Blood for Dracula1974
Blood for Dracula (1974)
Blood for Dracula Photos
as Count Dracula
as Mario Balato
as Il Marchese Di Fiore
as La Marchesa Di Fiore
as Man in Inn
Critic Reviews for Blood for Dracula
Morrisey long showed that his films, although more implicit in sex, drugs and characterizations, were really Hollywood films at the core.
One of the two schlocky horror comedies Paul Morrissey made in Italy in 1974... Blood for Dracula is the sexier and funnier.
Not quite as much fun as Frankenstein, but wonderful to look at, with some great jokes - including the myriad of accents displayed by members of the cast. However, as fun as it is at times, it can't compare with Bela Lugosi.
Stylishly directed, atmospheric, funny, and intense enough to please gorehounds--especially at the climax.
Audience Reviews for Blood for Dracula
Paul Morrissey's "Blood for Dracula" is a campy, entertaining romp of gore, sex and willful overacting. Unlike most vampires, Udo Kier's Count Dracula is a sweaty, sickly waif who wouldn't scare a child if not for his huge, piercing eyes and intense manner. His attendant Anton (Arno Juerging) is actually more intimidating and is quite capable of pushing his master around. This Dracula only craves the necks of virgins (infamously pronounced "where-gins" in Kier's heavy German accent) and, in fact, "impure" blood makes him grotesquely regurgitate. He has worn out his welcome in his Romanian homeland, so he and Anton journey to Italy, counting on Catholic chastity to yield great rewards. They soon stop at the manor of the Marquis DiFore (legendary director Vittoria de Sica), who is blessed with four lithe, beautiful daughters. The family's finances have seen better days, so the Marquis and his wife (Maxime McKendry) are eager to hear the wealthy Count's cover story about seeking a mate. Dracula begins screening the daughters, but does not realize the two most eligible ones are casual libertines who are steadily ravaged by the estate handyman Mario (Joe Dallesandro, of course). The dire results of the Count's "taste tests" are ridiculous, bounding over the line between horror and perverse comedy. The youngest daughter may be just what he's looking for, but Mario -- a surly Communist who views the girls as "meat" even more than the Count does --- also has his eyes on her. Meanwhile, he and the Marquis are developing suspicions about the Count and his precious coffin (allegedly carrying the remains of a loved one). "Blood for Dracula" (sometimes called "Andy Warhol's Dracula" to milk the notoriety of its co-producer) was originally rated "X" but does not seem so shocking today -- the most explicit moments are a shot of Dallesandro's thrusting buttocks and a full-frontal view of a girl standing in a bathtub. The climax is gruesome, but no Monty Python fan will be able to keep a straight face. The script's political resonances are not as strong as Morrissey hopes, but photogenic women, elegant decor and dramatic lighting add up to a lovely-looking film with plenty of sensory titillation. And don't miss director Roman Polanski's unexpected, amusing cameo.
Superior to Flesh For Frankenstein, this is a great second film for Paul Morrisey's horror double feature. There are some truly amazing images in this one. Udo Kier is perfect as Dracula.
With a shortage of 'wirgins' in Romania, Count Dracula travels to Italy in search of good, pure Catholic girls to feast on, installing himself in the dilapidated mansion of an aristocrat with four unmarried daughters, ostensibly as a suitor for one of them. Since two of the daughters are slatterns and any blood but that of a virgin makes the count violently ill, the scene is set for some nice comic episodes. Although the acting is generally atrocious, "Blood for Dracula", unlike the terrible "Flesh for Frankenstein", has a number of clever touches which breathe new life into the vampire yarn, for instance the count applying make-up to disguise his sickly pallor. Dominique Darel, Silvia Dionisio and Stefania Casini, as three of the daughters, are very easy on the eye, and Roman Polanski makes a brief appearance in a scene which prefigures one in his own "Bitter Moon". Surprisingly well photographed and scored, too.
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