Slow pace in the most part of the movie.

Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

After playing with our expectations, this turns out to be a very different sort of film.

While it is a pity that the story wasn't told with more visual finesse, this is trivial compared to our real-world problems. It takes a good movie to put that into perspective.

This film is just an excuse for several beautiful women to show their breasts. Its stupid trashy script, unconvincing and dull acting, boring direction, poor editing and cheap production made it probably the worst and sleaziest Dracula movie to date. If you decide to watch it because of boobs, I'll spare you the agony of watching whole damn thing. Just watch from 0.50.30 to 0.51.40. to see two female vampires sucking blood from the tits of the third and skip everything else.2/10

Paul Naschy authored the story and co-wrote the screenplay for this decent vehicle for himself. He plays Dr. Wendell Marlow, who offers sanctuary to five travelers on their way through the Carpathian mountains. They consist of four gorgeous babes and the studly male Imre (Victor Alcazar); Imre is certainly in enviable company. Of course, there are no prizes for guessing who Marlow REALLY is. He falls in love with one of the woman, and she will ultimately have to make a decision: "live" forever as his bride, or turn him down and live as a mortal.Only the amusing ending lifts this above average for this genre. It does have a fair bit to offer Euro horror lovers, like the expected sex (some of the ladies bare their breasts), the violence (the camera really loves zooming in on the red stuff), and the sadism (virgin girls are whipped so their torturers can lick up their blood). And, of course, it's a Naschy film, so you can't really go wrong. The thing is, the film just doesn't have that great a story. Other than that ending, there's nothing nuanced or particularly interesting about it.At least viewers can soak up that atmosphere common to so much Euro horror. Naschy, as usual, has a compelling presence, and it's nice that he was an actor who embraced being a genre star. The other performances aren't as effective, but it's doubtful that people are going to care too much, since it's such an attractive cast.The opening credits are priceless, though. They play over a scene of a murder victim tumbling down some stairs. This sequence is reversed and then played again numerous times.Not prime Naschy, but if you're a completist of his works, you'll still want to see it.Six out of 10.

I always had some sort of respect for the late Paul Naschy and I even definitely consider myself a fan of the Spanish horror legend, but I really have to be in a special kind of mood in order to enjoy – or sometimes even endure – his films. This is mainly because the majority of Naschy's flicks are incoherent, senseless and largely just intended to flatter his own damn ego. I have seen a few Naschy movies that are quite bonkers already, but "Count Dracula's Great Love" is surely one of the craziest. In spite of what the title suggests, the film has very little do with the classic Dracula tale and – quite honestly – I don't even understand one iota of the plot as presented here. Our hero Naschy stars as Count Dracula, but he has actually taken the human shape of Dr. Wendell Marlow. He will only become a vampire again if a true virgin falls in love with his personality. The blood of this virgin, along with that of a random other virgin, will then subsequently resurrect Dracula's daughter. Meanwhile, Dracula's raises a small army of buxom vampire vixens. They are women who craved for Marlow's body, but they weren't virgins anymore so he just killed them. Typically Paul Naschy … In practically all of the films that he (co-)wrote, his character is extremely successful amongst the ladies even though he's not the least bit attractive. He also cannot decide whether he wants to be the hero or the monster and a combination of both most definitely doesn't work in a Dracula movie; as illustrated during the incredibly preposterous and pseudo-melodramatic finale. Fans of gory and sleazy 70's exploitation flicks certainly can't complain, though, as "Count Dracula's Great love" is a 80 minutes showcasing of gratuitous nudity and thick red bloodshed. Quite often, the two are even combined, as the film contains numerous images where blood is slowly running down from the girls' necks and over their breasts. I suppose Paul Naschy and director Javier Aguirre must have thought that male viewers get aroused by a sight such as this. Purely talking technical, "Count Dracula's Great Love" is truly horrible. The dubbing and sound quality are horrendous, but still I'm willing to blame that to the DVD release. The painfully bad acting performances, the clumsy photography, the lazy directing and the amateurish editing are strictly due to a lack of skills. This film is only recommended to avid Naschy fans. People who have yet to get acquainted with him should primarily see some of his better movies, like "Inquisition", "The Hunchback of the Morgue" or – naturally – the "Hombre-Lobo" cycle.

Spanish horror icon Paul Naschy's take on another traditional monster (making for the blood-sucking Count's beefiest incarnation since Lon Chaney Jr.'s turn in SON OF Dracula [1943]) results in one of his more enjoyable efforts, albeit given the "Euro-Cult" style's trademark languid approach and with a few weird touches all its own. This begins with the shot illustrating a man falling down the cellar steps of Dracula's castle after having his head split open with an axe being repeated ad nauseam all through the credit sequence! As the film opens, Dracula is hiding under the guise of a Dr. Kargos (presumably a play on the meshing of Karloff and Lugosi a' la our very own Joe Karlosi ) at an abandoned nearby sanatorium while also assuming the duties of butler at his own castle! Soon, his quest for peace and solitude is interrupted with a vengeance by the arrival of no less than five strangers – one man and four(!) women; the latter ostensibly serve the function of duplicating the count's three brides featured in Bram Stoker's original novel (and a handful of its myriad screen incarnations), with the remaining girl filling in the requirements of the title. Anyway, following some bed-hopping antics (the nudity being crudely inserted since the Spanish censor's repressive hand would only allow such fare to be released in "clothed" versions!), the cast of characters rapidly starts joining the ranks of the undead – leaving only the heroine (gorgeous, doe-eyed Haydee' Politoff whom I was recently impressed by in the obscure but fairly good erotic giallo INTERRABANG [1969]). Also in the cast are Rosanna Yanni (from Jess Franco's two "Red Lips" films from 1967) and others bearing such dubious names as Vic Winner and Ingrid Garbo (her character is named Marlene to boot)!; on a personal note, it was nice to see character actor Jose' Manuel Martin (who had been one of the beggars in Luis Bunuel's VIRIDIANA [1961]) as Dracula' first victim – subsequently 'residing' in his house, he notches up victims of his own and is even killed by the master (oddly enough, all vampires here contrive to dispose of one another) for daring to attack his beloved! Other unusual ideas, then, include: the fact that Dracula's prowlings occur on full-moon nights (as if he expects to turn into a werewolf?!); his having a dead daughter, which he intends to revive by mixing the blood of a virgin (Politoff, who rather than being vampirized has a knife driven through her throat in the manner of a conjuror's act) and an innocent (a village girl his brides abduct and present before him to be whipped)!; and, perhaps most baffling of all, Politoff's rejection of Dracula's offer to live eternally by his side throws him into such a dejected state (apparently, he has fallen hard for her) that not only is he willing to give up on his daughter's revitalization but actually commits suicide by piercing his own heart with a wooden stake! As I said, the film is certainly among the better of the star's vehicles that I have come across (though still not adding up to a completely successful work) and, in fact, this viewing inspired me to acquire another Spanish variant on the theme i.e. THE Dracula SAGA (1972), directed by frequent Naschy collaborator Leon Klimovsky but not involving the redoubtable Jacinto Molina himself