Welcome!
Groupthink doesn’t live here, critical thought does. This ad-free website is dedicated to Agnès Varda and to Luis Buñuel.
Get cool rewards when you click on the button to pledge your support through Patreon.
Thanks a lot acorns!
Your kind generosity keeps the reviews coming!
Under the production auspices of Andy Warhol, Paul Morrissey steps up his signature camp satirical approach to adapting horror’s most significant figures.
This follow-up to Morrissey’s “Andy Warhol’s Frankenstein,” is the icing on the cake.
Paul Morrissey’s extrapolates on Udo Kier’s Dracula to send our ailing vampire to Italy on a virgin-finding mission.
For only the pure blood of a virgin can satisfy Dracula’s horny lust.
That’s “wergin,” with a w.
Tee-hee.
The male sex urge proves similar to the urgent impulses that send Dracula into violent fits of shaking and writhing.
A cameo by Roman Polanski, as a peasant bar patron, adds a little firework to the movie.
But most impressive is the stellar performance by legendary Italian director Vittorio de Sica, playing the Marchese de Fiori. De Sica took advantage of the opportunity to write some of his character’s lines.
De Sica is mesmerizing in his role.
More is more.
The Marchese and his wife (Maxime McKendry) have four daughters for Dracula to choose from.
Opportunity knocks.
Love for sale.
The Marchese loves to roll the sound of Dracula’s unusual name from his eloquent tongue.
Greed rules all.
Even the estate’s leftist groundskeeper is a hypocrite and a rapist.
Intentionally camp, and brimming with details of tone and style, the movie tilts into Grand Guinol sequences offset by sex scenes resonating with thematic sand.
Overlooked and underestimated, “Blood For Dracula” is a hidden gem of social satire.
