Cineanalyst "Dracula and Son" is a light and amusing, if sometimes seemingly aimless, vampire comedy. It's the last of nine Dracula-esque movies starring Christopher Lee in the titular role that I've seen, and I think that's all of them. Of the nine, this one strays the furthest from Bram Stoker's novel; indeed, it's only mention of "Dracula" is in the title. Just like Dracula stars Bela Lugosi and John Carradine before him, his career in the role ends in parody. I think Lee comes off a bit more dignified here than Lugosi in, say, "Abbott and Costello Meet Frankenstein" (1948), let alone the Ed Wood stuff, or Carradine in "Billy the Kid Versus Dracula" (1966) and the later "Nocturna" (1979). Regardless, "Dracula and Son" is better than some of the Hammer Dracula movies Lee made, let alone the pathetic 1970 Franco adaptation he starred in.In this one, Lee's Count sires a son (after, humorously, conceiving in a coffin), who ends up being something of a failure at following in his father's footsteps. Some of the film's best gags spring from the son, Ferdinand (Really, is that the best name they could come up with?), having difficulty learning the ways of the vampire, from his father yelling at him when a child to finish drinking his blood, to donating his own blood as replacement for a vat of plasma he accidentally ruined when caught trying to steal from a hospital. Not that Father doesn't have his own misfortunes, such as when he bites into a rubber sex doll under the misconception that it's a real woman. My favorite jokes, however, are those self-reflexively based on Lee's real-life star image. In the film, after leaving Transylvania, the Count becomes a movie actor in England, and, naturally, it's in the role of a vampire. Unlike in other Dracula movies, the Count in this one is quite photogenic.Speaking of vampire lore, I like that this film didn't adopt from the Hammer films vampires vulnerability to running water. And, their death by sunlight--something also absent from Stoker's novel--is played out here ad absurdum, with the vampires scouring for sewer entries when without their coffins as daybreak approaches. Another Hammer trademark, a makeshift cross is employed here once in an amusing scene where Romanian communists make one out of a hammer and sickle. Even the reincarnation romance, a device I detest in other Dracula movies (the 1974 and 1992 "Bram Stoker's Dracula" ones, i.e.), works fairly well here. For one thing, it gives the film some much-needed plot development in its later part. And, it develops into a quasi-Oedipus complex with a love triangle involving the Count and his son. More related to Stoker's book, Ferdinand's befriending of other immigrants and minorities in France is an interesting, although somewhat poorly developed, twist on Stoker's xenophobic invasion plot.By the way, I saw the original version and not the American butchered copy that others have decried. Beware, however, if you're a native English speaker like me, good luck finding translations for the majority French-speaking part of the film (some scenes are in English). I relied on bad auto-translations and two years of university French that I've since forgotten.(Mirror note: This one is thankfully consistent with vampires not casting reflections, a point that's important in the last of the film's three mirror scenes. The other two scenes are of the mother vampire crying when she discovers she has no reflection and of a prostitute screaming when she discovers Ferdinand to have no reflection in a ceiling mirror above a bed.)

Steve Nyland (Squonkamatic) Under most circumstances I award films that can't be appraised honestly a neutral 5/10 score, and there are many reasons for doing so. Extensive cuts, abominable presentations, impenetrable dubbing, re-editing by distributors who were too clueless to just leave the movie alone, and content that is too oblique for traditional critical appraisal."Dracula & Son" has all of that going wrong to begin with, and then some. Currently the film only exists -- as far as I know -- in an abominable, unfunny, disheartening 78 minute fullscreen hack-job recycled from a Columbia Pictures Home Video release from 1982. I adore Christopher Lee and have a thing for bizarre, offbeat, low budget European genre films. To say this movie sucks misses the point, however, that what we are seeing in the 78 minute English print is NOT the movie that was originally made in 1976. Until that turns up, this will have to do. Ugh.History tells us that the film was shot in France and Yugoslavia in French with the multi- lingual Christopher Lee first speaking his lines in English on camera which he sportingly dubbed into French himself for the original 96 minute version. For whatever reason, Columbia Pictures (who picked up the movie for distribution in Britain & America) then had a voice actor re-dub Lee's voice back into English all over again when they finally got around to releasing it in the new world in 1979.Not only that, but as seen in this English print everybody's voices have been re-dubbed by what sounds like American voice actors who liked to do tons of cocaine, thought they were unbearably funny, and got a kick out of "Young Frankenstein", with lots of dork-rod Brooklyn accents for Dracula, his nebbish son (Bernard Menez, looking confused most of the time), their fetching French love interest (sexy Marie-Hélène Breillat), and everybody else in the movie ... all of whom are obviously French, and do not look like they grew up on Flatbush Avenue. Just watching the movie for the first time is an extremely painful experience, and it's only after multiple forced screenings that some of the gags have started to become even mildly amusing.A bit more research, however, reveals some interesting information: "Dracula & Son" is in fact Christopher Lee's final performance as Count Dracula to date. The film's basic story was apparently adapted from a novel of the same name. And this was the 2nd horror/comedy vehicle for it's co-star, Bernard Menez, for whom this was a 2nd try at mixing vampire thrills with a sex/comedy twist and starring a former Hammer Films bigwig after 1974's even more obscure "Tendre Dracula", with Peter Cushing in his only screen appearance as the Count. Which is a better film because they had less to work with, had to push themselves, and came up with more, where it seems with "Dracula & Son" they had more money, more access to locations & talents, and less disciplined results.So I am not sure what to say about this movie. It's impossible to really judge it based upon what's left to see now after 30 years of neglect & abuse. How about this: You should probably make a point to see it for yourself, and if you find yourself not disliking it too intensely, be pleased. Hopefully someone will restore this to it's complete length, there's no way to really assess the film as it exists now. But something just tells me that even then it would still suck.3/10

Hartmut Berger Contains SpoilersThe original running time is a bit unclear, several sources give 110 min. The version I got to see (not the American one) is 94 min but shows no obvious holes/cuts.This is in my opinion one of the few successful comedic takes on the Dracula myth (please note that the name 'Dracula' doesn't occur anywhere in the film, Lee is just 'The Count' and plays his part totally straight(he actually protested against the the title)).Start of Spoilers Starting quite like a standard Hammer film it quickly turns a strange way resulting in the Count being responsible for a baby. After several time jumps (signified by the turning of a book's pages) passing through mischievous childhood and shy young adulthood Ferdinand and his father are literally driven away by hammer and sickle and find themselves in France (son) and England (father). Lee turns horror actor(!), Menez becomes an exploited night-watchman. Reunited at last both are interested in a young woman who tries to engage Lee for a toothpaste commercial. Now the film turns pure slapstick until only one remains standing. Jump to the next generation and some new toothing problems. End of SpoilersInterestingly there are only few overt gags, most of the time the film is quite realistic (how do you make a living when sunlight kills you and your diet is unconventional?). The different solutions for the coffin problem are ingenious. The comedy results primarily from people's reaction to our couple first hiding less than successfully their true nature and then openly declaring it ('That is my traveling coffin!'). Look out early in the film for the author of a book about vampires!If possible watch the French language version (subtitled if necessary).

MarioB Count Dracula had a son, by the name of Ferdinand. He's a shy and a good nature young man, not very happy to be a vampire. He don't want to bite people because he don't want to hurt them. So he bites rats and cats. His father becomes a movie star - playing, of course, a vampire - and fells in love with a young woman who reminds him his wife. But Ferdinand's in love with the girl too and don't want his father to bite the woman. Fun story of black humour, with great Christopher Lee making fun of his famous role of Dracula. But images are a little bit too dark and sometimes there's dull moments. Watch for funny lines like: Ferndinand, finish your blood and go to bed. Or : Ferdinand, don't play bowling with your mothers ashes. Good bloody fun could have been better, but it's pleasant to watch,