Andy Warhol collaborator Paul Morrissey followed up on the international success of FLESH SUITED FOR FRANKENSTEIN with his unrivalled understanding of another archetypal movie lusus naturae. In this kind, Dracula travels to Italy in search of a virgin bride. The great Udo Kier (Frankenstein in Morrissey’s FLESH FOR FRANKENSTEIN) plays the count as a sickly and hypersensitive shut-in who stumbles across the supposedly virginal DiFiore family with the help of his domineering assistant, Anton. Unfortunately, the DiFiore daughters are less than virginal because of Mario the servant’s (Joe Dallesandro) unflinching efforts. While the sets and cinematography are beautiful and evocative, Morrissey brings his unsteady, Warholian type to the create (which was written as the film was shot) and the acting (each actor has a special accent and most lines are read in a stupid and drawling deadpan). The coupling and bestiality are tinged with ironic humor as Kier goes from bromide daughter to the next, dangerous proper for the virgin blood he needs to bail someone out his life. Some not-so-arcane collective commentary is interwoven as the DiFiore parents care less for their daughters’ future-by a long way being than for the survival of their own assets and palatial resources. The shocking sex- and gore-filled ending neatly closes Morrissey’s strange-fangled fiendishness diptych and cements his place as a cinematic inventor.