Universal's 1979 "Dracula" remake has been called the Disco Dracula, which I'll agree with in a derisive sense that the filmmakers, including the director of "Saturday Night Fever" (1977), lacked an appreciation for period atmosphere--importing late 1970s fashion into the story's early-20th-century setting. There was also a disco dance scene in another 1979 Dracula film, the parody "Love at First Bite." But, the real Disco Dracula of '79 is this one, "Nocturna." It's chock-full of musical interludes and disco dancing, which is welcome if you like the music, and it's a welcome relief from what is otherwise, at best, a so-bad-it's-good type of film--or, maybe, it's just the music that's good and the rest that's bad.
Dracula, himself, however, only has a supporting role here, as the grandfather of the titular Nocturna. Played by John Carradine in his fourth and last film in the role, it's a rather embarrassing part even for an actor whose last appearance as the Count was in "Billy the Kid Versus Dracula" (1966). When not complaining about his granddaughter, the old master is either complaining about how he has to earn money in the modern world (by running Hotel Transylvania), about his dentures or about the malfunctions related to his genitals common to one of advanced age, apparently, even for vampires. The rest of the cast is no better and, frequently, worse. Star, producer and writer Nai Bonet's delivery is horrendously awkward. Meanwhile, Brother Theodore, as the disgruntled werewolf servant, mumbles much of his monologues, although he does deliver my favorite bad line of the script, "If only I could get in her coffin." The acting, however, couldn't be expected to be much better with a script so heavy on exposition and characters expressing their every feeling out loud and repeatedly, even when alone, lest the stupidest person in the audience barely paying attention gets lost. The wolfman's mean-spirited monologues and Nocturna's internal narration are the worst examples. Fortunately, much of the movie is spent with only the soundtrack to listen to. Early on, there's also a nude make-out session and a bath scene complete with a werewolf peeping tom.
The actual story concerns Nocturna as a lovesick vamp longing to be human, a formula that was trite even by 1979. "Blacula" (1972), its sequel "Scream Blacula Scream" (1973), and "Dracula and Son" (1976), just among the Dracula films I've seen, had already done it. And, the lovesick part alone also polluted "The Great Love of Count Dracula" (1973), the 1974 TV-movie Dracula, as well as the 1979 remake of "Nosferatu." I believe this is the first instance, however, of a vamp discovering disco as the solution for their conversion from vampirism to humanism. By comparison, I can more easily tolerate the film's flimsy animated bats synchronized with ridiculous sound effects during transformations and the mostly misfired gags concerning stereotypical gangster and pimp vamps and the BSA: Blood Suckers of America meeting where the vamps complain about diabetic blood being on the rise. Regardless, you never need to wait long for the film's next disco track.
(Mirror Note: Nocturna sees her reflection and then its vanishing in a mirror on the disco floor. This convinces her that she can convert from vampirism to humanism.)
Dracula, himself, however, only has a supporting role here, as the grandfather of the titular Nocturna. Played by John Carradine in his fourth and last film in the role, it's a rather embarrassing part even for an actor whose last appearance as the Count was in "Billy the Kid Versus Dracula" (1966). When not complaining about his granddaughter, the old master is either complaining about how he has to earn money in the modern world (by running Hotel Transylvania), about his dentures or about the malfunctions related to his genitals common to one of advanced age, apparently, even for vampires. The rest of the cast is no better and, frequently, worse. Star, producer and writer Nai Bonet's delivery is horrendously awkward. Meanwhile, Brother Theodore, as the disgruntled werewolf servant, mumbles much of his monologues, although he does deliver my favorite bad line of the script, "If only I could get in her coffin." The acting, however, couldn't be expected to be much better with a script so heavy on exposition and characters expressing their every feeling out loud and repeatedly, even when alone, lest the stupidest person in the audience barely paying attention gets lost. The wolfman's mean-spirited monologues and Nocturna's internal narration are the worst examples. Fortunately, much of the movie is spent with only the soundtrack to listen to. Early on, there's also a nude make-out session and a bath scene complete with a werewolf peeping tom.
The actual story concerns Nocturna as a lovesick vamp longing to be human, a formula that was trite even by 1979. "Blacula" (1972), its sequel "Scream Blacula Scream" (1973), and "Dracula and Son" (1976), just among the Dracula films I've seen, had already done it. And, the lovesick part alone also polluted "The Great Love of Count Dracula" (1973), the 1974 TV-movie Dracula, as well as the 1979 remake of "Nosferatu." I believe this is the first instance, however, of a vamp discovering disco as the solution for their conversion from vampirism to humanism. By comparison, I can more easily tolerate the film's flimsy animated bats synchronized with ridiculous sound effects during transformations and the mostly misfired gags concerning stereotypical gangster and pimp vamps and the BSA: Blood Suckers of America meeting where the vamps complain about diabetic blood being on the rise. Regardless, you never need to wait long for the film's next disco track.
(Mirror Note: Nocturna sees her reflection and then its vanishing in a mirror on the disco floor. This convinces her that she can convert from vampirism to humanism.)