Blood for Dracula & The Wedding

From Oui (July 1974). I was able to make my dislike of Blood for Dracula more apparent here than I could when I interviewed Paul Morrissey around the same time in Paris (and for the same magazine), for what proved to be the March 1975 issue. -– J.R.

Blood for Dracula. A Dracula movie by the director of Flesh, Trash, and Heat

(all of which, incidentally, are currently playing in Paris)? That’s what the credits

say. Blood for Dracula, a grisly number shot in Italy by Paul Morrissey and

coproduced by Andy Warhol, combines Factory superstar Joe Dallesandro with a

host of authentic European weirdos, including a Count Dracula (Udo Kier) who

puts a lot of greasy stuff in his hair and sets off for Italy in search of virgin blood.

Unfortunately, the first two damsels he samples aren’t exactly chaste, leading

to a couple of spectacular vomiting fits. Dallesandro plays a revolutionary peasant

with a a Brooklyn accent who filches most of the available feminine goodies

before the count can get to them, and then turns hatchet man for the Grand

Guignol finale. Directors Vittorio De Sica and Roman Polanski are also on hand

for comic cameos. –-J.R.

The Wedding. The time is 1900, the place a cottage in Bronowice — a small

village not far from Krakow, the old capital of Poland, and even closer to the

Russian frontier, where World War I is to break out 14 years later. The event is

a boisterous wedding party following the marriage of an aristocratic poet to a

peasant woman. Andrzei Wajda’s The Wedding is an adaptation of a turn-of-

the century verse drama by Stanislaus Wyspianski that has been described as

the most celebrated literary work in Poland. Wajda, known in the West

principally for his bittersweet Polish trilogy about World War II (A Generation,

Kanal, Ashes and Diamonds) offers on this occasion a colorful pageant

overflowing with traditional folklore. Past, present, and future intermix with

fantasy. and all the characters whirl about to festive polkas as the party

drunkenly wends its way from dusk to dawn. The Wedding is not, however, all

joy.  Anti-Semitism and class conflict form a central part of the intrigue.

Particularly notable are the dreamlike naturally lighted nocturnal landscapes and

a striking redhead named Maja Komorowska, a Polish Stella Stevens. –- J.R.

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