Transylvania, 1770: young, beautiful Hermine is on her way to meet her fiancé, but her coach is intercepted by the minions of a nameless vampire-count. She soon finds herself not only the interest of said count but, before being turned into a vampire herself, pregnant with his child. Soon after giving birth to her son Ferdinand, Hermine accidentally succumbs to the rising sun, leaving the count to raise his son on his own. Alas, Ferdinand is not only a reluctant vampire but a bit of a goof, who's rather help people rather than suck the blood out of them. In the mid 1970's a lot has changed: Romania is now under communist rule and the vampires have to abandon their castle, trying to seek refuge in the West. Unfortunately, due to a botched burial at sea (naturally the two gentlemen travel via coffins), father and son get separated. Ferdinand lands in France, where some friendly Arab guest-works take him under their wings and he is forced to "make a living" as good as he can. The elder vampire is more fortunate, landing in England, where he soon is discovered by a film-company as leading man in vampire-movies. Eventually father and son reunite, but the harmony only lasts that long, after falling in love with the same woman (who happens to be the spitting-image of Hermine).
French comedies are not everybody's cup of tea, especially among the English-speaking audience, which has less to do with the humoristic quality than the (usually) horrible dubbing that (usually) sucks the last grain of charm out of the films. However, especially here in Germany, one virtually grew up with the comedies of Claude Zidi, Louis de Funes, Pierre Richard and countless other comedians and directors.
Director Edouard Molinaro (a veteran of the comedic genre, who would later produce the celebrated "The Birdcage"; the original as well as the American remake) obviously understood that a Horror-Comedy doesn't necessarily means spoof a la "Dracula – Dead and Loving It" or "Love at First Bite". Rather he combines elements of the classic Hammer-Horror-flicks and harmless, often satirizing French comedies into one entity. The mix works rather well. There are moments of chill and gloom, especially during the first quarter of the film, set in Transylvania, despite better knowledge that you're watching a comedy. The jokes are generally subtle, satirizing the genre but never venturing into slapstick. To mention just a few examples: the vampires being driven from their castle with a hammer and sickle turned makeshift crucifix, Ferdinand being forced donate blood after being caught trying to feed at a blood-bank or the Count accidentally biting into the neck of a sex-doll (the incredulous, undignified look at Lees face is worth the price of admission alone).
Sir Christopher Lee seems to have a ball with his performance, which seems a little surprising since the actors disdain for having been typecast for years in the role is legendary (and this was his 10th outing as the blood-thirsty count). Indeed, Lee only accepted the role under the condition that the name Dracula would not be mentioned and that his "Count" - a Baron in the original version - should be a completely different figure. The director honored that wish - the distributing companies didn't, as we can see from the title (and in the English dub he is even identified as Dracula by name). But at least Lee pulls his full repertoire: He can be regal, charming, even amiable, is able to show his comedic talent (which has often been neglected in other movies) and, as to be expected, is at the same time raise some scares when necessary. Not to mention, Lee has more lines in this film than in all his Hammer-Draculas combined, which may have been a factor of comfort.
I'll end the review with a word of warning: if you come across this film in it's English dubbed version, save your time and money. What this hack job of synchronization has done to the movie can only be described with the German word "kaputt". Not only are the speakers completely incapable, managing to make Ferdinand sound like some dorky version of Woody Allen, but much of the dialog has been changed completely, making it seems like your watching some vulgar sex-comedy from the 70's. As if to add insult to injury, Vladimir Cosmas atmospheric, excellent soundtrack has been deleted and replaced with some silly Disco-tunes. Do yourself a favor and stick to the French version (if need be with subtitles) or, if necessary, the German-dub, which catches the original spirit rather well and has some excellent speakers.
8/10
