Year: 1974
Runtime: 103 mins
Language: English
Director: Paul Morrissey
Vampiric Count Dracula, gravely ill, and his grotesque assistant Anton journey to Italy seeking a virgin’s blood. They are received at the decrepit Di Fiore estate, where the desperate Marchese hopes to marry his daughters to wealthy suitors. Instead, the count meets incest‑loving lesbians with tainted blood and a Marxist servant, Mario, who doubts the aristocratic vampire.
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In the early 1920s, a dying Count Dracula, Udo Kier, must drink virgin blood to survive as he travels from Transylvania to pre‑Fascist Italy, following his loyal servant Anton Arno Jürging in the hope of finding a virgin in a Catholic land. Along the way, Dracula’s family has vanished because virgins are scarce and their fearsome reputation keeps women away from his castle.
In Italy, he befriends the impoverished landowner Il Marchese di Fiore Vittorio De Sica, whose estate is slipping into decline and who hopes to marry off one of his four daughters to the stranger of wealth.
Of di Fiore’s four daughters, Saphiria, Stefania Casini and Rubinia Stefania Casini regularly share the estate’s handyman, Mario Balato Joe Dallesandro, a proud peasant and Marxist who believes a socialist revolution will happen soon. Esmeralda and Perla, the eldest and youngest, are virgins; Esmeralda is seen as plain and past her prime, while Perla, portrayed by Silvia Dionisio, is only 14 years old.
Dracula obtains assurances that all the sisters are virgins and drinks the blood of the two deemed marriageable. However, the blood of these tainted virgins reveals the truth and weakens him, even as he manages to telepathically enslave Esmeralda and Perla.
As di Fiore travels abroad to pay his debts, Mario uncovers Dracula’s true nature and the danger he poses to Perla. He uses the pretext of protection to commit a grave assault, raping her, and then warns La Marchesa di Fiore about Dracula’s plan. Meanwhile, Dracula, refreshed by Esmeralda’s blood, regains strength and turns her into a vampire.
La Marchesa confronts Anton; after he stabs her, she fatally shoots him before dying from her wounds. In the end, Mario defeats Dracula and Esmeralda, stepping into de facto master and manager of the estate.
Last Updated: October 09, 2025 at 11:25
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Decadent and darkly humorous critiques of the rotting upper class.If you enjoyed the biting social commentary and decadent horror of Blood for Dracula, discover more movies that satirize the decaying aristocracy. These films mix dark humor, eroticism, and grotesque visuals to critique class and power in a similarly unsettling way.
Stories in this thread follow the downfall of decadent elites, often through an intrusion of the grotesque or supernatural. The narrative focuses on exposing hypocrisy, moral bankruptcy, and the violent tensions between classes, leading to chaotic and morally ambiguous conclusions.
Movies are grouped here for their shared focus on satirizing the upper class through a dark, often horrific lens. They share a specific mood of oppressive decadence, a cynical tone, and thematic interests in exploitation, ideological conflict, and the grotesque.
Horror stories where monstrous acts clash with political and social beliefs.Fans of the Marxist vampire clash in Blood for Dracula will appreciate these similar movies. Explore horror films where monsters meet ideologies, creating stories filled with social commentary, moral complexity, and transgressive themes of class and sexual politics.
The narrative pattern involves a core horror premise—a vampire, monster, or supernatural force—being challenged by a character or group representing a specific ideology. The conflict escalates the violence and thematic weight, often leading to an ending where neither side claims a pure victory, leaving the ideological struggle unresolved.
These films are connected by their unique blend of classic horror tropes with explicit ideological debates. They share a high intensity, a dark tone, and a focus on how belief systems—political, religious, or philosophical—transform and intensify the horror narrative.
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