian central character in an uncomfortable contemporary location. The major difference is intent. The promotional short, "Prince of Darkness," is intended to hype a movie. Portabella's film is a ghostly work of art.