1974 brought a cult movie smorgasbord, beginning with Andy Warhol’s Dracula (AKA Blood for Dracula, directed by 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.), which is better known than the previous year’s
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 acameo, Blood for Dracula is far from perfect, but endures as a cult oddity.
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.‘s
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 (review.). 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
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