Paul Morrissey

Criterion Files

Editor’s note: This week, your tireless Criterion Warrior (oh, idea for a new column!) requested a week off to pursue something literary and intelligent and, well, big-wordy. With Mr. Palmer out, our own J.L. Sosa stepped up to the plate to file his very own Criterion, um, File. Be nice, bloodsuckers! When I first saw Paul Morrissey‘s Blood for Dracula, I definitely felt like I was partaking of an illicit pleasure. A friend of mine with an encyclopedic knowledge (and equally impressive collection) of B-movies was moving to new digs and bequeathed to me, along with many other obscure relics, his VHS dub of the Criterion Collection’s unedited laserdisc edition of the film (LD spine #287, for the digit-obsessed). Based on the rumors I’d long heard, I was expecting copious over-the-top gore. The film delivered on that promise, but also unexpectedly unfolded with the langorous pace of a high-falutin’ costume drama. You know, just like Sense and Sensibility, except with more extended scenes of softcore grinding and vomiting of blood. I later caught a midnight showing of the film at the beloved St. Anthony Main theater, just across the Mississippi from downtown Minneapolis. This time, the salacious tale of Count Dracula (Udo Kier) and his quest for the blood of a “wirgin” was screened from an authentically scratchy print, and curiously retitled Young Dracula. Although the R-rated Young Dracula had most of its eroticism trimmed, there was still enough suggestive content and bloodletting to draw whoops of approval (and sometimes […]

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