Blood for Dracula is little different, in essence, from it’s partner, Flesh for Frankenstein. I guess if I had to pick, I’d say I enjoyed this movie better, mainly due to the ridiculously gratuitous nudity, hot lesbian make-out scenes and a scene that reminded me of the Black Knight from Monty Python & the Holy Grail. Shlock has its redeeming qualities, as long as you’re not concerned with maintaining a certain level of snobbery.
Blood for Dracula stars the same folks, in virtually the same roles. Udo Kier is Dracula instead of Baron Frankenstein, he still has the same creepy assistant (more kempt this time around), and Joe Dallesandro remains Joe Dallesandro, fucking anything with a pulse. This film was shot back-to-back with Flesh, so it probably wasn’t hard for any of these actors to stay in character. (If you can consider Dallesandro to be capable of acting. He doesn’t even try to feign an accent. Probably no point.)
There’s quite a bit of heavy-handed proletarian revolutionary talk in this film, and the fact that Dallesandro as stableboy cum stud ends up owning the manor with a harem of three nubile sisters who’d love nothing more than to spend their days shirtless outdoors and nights watching each other get porked by Dallesandro, and, well then.
The high aristocratic body count is Warhol-generation wish-fulfillment, only 36 years later, Joe Dallesandro’s character appears just as morally bankrupt as everyone else. The film remains as a good record of what a certain group of people thought about at a certain time, but with age has become no longer compelling.
Tangentially, all three films since I’ve started back in on watching the Criterion Collection have all had some messed up sexual politics going on. I’m ready for a change-up.
- Criterion Collection essay by Maurice Yacowar
- Not Coming to a Theater Near You review
- Opening Credits:
- First Bite Scene: