Andy Warhol presents a Paul Morrissey tour de force of European gothic art-house trash, gore and camp soft-core nastiness . The beauty of both of these films is that they steal from so many disparate genres that they’re impossible to pigeonhole. One moment you have the ponderously beautiful European art-house film with self-conscious risque nudity, the next they’re hacking off limbs with geysers of blood. Then there’ the over the top presence of Udo Kier, who hams it up gleefully in both title roles. Udo of course comes with a money back guarantee – even if the film is terrible you will be rewarded by basking in his strangely perverse sexual aura. Blood For Dracula is an age old urban tale, a junkie searching for a fix, transplanted to provincial Italy, where instead of heroin, it’s blood. Poor Udo though needs the blood of virgins, and like a junkie thats been shafted by gear that’s been cut one too many times, keeps suckling on loose ladies. The problem is the presence of perpetual Morrissey sex hound Joe Dallesandro, who mounts everything without testicles, even a 14 year old girl to save her from the clutches of evil Count Udo. The question of course is who’ saving her from Joe? Flesh for Frankenstein is even more gleefully insane. It’s less art-house,and more splatter-house, with Morrissey amping up the nudity, sleaziness and buckets of entrails to delirious levels. Mad professor Udo slices and dices through hapless victims, sewing their bits together to create a Zombie Adam and Eve, from which he hopes to create a master race, Dallesandro again roots the ladies whilst absent mindedly attempting to save his friend. Though who else but Udo would offer one of the greatest lines in the history of cinema. Covered in blood after mounting one of his female zombies and fiddling around inside her wound, he maniacally turns to his faithful assistant. “To know death Otto, you need to fuck life, in the gall bladder.†Words to live by.
EXTRA FEATURES:
Nothing
-Bob Baker Fish
