ANDY WARHOLS DRACULA
ANDY WARHOLS BLOOD FOR DRACULA; BLOOD FOR DRACULA
(Dracula Vuole Vivere: Cerca Sangue di Vergine)
Nevertheless, Andy Warhol's Dracula is a better film than Frankenstein. Many dismiss these two films as disgusting and irredeemable but Dracula proves somewhat hard to dislike despite the bad acting, stilted accents and unappealingly presented sex scenes. It hovers between the provocative and the gross, sometimes managing to create an oddly poetic synthesis of the two in one particularly striking shot, Udo Kiers Dracula gets down on his face to lick up a puddle of blood on the floor at the base of a classical mural. Or where the albinoid Udo Kier sits over the opening credits painting his face with makeup into normal fleshtone likeness and then paints his white hair black. There is a surprising degree of sympathy presented for Dracula. Also there is a better musical score than could be expected.
A good deal of the film has its tongue sewn in cheek at one point, manservant Joe Dallesandros solution to protecting a virgin from Dracula is to throw her up against the wall and force his way with her. There is the hysterically over-the-top climax, prefiguring Monty Python and the Holy Grail (1975), where Joe Dallesandro chases Udo Kier around the castle chopping his arms and legs off one by one. Of all people, Roman Polanski has an amusing cameo as a peasant in a bar.
Director Paul Morrissey had worked as the director and co-director on a number of Andy Warhols other films, including Chelsea Girls (1966), I, a Man (1967), Flesh (1968), The Loves of Ondine (1968), Trash (1970) and Women in Revolt (1971). Morrisseys output outside of The Factory has been minimal. His other films of genre interest are The Hound of the Baskervilles (1978), a dire comic reworking of the Conan Doyle novel, and The Armchair Hacker (1985), about a teenage computer hacker.