Count Dracula (Udo Kier) has encountered a problem of the modern world -- it is dreadfully short on virgins, and his desire to drink pure blood is becoming more difficult. His assistant Anton (Arno Juerging) suggests they go to Italy, because the country's Roman Catholic faith will be sure to keep the populace clean. This assumption may not be worth much.
One may wonder about the beginning -- how can Dracula see what he is doing while he grooms himself in front of the mirror? But if thoughts like this trouble you, you are taking this film too seriously. This film is neither serious nor horror.
Joe Dallesandro plays the servant who has studied Marxism and the Russian revolution, and tries to interject his thoughts on class and such throughout the film. Professor Maurice Yacowar believes his words "satirize the political pretensions of the European art cinema", which may be so. His beliefs translate to action in the latter part of the film. When he is is not talking, he is butt naked, making love to one sister while another watches and waits her turn. Sometimes the sisters love each other... and it is not as weird as it sounds for some reason.
I am curious how this film connects to Dario Argento, if at all. The cinematographer is Luigi Kuveiller, who has worked with Argento. And both Udo Kier and Stefania Casini went on to make "Suspiria" together with Argento. Is this merely a coincidence, is the talent pool in Italy very small, or is there something more? Unfortunately, when I met Casini last month (March 2011) it did not occur to me to ask.
I had picked up this film for the Roman Polanski cameo as a drinking peasant, as I am currently working through his filmography. Simply put, do not get this for Polanski -- a cameo is all you get. Luckily, it is enjoyable on its own. The humor is great, especially with the socially awkward assistant, the sex is as raw as you would expect fro ma Warhol-approved film, and seeing Kier so young and with his desirable accent is wonderful.
Mike Mayo spreads the rumor that writer Paul Morrissey may not have been the actual director, with those duties being handled by Antonio Margheriti. I make no personal claim on that issue. The Criterion DVD has audio commentary with Morrissey and Kier... perhaps this clears it up?
I would not say this is a "great" film by any means, but fans of Udo Kier or Stefania Casini need to see it. And it is a rare modern twist on the vampire myth that has some social commentary, though of what sort I am not sure... this is by no means a condemnation of immoral behavior, yet is it promoting such things? You will have to watch and judge for yourself.
One may wonder about the beginning -- how can Dracula see what he is doing while he grooms himself in front of the mirror? But if thoughts like this trouble you, you are taking this film too seriously. This film is neither serious nor horror.
Joe Dallesandro plays the servant who has studied Marxism and the Russian revolution, and tries to interject his thoughts on class and such throughout the film. Professor Maurice Yacowar believes his words "satirize the political pretensions of the European art cinema", which may be so. His beliefs translate to action in the latter part of the film. When he is is not talking, he is butt naked, making love to one sister while another watches and waits her turn. Sometimes the sisters love each other... and it is not as weird as it sounds for some reason.
I am curious how this film connects to Dario Argento, if at all. The cinematographer is Luigi Kuveiller, who has worked with Argento. And both Udo Kier and Stefania Casini went on to make "Suspiria" together with Argento. Is this merely a coincidence, is the talent pool in Italy very small, or is there something more? Unfortunately, when I met Casini last month (March 2011) it did not occur to me to ask.
I had picked up this film for the Roman Polanski cameo as a drinking peasant, as I am currently working through his filmography. Simply put, do not get this for Polanski -- a cameo is all you get. Luckily, it is enjoyable on its own. The humor is great, especially with the socially awkward assistant, the sex is as raw as you would expect fro ma Warhol-approved film, and seeing Kier so young and with his desirable accent is wonderful.
Mike Mayo spreads the rumor that writer Paul Morrissey may not have been the actual director, with those duties being handled by Antonio Margheriti. I make no personal claim on that issue. The Criterion DVD has audio commentary with Morrissey and Kier... perhaps this clears it up?
I would not say this is a "great" film by any means, but fans of Udo Kier or Stefania Casini need to see it. And it is a rare modern twist on the vampire myth that has some social commentary, though of what sort I am not sure... this is by no means a condemnation of immoral behavior, yet is it promoting such things? You will have to watch and judge for yourself.