Tag Archives: Paul Morrissey

1974 EXPLOITATION TRIPLE FEATURE: ANDY WARHOL’S DRACULA, IT’S ALIVE, AND LEGEND OF THE 7 GOLDEN VAMPIRES

1974 brought a cult movie smorgasbord, beginning with Andy Warhol’s Dracula (AKA Blood for Dracula, directed by ), which is better known than the previous year’s Andy Warhol’s Frankenstein. It again stars (as the bloodsucker) and (as the servant Mario), along with famed Italian director Vitorrio De Sica as a patriarch with four daughters who need marrying off. Kier’s count is sick, depressed, and bored to tears. He needs virgin blood, but post-sexual revolution, that’s not easy to come by. Three of the four candidates turn out to be sloppy seconds, making the Count even sicker. When he finally does find daughter four to be a virgin, the meddlesome Mario saves her in the predictable way, with Dracula diving to the floor to lap up popped cherry sauce.

Still from Blood for Dracula (1974)Knowingly misogynistic, with a splendid score (Claudio Gizzi), an over-the-top finale that puts some of the sillier Hammer vampire dispatches to shame, and a cameo, Blood for Dracula is far from perfect, but endures as a cult oddity.

‘s Phantom of the Paradise is probably the best film based on the Gaston Leroux novel. It’s greatness lies in its refusal to put the original narrative on a pedestal, which, despite what a certain hack composer named Webber claims, is not that good anyway. It quickly secured its cult standing, but is often considered to be under the shadow of 1975’s The Rocky Horror Picture Show. Both are delightful, but if it’s an either/or situation, go with De Palma. His is the better film.

The Night Porter (directed by Liliana Cavani ) was to 1974 what Fifty Shades Of Grey was to 2015, the difference being the S&M relationship here is between a former SS officer (Dirk Bogarde) and the Jewess he tortured in the concentration camp (). It’s arthouse reputation secured a strong following for years, and it was eventually released on home video via the Criterion Collection. It wasn’t unanimously loved; Roger Ebert was among its critics, in an almost infamous review.

Rampling co-starred  in her second 1974 cult movie with ‘s Zardoz, appearing alongside in a ponytail and diaper. It’s yet another 1974 entry that made our official weird movie list.

Hyped as a soft core porn parody of “Flash Gordon,” Flesh Gordon (co-directed by Michael Benveniste and Howard Ziehm) was another immediate cult hit, although it’s largely forgotten today. More sophomoric parody than porn, it has period charm as a fan film with Continue reading 1974 EXPLOITATION TRIPLE FEATURE: ANDY WARHOL’S DRACULA, IT’S ALIVE, AND LEGEND OF THE 7 GOLDEN VAMPIRES

1973 EXPLOITATION TRIPLE FEATURE: ANDY WARHOL’S FRANKENSTEIN, SATANIC RITES OF DRACULA, AND SISTERS

Andy Warhol’s Frankenstein was the fourth film directed by under ‘s banner; although it seems that apart from co-producing, the American pop art icon had no creative input, which may be why, in Europe, it was released under the title Flesh For Frankenstein. Morrisey made this film back-to-back with Andy Warhol’s Dracula, which we will cover when 1974 rolls around. Both films star and (who also starred in the Morrissey/Warhol “hustler” trilogy Flesh, Trash, and Heat). Frankenstein is the more outrageous of the two horror films. It stars Kier as a fascistic, narcissistic, necrophiliac Baron Frankenstein who, in his most infamous scene, cuts open the ribcage of a woman (Dalila Di Lazzaro) and has sex with her gall bladder.  Naturally, this scene made Kier a cult celebrity, a position he would cement with 0Dracula.

Still from Andy Warhol's Frankenstein/Flesh for Frankenstein (1973)Shot in 3-D, Frankenstein aims directly to satirize the sexploitation/horror demographic with a high quota of gore and sex—the latter supplied by Monique Van Vooren as the unloved nymphomaniac Baroness, wife and sister to the Baron, and Dallesandro as the stable boy who services her. Aptly, the film opens with the Baron and Baroness as children dissecting and  beheading a doll, but “Addams Family” this isn’t: the good doctor’s supply of cadavers comes from bordellos rather than the traditional cemetery. Kier and Van Vooren are ideally cast, with her armpit sucking competing with his gallbladder screwing. Although undeniably dated, it’s every bit as outrageous as it sounds.

When writer and director unleashed The Exorcist on the world, few had any idea the impact it would make. Shining across our small 1973 TV sets, the original trailer was subdued. Although the book upon which it was based had been a best seller, only its readers knew what it was about. I don’t remember a lot of publicity beforehand, but all that changed on the weekend it was released. Newspapers were issuing warnings of something unimaginably terrifying, theaters were equipped with barf bags, and in our neck of the woods, churches were condemning it as propaganda coming from Satan himself. Indeed, the fallen angel had been rising quite high since 1968’s Rosemary’s Baby, but, at least as far as box office, even that seminal (and superior) film did not have the impact of The Exorcist. Initially, its critical standing was mixed, although now it seems to top all those “best of” horror lists.  Word of mouth made a trend of fear, and it was years before anyone from our tribe saw it. The tidal wave of Satanic themed films to follow was unprecedented, and, needless to say, preachers and Sunday Continue reading 1973 EXPLOITATION TRIPLE FEATURE: ANDY WARHOL’S FRANKENSTEIN, SATANIC RITES OF DRACULA, AND SISTERS