Blood for Dracula is the companion piece to the other Andy Warhol produced horror film, Flesh for Frankenstein (1973). It was made at the same time so shares a lot of the cast members, while it's twisting of its traditional source material is equally demented. Different people prefer one or the other and I personally prefer Flesh, finding its content so wonderfully over-the-top in so many outrageous ways that it entertains on several levels. Blood for Dracula, on the other hand, is a fairly restrained film by comparison. Although this is a relative statement because going by any other standard this is a quite delirious version of Dracula. Needless to say, it entirely ignores the original novel and furrows its own path, updating the character quite successfully for its 70's time-frame. In this sense, Dracula is what can best be described as a blood junkie. He spends considerable screen-time vomiting up unpure blood and generally is more akin to a drug addict than the gallivanting count of old. The story has him moving from Romania to Italy in search of fresh virgins. He is welcomed by a down-on-his-luck marquis who actively encourages him to marry one of his four daughters. Before long he is feeding off them but, unfortunately for him, a local handyman has been going around systematically de-purifying them!
You've got to hand it to Paul Morrissey; he has directed another bona fide cult classic with this one. It's very interesting how the traditional myth has been twisted into the tale of a junkie vampire. Its Cinecittà origins also ensure that this is an exploitation film that has the added advantage of looking quite sumptuous. But much of the strengths here, like its sister film; can be found in the campy deadpan performances and insane dialogue. Udo Kier is on form again as Dracula in another commendably committed performance, his assistant is played by Arno Juerging in an eye-poppingly bizarre way and Joe Dallesandro under-acts spectacularly again as the somewhat questionable 'hero' Marxist handyman who at one point rapes a young teenage girl in order to make her unsuitable prey for the dastardly count! This latter scene is topped off with Dracula licking blood off the floor that was discharged on account of it being the girl's first sexual encounter. Yech! Look out too for a humorous cameo performance from Roman Polanski and a rare chance to see future Suspiria actress Stefania Cassini speak her dialogue in her real voice, usually she is dubbed but here her very heavy and quite beautifully exotic Italian accent is on full display (as well as pretty much every other part of her it has to be said).
This is probably as much a sexploitation film as it is a horror movie. There are significant amounts of screen time dedicated to naked fumbling. This approach, along with the film's generally quite transgressive content does make for a pleasingly in-your-face viewing experience. But, while it may not have been as horror-oriented as you may have expected, this situation is addressed in quite spectacular style in what can only be described as a hilariously OTT gory finale that really has to be seen to be believed.
You've got to hand it to Paul Morrissey; he has directed another bona fide cult classic with this one. It's very interesting how the traditional myth has been twisted into the tale of a junkie vampire. Its Cinecittà origins also ensure that this is an exploitation film that has the added advantage of looking quite sumptuous. But much of the strengths here, like its sister film; can be found in the campy deadpan performances and insane dialogue. Udo Kier is on form again as Dracula in another commendably committed performance, his assistant is played by Arno Juerging in an eye-poppingly bizarre way and Joe Dallesandro under-acts spectacularly again as the somewhat questionable 'hero' Marxist handyman who at one point rapes a young teenage girl in order to make her unsuitable prey for the dastardly count! This latter scene is topped off with Dracula licking blood off the floor that was discharged on account of it being the girl's first sexual encounter. Yech! Look out too for a humorous cameo performance from Roman Polanski and a rare chance to see future Suspiria actress Stefania Cassini speak her dialogue in her real voice, usually she is dubbed but here her very heavy and quite beautifully exotic Italian accent is on full display (as well as pretty much every other part of her it has to be said).
This is probably as much a sexploitation film as it is a horror movie. There are significant amounts of screen time dedicated to naked fumbling. This approach, along with the film's generally quite transgressive content does make for a pleasingly in-your-face viewing experience. But, while it may not have been as horror-oriented as you may have expected, this situation is addressed in quite spectacular style in what can only be described as a hilariously OTT gory finale that really has to be seen to be believed.