It is certainly a lot of things as a spoof that both Roman Polanski’s The Fearless Vampire Killers/Dance of the Vampires (1967) and Mel Brooks’ Dracula: Dead and Loving It (1995) should have been but weren’t. A good many people think fondly of Love at First Bite and it may well become regarded as the definitive spoof of the vampire film. Count Dracula (George Hamilton) and his reincarnated love (Susan St James)Īmong these came Love at First Bite, a witty little spoof of the vampire genre. Indeed, all that Love at First Bite has to do to be a parody is to simply place the anachronistically caped Dracula onto the streets of Harlem or the middle of a disco dance-floor.Ĭontrary to the vampire film’s seeming creative desiccation, 1979 saw a host of vampire modernisations, including the lush big budget remake of Dracula (1979) with Frank Langella wherein Dracula was reinvented as a romantic leading man the Stephen King adaptation Salem’s Lot (1979), which asked what would happen if a classic vampire invaded a small town Werner Herzog’s Nosferatu the Vampyre (1979), which deconstructed the first screen vampire not to mention silliness like the disco vampire film Nocturna: Dracula’s Granddaughter (1979) and the sex comedy Dracula Blows His Cool (1979). In Count Yorga, Vampire (1970) and The Return of Count Yorga (1971), the image of the urbane dinner-suited vampire became a self-referential joke.īy the end of the 1970s, with George Romero’s remarkable Martin (1976) bringing the classic vampire up against the modern world in an abrupt way, there did not seem anywhere left for the classical Bela Lugosi vampire to go except for self-parody. Love at first bite trailer series#The tv series Dark Shadows (1966-71) was theoretically set in the modern world but its perpetually Gothic mansion might well have been set in the 19th Century. 1972 (1972), they could only keep Christopher Lee confined to a church for the duration as though bringing him to terms with the modern world was too much of a conceptual challenge. The vampire – or at least the classical image of the vampire with dinner suit, cape and East European accent as popularised by Bela Lugosi – has always had a struggle fitting into the modern age.
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