![]() He and Cindy meet due to his magnetic personality and cocksure charm, but once her guard comes down, it’s clear she’s a bit of a mess. Things get sorted out and the Count hits the town in search of his bride-to-be, whom he is convinced he already loves. ![]() A mix-up at the airport causes Dracula’s coffin to be temporarily switched with that of a recently deceased black man from Harlem – you know where that joke is headed. Not for no reason Drac has a crush on a magazine cover model who lives there, Cindy Sondheim (Susan Saint James). It isn’t as precise as Brooks’ film, though, using only characters and concepts while ditching the Transylvanian landscape for New York City’s cluttered streets.Īfter being booted out of his castle to make way for an Olympic gymnastics training facility, Dracula (George Hamilton) and his faithful insectivore servant, Renfield (Arte Johnson), head off to start a new life in New York City. Just as Mel Brooks had done five years earlier with Young Frankenstein (1974), which spoofed the original Frankenstein (1931), Love at First Bite takes a direct swipe at Bela Lugosi’s Dracula (1931). Of those three films released in ’79, the only one that still has much of a cult following is Love at First Bite, starring walking skin cancer anomaly George Hamilton as Count Dracula. Kind of amazing, especially when you consider disco was heavily declining by that time. Just think about that – not only is there a Disco Dracula subgenre, but it grew in triplicate during one year. No less than seven (!) films on the subject saw release that year, three of which are labeled as “Disco Dracula” titles. Without delving too deeply into the specifics, know that 1979 was an atypical year for vampires. He’d been indirectly blasted once before by Roman Polanksi in The Fearless Vampire Killers (1967), but 1979 would bring about his first real skewering (staking?). It makes sense why the concept gained traction after years of seeing horror icons taken so seriously, many were plum for roasting.ĭracula was one such easy target, what with his Eurotrash romanticism, Misfits devilock-esque ‘do and the roster of staples endemic to vampirism (crosses, garlic, etc.). All those years of pent-up humor exploded at that point, resulting in one movie after the next ditching attempts at absolute terror for a heavy injection of humor. Horror and comedy pair so perfectly it’s almost hard to believe it took filmmakers until the 1980s to really start cranking out some pictures.
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