The film has no more relation to the classic image of Dracula than the Minotaur of Durrenmatt to the Minotaur from myth. Actually it's not about him. It's about society, about the changes in it and how little purity it has. Actually virginity, in my opinion, should be understood here as a metaphor. Just like vampirism. Often people do not need sophisticated evil, which sometimes goes hand in hand with genius - they have enough everyday anger.
The look at vampires is rather unusual: both are weak, completely unadapted for life, with childish helpless faces. They are completely dependent on their devoted servant. Their weakness is also emphasized by their nobility: the class is gradually degenerating. In the context of the film, this should be understood not so much in the loss of power as in the loss of beliefs traditionally attributed to the intelligentsia. Based on the idea of Marx mentioned in the film, they are no longer suitable for the role of exploiters, so society is looking for those who will replace them. In Mario, his origin is not so important as his rudeness, which for the Del Fiore sisters is more attractive than the Count's refinement. His rudeness manifests itself in almost everything and makes him invulnerable. He loses an argument with Dracula about the future social order, but the sensitive count has a seizure after the argument. People in this film for the most part turn out to be worse than vampires, who were initially considered to be one of the personifications of evil. More precisely, they themselves turn out to be vampires, but in their worst hypostasis - energetic. Dracula turns out to be weaker than them, just as th