The Big Scare

I recently watched the French 🇫🇷 horror-comedy Tender Dracula (1974) on the Full Moon app on Prime. The storyline follows a group of horror film stars at the end of their careers, as they attempt to transition into a new direction. The movie studio, unhappy with this change, sends two writers and their girlfriends to the actor's home, hoping to convince him to stick with horror. Upon arrival, they discover the actor has begun blending his real life with his cinematic persona. Can the writers change his mind before it's too late?

Directed by Pierre Grunstein in one of his few directorial projects, the film stars Peter Cushing (Horror of Dracula), Alida Valli (The Third Man), Bernard Menez (Dracula and Son), Miou-Miou (The Science of Sleep), and Julien Guiomar (Carmen).

The storyline is fun, and I enjoyed the concept of Hammer film-like stars facing their twilight years, with the studio trying to squeeze one last horror run out of them. This is a very different role for Peter Cushing, where he essentially parodies himself, donning Party City-level costumes and offering a light-hearted take on "Dracula." The women in the film are gorgeous, and it includes the typical '70s horror nudity. The props and kills are playful, and because the film doesn't take itself too seriously, it reminded me a bit of High Spirits. While the comedic elements are hit-or-miss, the corpse gags are fun, and the way the horror is woven into the comedy is entertaining.

In conclusion, Tender Dracula is far from one of Cushing's best, but it's something quite different. I would score this a 4/10 and recommend it only with the appropriate expectations.

I'm giving this one a four out of ten just based on sheer obscurity: There is nothing quite so satisfying as engaging in some activity that most others cannot, and for very good reasons "Tender Dracula" is about as obscure as it gets, as in literally "difficult to see". For a few years I have made it a policy to neither confirm nor deny that I have an original VHS of this title after being warned that there were people who would literally do anything to get a copy of it ... Now that I have finally found time to see the movie I can think of a few things I'd like to have, so bring it on.

Peter Cushing manages a little tongue in cheek as the Count of a wonderfully crumbling French castle that along with him are the best things in this film. There is nudity, sex, some graphic dismemberment and lots and lots of jabbering Frenchmen running around waving their arms and acting in that "gonzo Euro comedy" manner that mystifies most American viewers. A pair of French writer doofuses are sent by their producer to his castle to get an exclusive on Cushing's Count, who is a horror film actor or something like that, an idea that would later be used in "Dracula: Father and Son", which also was a French made horror/comedy spoof/satire filled with lots of French actors running around, waving their arms excitedly and jabbering. I sense an idiom trait here of the sub-genre I refer to as "Weird French Crap". See other long lost mega-obscure titles like LA GOULVE/EROTIC WITCHCRAFT or DEVIL STORY for more information, they are priceless.

The story was too perfunctory to be memorable, with the most potent aspect of the film being it's atmosphere and all of the cringe inducing would-be musical numbers being sung by Miou-Miou stark naked whilst wearing an appalling 1970s super curl wig and metallic makeup. Meanwhile Cushing's half mute shuffling Igor type butler is lopping off his toes & administering beatings to the pair of writers, one of whom is portrayed by Bernard Menez, who would later figure prominently into "Dracula: Father and Son" as well. When Hammer went bale in 1974 their best actors went to France to make gonzo Euro comedy spoofs ala YOUNG FRANKENSTEIN with this putz? I know I am just not getting into the spirit of things here and promise to try and find time for another screening between now and when hell freezes over, but aside from looking at the gloriously dank, unkempt and uncomfortable looking castle the proceedings were set in I didn't get much out of this movie. The best way that it can be described of is "some French hack aping Jess Franco aping Juan Lopez Moctezuma aping Mel Brooks" but even that doesn't quite put the sheer vapidness of the production into perspective. It's also curious for a movie with such abundant nudity to not be sleazy: The Euro artiness even smothers the smut factor, unless you find yourself attracted to skinny French B actresses wearing obnoxious looking wigs.

I'll try one more time: This is another one of those confusing European horror comedies like FRANKENSTEIN'S GREAT AUNT TILLIE, DR. TARR'S TORTURE DUNGEON, "Mama Dracula", "Lady Dracula", or THE THRILLING VAMPIRES OF VOGEL with some otherwise respectable genre actor plunked in the middle of Euro arty cacophony. There are a few good laughs and plenty of nude bodies (including the obligatory French orgy conclusion, played for laughs rather than erotica), some good atmosphere and lashings of gore, but in the end you kind of have to wonder what they were thinking when they proposed the film. It's not quite horrifying enough to be an outright horror movie and not quite funny enough to be a recommended comedy, it's more kind of an experiment in surrealism with Peter Cushing trying his darndest as usual. Fans of Jean Rollin's work will no doubt be enamored, anyone else may very well wonder what the point of it all was. Other than coming up with an excuse to film a low budget movie in that amazing castle they found. What a place!

4/10

Tender Dracula (1974)

* 1/2 (out of 4)

Weird French mix of horror and comedy has two screenwriters and their girlfriends going to the home of a retiring horror actor (Peter Cushing) who played Dracula countless times in his career. It doesn't take long for the guests to wonder if he was playing Dracula or if he's the real thing. Well, I'm really not sure what to say about this film other than it's quite rare and that's a good thing. While the film isn't nearly as horrible as it's reputation, the entire thing is quite bizarre to say the least and in the end it comes off like an Abbott and Costello film with a lot of nudity and sex jokes. I do wonder if the filmmakers had Abbott and Costello in mind because I couldn't help but think of some of their monster mash movies and of course it's quite fitting that they've got Peter Cushing here playing the "Dracula" character. The film pretty much has the two writers and their two hot girlfriends running around and encounters countless bizarre things. This includes Cushing but we've also got blood in the bathtub and various other strange things throughout the castle. One running joke involves the horror star wanting to do romantic movies but it's not all that funny. In fact, most of the comedy here just doesn't work because the direction is simply all over the place and if you check out Pierre Grunstein's credits you'll notice this was the first and last time he worked the director's chair. To say the film is uneven would be an insult to the word uneven. You really can't tell what exactly they were going for because the pacing is off but there's also issues with the screenplay. The script simply goes on and on at times and you just sit there wondering what the whole point is. Even worse is that the horror elements really don't work either but I must say that you do get a good performance from Cushing who is at least energized and appears to be having fun. The supporting players really aren't all that memorable, although there is plenty of nudity with the two female leads. TENDER Dracula has pretty much been forgotten and there's really no reason for anyone to re-discover it.

"Tendre Dracula," a 1974 film directed by Pierre Grunstein, is an eccentric attempt to blend horror and comedy, resulting in a curious yet ultimately flawed cinematic experience. The movie stars Peter Cushing as a retired horror film actor who lives in a secluded castle, embodying a peculiar charm that is both endearing and perplexing. Despite the intriguing premise, the execution falls short of its potential, leaving viewers with a mixed bag of amusement and frustration.

Cushing's portrayal of MacGregor, the actor who decides to live as the vampire character he once portrayed, is undoubtedly the film's highlight. His performance is both campy and sincere, providing a semblance of gravitas to an otherwise disjointed narrative. The supporting cast, including Alida Valli and Miou-Miou, deliver performances that range from entertaining to bewildering, adding to the film's uneven tone.

The plot of "Tendre Dracula" meanders through a series of absurd and often nonsensical scenarios. MacGregor invites two scriptwriters to his castle, ostensibly to help him write a new horror film. However, the writers soon find themselves caught in a bizarre game where the lines between fiction and reality blur. The film attempts to explore themes of identity and the nature of fear, but these are undermined by a lack of coherent storytelling and inconsistent pacing.

Visually, the film is a pastiche of Gothic horror and 1970s kitsch. The castle setting is appropriately atmospheric, with its dark corridors and candle-lit rooms providing a fitting backdrop for the film's eerie yet comedic tone. However, the cinematography lacks finesse, often feeling amateurish and failing to fully capitalize on the setting's potential. The special effects are rudimentary, which, while expected for the era, often detract from the film's intended horror elements.

The script is riddled with awkward dialogue and forced humor, leading to a series of moments that are more confusing than comedic. There are instances of clever satire and dark comedy, but these are sporadic and insufficient to sustain the film's intended mood. The humor often feels out of place, disrupting the balance between horror and comedy and resulting in a disjointed viewing experience.

Musically, "Tendre Dracula" features a score that is as erratic as its narrative. The soundtrack oscillates between eerie, suspenseful compositions and quirky, upbeat tunes that clash with the film's darker elements. This further contributes to the film's identity crisis, as it struggles to maintain a consistent tone.

Despite its numerous flaws, "Tendre Dracula" is not without its charms. There is a certain appeal in its audacious attempt to blend genres and its unabashedly quirky style. The film has moments of genuine creativity and offers a unique, albeit flawed, cinematic experience. However, these moments are overshadowed by poor execution and a lack of cohesive vision.

In conclusion, "Tendre Dracula" is a curious artifact of 1970s cinema that, while occasionally entertaining, ultimately fails to deliver on its promising premise. Its blend of horror and comedy is hampered by inconsistent storytelling, uneven performances, and a lack of technical polish. For those intrigued by the eccentricities of vintage horror-comedies, it may hold some appeal, but for most viewers, it is likely to be a disappointing watch.

1974's "Tender Dracula" was shot in France under the title "La Grande Trouille" (The Big Scare), purportedly a comedy, which may be the main reason why Peter Cushing chose to star, as 'High Priest of Horror' MacGregor, not a real vampire but an actor known for playing one, ala Christopher Lee. At the 16 minute mark, our introduction to him is a pleasant surprise, suitably attired in cape and fangs, but the relentless, unfocused insanity makes for a very unpleasant viewing experience. Alida Valli is the only other veteran in the cast, while the rest are cardboard ciphers of no interest whatsoever. As a sex farce, there are neither laughs nor thrills, as the two actresses are poorly made up, resembling a pair of bored drag queens. As for Peter Cushing, the role could have been much like Boris Karloff's Byron Orlok in "Targets," an icon who wants to abandon the genre that made him famous, but this lone directorial effort from prolific producer Pierre Grunstein offers no substance to support its star (there are photos from titles like "Tales from the Crypt" and "From Beyond the Grave," setting up a short sequence with Cushing playing his own gravedigger grandfather). It's a rare instance where Cushing can be said to be hammy, forgivable under the arduous circumstances, but his yearnings to free himself from 'horror' to 'romance' come off as very real, the lone 'truth' amid so much that's false ("she's not afraid of growing old, she's in love. Love is ageless, and because she is in love, she is pure. All things from above are peaceful, gentle, and pure"). Christopher Lee would have his chance in 1976's "Dracula and Son," in which he did indeed play a real vampire, just not Dracula.