I diabolici amori di Nosferatu

Spanish horror icon Paul Naschy's take on another traditional monster (making for the blood-sucking Count's beefiest incarnation since Lon Chaney Jr.'s turn in SON OF Dracula [1943]) results in one of his more enjoyable efforts, albeit given the "Euro-Cult" style's trademark languid approach and with a few weird touches all its own. This begins with the shot illustrating a man falling down the cellar steps of Dracula's castle after having his head split open with an axe being repeated ad nauseam all through the credit sequence! As the film opens, Dracula is hiding under the guise of a Dr. Kargos (presumably a play on the meshing of Karloff and Lugosi a' la our very own Joe Karlosi ) at an abandoned nearby sanatorium while also assuming the duties of butler at his own castle! Soon, his quest for peace and solitude is interrupted with a vengeance by the arrival of no less than five strangers – one man and four(!) women; the latter ostensibly serve the function of duplicating the count's three brides featured in Bram Stoker's original novel (and a handful of its myriad screen incarnations), with the remaining girl filling in the requirements of the title. Anyway, following some bed-hopping antics (the nudity being crudely inserted since the Spanish censor's repressive hand would only allow such fare to be released in "clothed" versions!), the cast of characters rapidly starts joining the ranks of the undead – leaving only the heroine (gorgeous, doe-eyed Haydee' Politoff whom I was recently impressed by in the obscure but fairly good erotic giallo INTERRABANG [1969]). Also in the cast are Rosanna Yanni (from Jess Franco's two "Red Lips" films from 1967) and others bearing such dubious names as Vic Winner and Ingrid Garbo (her character is named Marlene to boot)!; on a personal note, it was nice to see character actor Jose' Manuel Martin (who had been one of the beggars in Luis Bunuel's VIRIDIANA [1961]) as Dracula' first victim – subsequently 'residing' in his house, he notches up victims of his own and is even killed by the master (oddly enough, all vampires here contrive to dispose of one another) for daring to attack his beloved! Other unusual ideas, then, include: the fact that Dracula's prowlings occur on full-moon nights (as if he expects to turn into a werewolf?!); his having a dead daughter, which he intends to revive by mixing the blood of a virgin (Politoff, who rather than being vampirized has a knife driven through her throat in the manner of a conjuror's act) and an innocent (a village girl his brides abduct and present before him to be whipped)!; and, perhaps most baffling of all, Politoff's rejection of Dracula's offer to live eternally by his side throws him into such a dejected state (apparently, he has fallen hard for her) that not only is he willing to give up on his daughter's revitalization but actually commits suicide by piercing his own heart with a wooden stake! As I said, the film is certainly among the better of the star's vehicles that I have come across (though still not adding up to a completely successful work) and, in fact, this viewing inspired me to acquire another Spanish variant on the theme i.e. THE Dracula SAGA (1972), directed by frequent Naschy collaborator Leon Klimovsky but not involving the redoubtable Jacinto Molina himself

Oh this was almost a great flick. Firmly placed in the sexploitation Eurotrash genre, it just needed to push the envelope a little bit more. Sadly it is therefore only a 4/10 job.

So blood and guts were only quite good, when they had every ability to be better. Naschy is on form as the villain, but is just a bit wooden. The women are beautiful, but do not take enough of their clothes off to make the film truly sensual etc. We really need a touch of Jean Rollin on this one.

The DVD transfer I saw on Sinema Diable is a woeful effort direct from video. No extras. A bargain basement job that gives the film no chance to redeem itself. In summary, an also ran....

Paul Naschy is, of course, famous for his many portrayals of the "hombre lobo", but he has also tried his hand at any number of other classic monsters like Mr. Hyde, the Hunchback of Notre Dame, etc. with various degrees of success. Here he tries Dracula. Naschy doesn't physically fit the part of the classic Dracula, but then again he doesn't really play the classic Dracula--he turns the traditional bloodsucking embodiment of evil into a tragic, doomed figure much like his "Waldemar Daninsky"/"hombre lobo" character who can only be cured of vampirism by a virgin who truly loves him giving herself freely to him.

In a horribly clichéd set-up a group of attractive young women and their male chaperon have to take refuge in the sanitarium where Dracula lives after a wheel of their carriage falls off and crushes their driver. The group is vampirized so fast that the vampires are soon left fighting each other over the one survivor (and virgin). This is pretty typical Naschy movie really in that it has the style of an old Hollywood or early Italian Gothic horror movie, but with the old 1970's standbys of blood, boobs, and, of course, bloody boobs.

And speaking of boobs, the best way to see this movie unedited today is on the double-feature DVD hosted by Elvira. I'm sure this movie was heavily edited when it featured back on TV's "Movie Macabre" back in the 1980's, but it sure isn't now. And, for the record, the Elvira cutaways are optional on the disc, and hardly necessary--with busty Spanish starlets like Roseanne Yanni and Mirta Miller in the cast, it already looks like a Russ Meyer movie even without the famous cleavage of Elvira/Cassandra Peterson. Recommended to those of you who know who you are.

Count Dracula's Great Love (1973)

** 1/2 (out of 4)

Four women and their male traveler break down in the forest and must take shelter at a nearby sanitarium, which has a history of evil. Once there they meet Dr. Marlow (Paul Naschy) but what they don't know is that he's in fact Count Dracula. Soon the women begin to be turned into vampires with Dracula needing the virgin to fall in love with him so that his dead daughter can return to life.

COUNT DRACULA'S GREAT LOVE was the only time that Naschy got to play Dracula and needless to say he did a very good job with it. As far as the film goes, it's easy to see why it has such a strong cult following because even though there are some flaws to be had the film for the most part is a success thanks in large part to director Javier Aguirre who manages to keep the film moving at a nice pace and he builds up a very good atmosphere.

The film is available in a few different versions but the recent Blu-ray by Vinegar Syndrome returns the film to its R-rated cut that contains all of the nudity missing from some version. The nudity is certainly a good bonus because it adds a touch of sexuality that is certainly needed. As I had said, the atmosphere is certainly a strong highlight as we get all sorts of fog, a great castle and of course some nice bits of blood and vampire attacks.

The actresses playing the women all do a nice job in their roles and especially Rosanna Yanni. The real star is of course leading man Naschy who got to play all of the legendary monsters in his career. This was his only chance to play Dracula and he did a very good job with it. He was certainly believable in the role but more important he looks the part. The black costume and red cape were a perfect look and there's no doubt that Naschy made good in the part.

The inimitable Paul Naschy stars as the eeevil character of the title, living high in the mountains in his crumbling castle of solitude.

Uh oh!

Drac's serenity is interrupted when a carriage full of nubile lasses arrives. It's not long before these unexpected guests take a nice, naked dip in the castle pool. When one of the Count's vampire henchmen bites the lone male of the group, a bloodsucking plague begins.

Much nudity ensues as the Prince of Darkness attempts to resurrect his dead daughter.

A lot of this film is rather muddled, making little sense. Still, as Naschy films go, it's not bad. His fans will want to see it no matter what...