Two years after Christopher Lee claims he swore off horror, Hammer and, most importantly, his signature role of Count Dracula, we find him donning that very famous cape once again for this largely forgotten but surprisingly agreeable Gallic spoof. Thankfully, the print I came across is an extremely good-looking one emanating from Germany that is, unfortunately, accompanied by frankly awful English subtitles (that often do not even bother to translate the intermittent German title cards!) which soon forced me to rely on my knowledge of the French language acquired in high school all those years ago; ironically, I managed to acquire a corrected set of subtitles soon after I finished this first viewing of the film!

Having said that, the film occasionally lapses into Romanian (during the early Transylvanian sequences), English (when Dracula is picked up at sea by a British vessel and lands in that country) and Arabic (when Dracula Jr. is taken in by a bunch of them upon first disembarking on French soil) and, while it runs for a slightly overstaying 93 minutes in the PAL-sourced print I watched, it was reportedly much re-edited when cut down to 79 minutes for its Americanized English-language version (the end result got saddled with a *½ rating on the Leonard Maltin movie guide)! Ultimately, the film serves to show that, even at 54 years, Lee owns the role of the Prince of Darkness (essaying it here for the last time even if the name Dracula is never actually uttered) and it was an added pleasure hearing him speak his lines in perfectly fluent French!

Indeed, there are a steady flow of funny lines and situations to be found in the film: Lee to his child, "Ferdinand, finish your blood and go to bed!" and "Ferdinand, don't play bowling with your mother's ashes"; Dracula's son as an adult – played by Bernard Menez (who had appeared in TENDER Dracula itself 2 years earlier) is so hesitant in plying his trade that, when he is sent by his father to bite an old gypsy woman in the woods, he ends up helping out with the cart she had been laboriously pushing behind her!; Lee is at a loss for words, when about to be thrown into the sea in a closed casket, as to how they will manage to reach the surface; the elder vampire bumps into the glass door of a modern British building when chasing after a prospective victim; French character actor Raymond Bussieres offering Menez a bite to eat in a train station when the latter's blood-starved stomach starts to make its hunger heard; the son bites into a frozen corpse during a day job in a mortuary and is later sickened by the sheer overdose of blood available for him to sample in an abattoir; their luggage is amusingly coffin-shaped; Dracula Jr. dumps his father's coffin out of a hotel window in a fit of rage; Lee is taken into police custody (when daylight is imminent) after being suspected of lewd acts in a car!; humiliatingly, he is also being made to advertise toothpaste on TV commercials; Lee pulls up his sheets in embarrassment when surprised by his young new conquest in his coffin, etc.

It goes without saying that this was not the first comic treatment of Dracula on celluloid nor would it be the last – LOVE AT FIRST SIGHT (1979; with George Hamilton at his suavest), FRACCHIA CONTRO Dracula (1985; starring beloved Italian comedian Paolo Villaggio and Edmund Purdom as Dracula) and Mel Brooks' Dracula: DEAD AND LOVING IT (1995; starring Leslie Nielsen) – and, in fact. Lee himself had already sent the vampiric Count up in a much-earlier Italian spoof starring Renato Rascel, TEMPI DURI PER I VAMPIRI aka UNCLE WAS A VAMPIRE (1959) but, what I found surprising here is the fact that, much like Roman Polanski's own somewhat heavy-handed spoof of the genre, THE FEARLESS VAMPIRE KILLERS (1967), this flawlessly replicates (at least in the scenes set in Transylvania) the Gothic atmosphere of a Hammer Horror, down to a full-blooded (pardon the pun) music score by Vladimir Cosma; notably, the makeshift cross – formed by peasants from a hammer and sickle a' la Michael Reeves' THE SHE-BEAST (1966) – is not only able to hold vampires at bay here but also set them ablaze!

Unfortunately, the predictably upbeat ending is somewhat rushed with Lee meeting his demise in the way of his comeuppance in Hammer's first Dracula picture and Menez finding himself cured during a train journey merely by abstaining himself from drinking blood for so long…or perhaps through the power of love since, at the very end of the film we find him, father to a brood of children (one of whom bares his fangs in the closing freeze frame!) with the girl (Marie-Helene Breillat who, rather foolishly, does not believe the vampire lore, even if both father and son keep harping on it) who had been the object of contention between the titular characters throughout the film. The actress was married to director Edouard Molinaro (still a couple of years away from making his cross-dressing international hit, LA CAGE AUX FOLLES) at the time and her younger sister, controversial film-maker Catherine, has her last acting job for 16 years here (prophetically, we think she is being bitten but is actually getting it on with Lee in his coffin in an early scene from the film)!

This is not a movie I would consider terrible, since it stars the great Christopher Lee. I was introduced to this movie in a different and strange way, I picked up a copy at a outdoor trading market called "Traders Village" in Fort Worth, Texas in the early 90s when I was probably 12 or 13. I had a thing for the supernatural and in particular vampire movies, so I purchased it on VHS for $3 or so. I had no idea that this was a dubbed foreign movie, but being a young teenager was captivated to watch it multiple times because of the nudity, mainly,at first. Later on through learning who Christopher Lee was, and seeing his characters portrayed in many Hammer horror films, I subsequently returned later to search for what movie I had seen in my youth through nostalgia. Unbeknownst to me at this young age, I had no idea who Christopher Lee was but it probably subconsciously figured into my love for him as an actor in later life, watching his earlier films. LOL. Finding Dracula and Son somewhat difficult to locate, I have ended up here on IMDb, reading the history of the release through the comments section. Though this film may be bad, I look upon it as being special to me and it holds a nostalgic place in my mind and I will always be fond of it.I would recommend watching this just because Christopher Lee is in it, and also it is actually his unique,and last performance as Dracula.

"Dracula Père et Fils" was never an excellent film. At the most, it was a sometimes funny vampire satire with good psychological aspects out of the Oedipal conflict father/son and sociological criticisms concerning the immigrants, not so well treated in France.

But to be honest, I admit it was a bit of a deception. The film director Edouard Molinaro himself has lately called it a "failure", despite the fact he had succeeded in hiring Christopher Lee to incarnate ' the Count" (Dracula is never mentioned in the original version) opposing him to a totally different kind of an actor (Bernard Menez, who is actually very proud of this film). The concept here is quite similar to another unfunny vampire comedy "Tempi Duri Per i Vampiri" where Lee was opposed to Renato Rascel.

One should see this movie just to appreciate the almost perfect French accent of the British star who has almost entirely shot it in that foreign language.

Mister Lee has claimed on several occasions he did dub the English version.

I must be one of the rare French moviegoers to have seen the quite different American version and to be able to evaluate the mess they did on the soundtrack.

Most of the dialog has been changed to some ridiculous vulgar trash. The haunting music score by Vladimir Cosma has been misplaced or changed in favor of new music bits, supposedly to speed up the rhythm of the film.

But they didn't hesitate the butcher the editing either: from the 100 min. in its original form, they reduced it to 79. Not only they shortened it, but added some repetition of Lee opening a door and speaking to a concierge with several stupid accents. Not only unnecessary, but very dull! This scene was initially part of the story and is suddenly supposed to be an hilarious illustration of movie shooting. Appalling!

I have heard Roman Polanski had to suffer similar treatments on his masterpiece "Fearless Vampire Killers" (never try to compare this one to Molinaro's flick, by the way!)

Not every one has the talent of Woody Allen to transform a Japonese spy movie into a comedy as he did once (admitting it in a prologue) with "What's up Tiger Lily?".

In conclusion, here are two different films out of the same celluloid: "Dracula Père et Fils" is a not so good film worth seeing however. "Dracula and Son" is just awful and should be placed alongside with the Raymon Burr's version of "Godzilla".