It
was a dark and stormy night. The year,
1780. And the ominous atmosphere outside
pales when we're told the castle we're
zooming in on belongs to none other than
the Prince of Darkness himself, Count
Dracula. We cut inside, where the Count is
entertaining some special guests: Prince
Mumawalde (William Marshall)
and his wife, Luva (Vonetta McGee),
who have been sent to Europe as emissaries
to try and convince those with influence
to stop the African slave trade. But
things don't go well as the Count (Charles
Macaulay) scoffs at the notion,
saying the slave trade has merit. And when
he offers to buy Luva, Mumawalde, of
course, is both insulted and incensed. Calming
his guest down with assurances that it was
just a warped compliment on Luva's beauty,
Dracula's loutish behavior continues to
degenerate, eventually showing his true
nature -- No. Not his vampirism, but his
bigotry. With that, declaring this palaver
is over, Mumawalde announces they're
leaving. Their host, however, begs to
differ and sics his servants on the
Prince, who
puts up a good fight but is soon
overwhelmed by numbers and knocked
unconscious.
Luva,
meanwhile, must deal with Dracula himself,
who has bared his fangs and called up some
undead reinforcements. And as his undead
brides seize her, the Count puts the bite
on Mumawalde's neck -- and we all know
what that means, right? But, not satisfied
with just turning them into a
blood-sucking ghouls, Dracula has an even
more sinister fate for his two guests.
Placing Mumawalde in a sturdy coffin,
Dracula then curses him with his name -- and
so, from now on, the African Prince will
be known as Blacula. But the Count still
isn't done tormenting him yet, and, being
the bastard that he is, locks the coffin
shot, meaning his latest victim, unable to
satiate his need for blood, will spend an
eternity in agony. As for Luva? She is to
be left alone but will be sealed up in a
secret room with the coffin, where she
will spend the rest of her life in the
dark listening to her beloved's cries as
he tries to get out!
And
as the room plunges into darkness, that
truly inspired and nasty beginning
dissolves into some interesting animated
credits. An odd combination of Saul
Bass and Edward Gorey, we watch as a black
bat hunts down a red dot that magically
transforms into a naked woman before being
sucked off the screen. We are then hurtled
forward in time to 1972, where, still in Transylvania,
a local real estate agent is having
trouble convincing two openly gay antique
dealers from the States that the old and decrepit
castle they're touring really belonged to
Count Dracula (-- dispatched a
hundred years ago by Van Helsing and his
crew). These doubtful dealers,
Bobby McCoy (Ted Harris) and
Billy Schafer (Rick Metzler),
really run rampant with their raging queenish
behavior just in case we don't get it --
alas the film isn't very subtle with any
of its stereotypes. And despite the sales
pitch, they still don't believe that
Dracula was an actual vampire, except in
the movies, but just the notion that the
furniture and decor for sale was owned by
the Count gives it a kitsch value that
will bring top dollar back in Los Angeles -- especially a large coffin found in a
secret, walled-off room during the
castle's renovation.
After
the soundtrack wocka-cha-wockas us
back to the States, Bobby and Billy are
now in a warehouse uncrating their
European booty. Morbidly curious, and
ignoring his lover's protests to leave it
alone, Bobby goes to work on the coffin's
padlock; and whiles breaking the clasp,
Billy accidentally cuts a deep gash in his
arm. As Bobby tends to the wound and Billy
frets, in the background, we see the lid
to Mumawalde's coffin slowly open. Slower
still, his features turned more fearsome,
Blacula crawls out of the coffin, bares
his fangs, and attacks the two men.
Casting Bobby aside, he feasts upon
Billy's wound -- draining all the blood,
then moves on to Billy and sucks him dry,
too ... His hunger finally satiated after
two-hundred years, Blacula returns to his
coffin, dons his cape, and recalls
Dracula's curse. Knowing he'll soon have
to feed again, this stranger in a strange
land still manages a sardonic smile
as he crawls back inside the box until the
eternal hunger rouses him once more...
Finally!
After such a rough start Sinister Soul
Cinema month shakes off the cobwebs
and recovers nicely thanks to the
amazing talents of William Marshall. Damn
straight. Instead of draining our blood
out, Blacula
actually injects life into this bizarre
mix of genres. So leave the crucifixes and
wooden stakes at home, brothers and
sisters, they won't be needed here.
The
argument remains unsettled on whether
Gordon Park's and Richard Roundtree's
urban-actioneer Shaft or Mario Van
Peeble's independently produced tale of a
framed man's flight from the law in
Sweet Sweetback's Baadasssss
Song was the original blaxploitation
movie. Regardless of which came first (--
technically Shaft, which came out a
year earlier in 1971), both films
inspired many imitators in style -- if not
necessarily in substance. And in an
amazingly short time-span, less than a
calendar year, someone already had an itch
to mash-up the burgeoning genre with some
old school horror.
Blacula
was a unique film in many ways for
American International Pictures, a
production company whose bread had been
buttered with this type of genre cross-pollination
since its inception back in the 1950's.
Usually reserved for whenever whatever
particular genre was sputtering out at the
time, hoping an infusion of monsters would
allow them to milk the box-office for a
little while longer, they just seemed a
little ahead of the usual law of
diminished returns scale this
go-round. Producer Norman Herman was a
holdover from those halcyon days at AIP,
and from the youth rebellion in Hot Rod
Rumble, to the counter-culture craze
in Psych-Out, to the outlaw bikers
in Angels Unchained, to the
eco-disaster of Frogs, he had
proven that he could adapt to whatever
style was popular at the time. Now,
normally American International would come
up with a title, an idea, or a promotional
campaign, and then hammer out a
script to fit it. The whole
reverse-engineering process was kind of
ass-backwards but it had served the
company well over the years. Co-founder
James H. Nicholson was the master or such shenanigans,
but by 1971, Nicholson, having lost his
co-majority interest in the company after
divorcing his wife, had moved on to 20th
Century Fox, leaving the company solely in
the hands of his old partner, Samuel Z.
Arkoff.
Enter
novice screenwriters Joan Torres and
Raymond Koenig, who pitched their
completed script -- a blaxpo tale with a
supernatural twist -- to Herman, who in
turn presented it to Arkoff. And,
according to legend, the mini-mogul read
it one sitting, loved its potential, and
quickly gave Herman the green light, and Blacula
went into production almost immediately.
On
the surface, sure, a film about a black
Dracula strutting his stuff on the streets
of 1970's Los Angeles seems
utterly ludicrous, but, if given just half
a chance, there are some very interesting
things going on in Blacula just
below the blaxpo veneer. And yes, these
novel ideas begin with Torres and Koenig's
script but what makes it work, and gets
the audience over the initial hump and
squarely in the movie's corner, is, as I
mentioned before, Marshall's riveting
performance as the doomed Prince. With his
booming baritone voice and a deceptive,
sensual grace of movement he brings a
quiet dignity to Mumawalde; but when the
switch is flipped to Blacula mode, just
like that, he is an ominous and menacing
presence, and I wouldn't want to be in the
same room when he gets his feeding frenzy
on -- just ask Bobby and Billy if you
don't believe me.
Here,
we'll pick up the movie at the funeral
home, where Bobby's body is laid out for
visitation. We spy Mumawalde lurking
behind some curtains, who exerts his long dormant
powers by putting the hypno-whammy on his
first convert. Enthralled by his master,
Bobby starts to stir but they're
interrupted when the [un]dead man's
sisters, Tina (McGee again)
and Michelle (Denise Nicholas),
arrive. (I'm just assuming Bobby is
their brother, as his relationship to the
women is never made clear.)
Michelle is comforted by her boyfriend,
Dr. Gordon Thomas (Thalmus Rasulala),
who, as part of the scientific
investigation branch of the L.A.P.D.,
promises to catch whoever killed Bobby and
bring them to justice. Mumawalde,
meanwhile, isn't concerned with these
assertions, as he is more interested in
Tina, who is the spitting image of his
late wife, Luva, and follows the ladies
out when the visitation ends. Wanting
another look at the body, Thomas stays
behind. Confused as to why the victim's
veins had collapsed and the complete lack
of blood, Thomas discovers and examines
some puncture wounds on the deceased's
neck. The mortician, who apologizes for
not having the body embalmed yet, assumed
this was just a rat bite. The body was
found in a warehouse after all. Thomas,
however, isn't so sure.
Later,
as Tina walks home, alone, she senses
someone is following her. She picks up the
pace, that quickly accelerates into a full
out sprint, but runs right smack into
Mumawalde, who mistakes her for Luva and
becomes confused and irritated when she
doesn't recognize him. Assuming he's some
nut, Tina manages to get away but drops
her purse. So, the chase in on, and it
continues until the vampire gets
blindsided by a cab. And when Juanita
Jones (Ketty Lester), the
sassy, jive-talking motor-mouthed driver,
gets out and gives Mumawalde
the business for running out in front of
her, outraged over losing Tina, he takes
out his frustration on the cabbie, who
sasses her last sass when he chomps on her
neck ... Meanwhile, Tina makes it back to
her apartment and locks the door behind
her, but before she can calm down, someone
(-- or something!) comes
a-knocking. Luckily, it's only Michelle,
to whom Tina confesses as to what
happened. And sure that her attacker has
her purse, ID, and keys, Tina is pretty
much inconsolable but her sister
eventually gets her calmed down.
The
next morning, when Thomas is called to the
county morgue to examine another body, Sam
(Elisha Cook Jr.), the
morgue attendant, rolls what's left of
Juanita Jones out of the freezer.
Examining the corpse, Thomas finds the
same peculiar puncture wounds on her neck.
(Man, that rat really gets around.)
At this point, Thomas laughs at his
initial notion on what might be
responsible for these bite marks but
doesn't discuss his suspicions with his
boss, Lt. Peters
(Gordon Pinsent), who is
leading the investigation into this rash
of mysterious homicides. And while Peters
thinks they all might be gang related,
Thomas sees no real connection between the
cab driver and two gay antique dealers --
except in the way they died. Thinking they
need another crack at all the bodies on an
autopsy table, after Peters agrees, Thomas
calls the mortuary and makes arrangements
to collect the bodies for reexamination.
But that will have to wait until tomorrow.
Tonight, Thomas will be at The Club,
celebrating Michelle's birthday.
As
the Hues Corporation gets The Club a-movin'
and groovin' (-- a welcome relief
from the comedic stylings of Andy C, the
ass clown who
was playing there last week),
Tina, Michelle and Thomas take a table and
enjoy the trio's music. Mumawalde arrives
next. He approaches the party, properly
introduces himself, and then returns the
purse as he apologizes to Tina for
frightening her so badly the night before,
claiming he saw her at the funeral home,
mistook her for his recently deceased
wife, and just lost his head. With his
forlorn story and sincere charm quickly
winning her over, Tina invites Mumawalde
to join their party. He agrees, and
insists on buying a bottle of champagne to
help celebrate Michelle's birthday. When
The Club's owner, Skillet (Jitu
Cumbaka), brings the champagne and
a birthday cake, his girlfriend, Nancy (Emily
Yancy), starts taking pictures, and
Mumawalde cringes with each camera flash.
Skillet also tells Thomas there's a phone call for him and it's bad news. Told that
Bobby's body has disappeared from the
mortuary, Thomas says not to touch anything
and he'll be there as soon as possible.
Back at the table, Nancy's constant
photo-taking has driven Mumawalde off.
Tina catches him before he leaves, and
appears to be smitten with him. Obviously
feeling the same way, he promises to meet
her again at The Club the following night.
Their eyes lock as Mumawalde brings her
under his spell -- until another bright
flash from Nancy's camera, who was
sneaking a candid shot of them, saves Tina
-- for now.
After
Mumawalde
leaves, Skillet snarks at the man's
oddball behavior but really digs his
tailor and openly covets one of those
stylish capes. With the party winding
down, Nancy excuses herself and heads across
the street to her home and private
darkroom so she can develop the pictures.
And after the film is processed, she drops
the exposed contact sheet into the
chemical soup and waits for the picture to
develop. As the image slowly appears, the
photographer hears something. Thinking
it's just Skillet trying to scare her, a
quick tour finds the house empty. Back in
the darkroom, that last picture she
snapped of Tina and the mysterious
stranger is done -- but something went
wrong: Tina is there, but Mumawalde is
nowhere to be seen. Befuddled, the girl
collects the photo to show the others but
is ambushed on the way out, and her
attacker seizes and crushes the evidence
as he chomps down on her neck.
The
next morning, Thomas checks in with Peters
to see if some missing files he had
requested ever showed up. When Peters says
he sent Officer Barnes to The Club to
deliver them personally, they realize the
messenger is now missing, too. (He
did make it there, but Barnes was attacked
and bitten by the recently turned Nancy.)
Since Bobby's body has vanished, Thomas
asks for permission to exhume Billy
Schafer's body for an autopsy instead. A
reluctant Peters still doesn't see any
connection between the victims yet, but
Thomas assures that he has a working
theory and only needs a little more time
to confirm a few things before sharing it.
Returning to his lab, Thomas finds
Michelle waiting with a stack of books
borrowed from the library. As they start
going through the pile, Michelle laughs,
saying the librarian thought she was crazy
when she requested all these books on
ghouls and vampires. Then, when Peters
calls, saying the Schafer family refused
the exhumation request, Thomas tells
Michelle it's time for some drastic action
and reveals his plans to dig up the body
anyway.
That
night, Mumawalde shows up at Tina's
apartment. Letting him in, the girl admits
to being oddly attracted to him -- yet
frightened at the same time, and hopes
that he can explain why. Mumawalde tries,
confessing his true origin, saying he is
two-hundred years old, cursed by Dracula,
and how he lost his wife, but now, he has
found her again in Tina. When she counters
that Dracula and vampires are just myths,
Mumawalde assures her that they are as
real as he is. And he needs her, and wants
to spend all of eternity with her, his
true love. But, she must come freely; and
the ancient vampire assures he won't use
his powers of persuasion to trick Tina or
take her by force. So, the decision is
hers. Overwhelmed, Tina weighs her
options. While she thinks, Mumawalde hopes
she will say yes since he can't bare the
thought of losing his true love twice.
That does the trick; Tina tells him to
stay, and as they embrace, Mumawalde
surprises us all by gently kissing her on
the lips instead of clamping onto her
neck.
Meanwhile,
at the graveyard, Thomas has just finished
digging up Schafer's grave. When Michelle
asks what he expects to find, he answers
that, hopefully, all they'll find is a
dead body. Almost on cue, Billy springs
from the unearthed coffin and attacks.
Michelle screams as Thomas beats him back
with the shovel, breaks it off, and then
impales the wooden handle into Billy's
heart. Thinking her boyfriend just
killed someone, Michelle is beyond
hysterics until he convinces her the
victim was a vampire; and he didn't kill
him, Thomas insists, just put the pour
soul out of his misery. When asked if
Bobby is the same way, he solemnly nods
affirmative. Needing to convince Peters,
too, who'll never believe this without any
proof, Thomas remembers that Juanita Jones
is still on ice at the morgue. He calls
Sam and tells him to pull Jones' body out
of the cooler, but to leave it alone and
lock the door behind him; no arguments.
Peculiar request aside, Sam follows the
orders to the letter. Leaving the body to
thaw out, he fumbles with the keys to lock
up when the phone starts ringing. Leaving
the door unlocked, he takes the call.
Rounding
up Peters at his home, Thomas heads to the
morgue. But before they can get there,
Jones, thoroughly thawed out, wakes up and
goes on the prowl. And as Sam goes over
some paperwork, the door to the morgue
flies open and Jones -- fangs bared, and
screaming her head off -- charges down the
hall toward her prey. When Thomas and
Peters arrive, they find Sam's desk
covered in blood. Cautiously entering the
morgue, they spy a body on the gurney,
covered with a sheet, and when Peters
pulls the sheet back, Jones springs to
life and attacks. But, Thomas fights her
off with a crucifix, chasing her into a
corner, and opens the blinds. Sunlight
floods the room, quickly killing the
vampire.
Back
at Tina's apartment, Mumawalde and Tina
appear to have completed the *ahem* dirty
deed. Getting out of bed, he starts
dressing, saying he has to go, for to stay
is to die, because the sun is coming up.
Tina, despite Mumawalde's promises that it
won't hurt, still isn't sure if she's
ready for an eternity of sucking blood.
Promised all the time she needs to decide,
as he leaves, Tina professes her love for
him ... Meanwhile, at the morgue, with all
the overwhelming evidence, Peters has no
choice but to believe Thomas' vampire
theory -- but who will believe them?
Regardless of the brass, Thomas says they
have to do something, immediately, because
the vampire plague spreads exponentially,
each victim creating more victims, and
will soon be out of control. All Peters
can do is double the night patrols and
watch for "suspicious"
activities. When Thomas suggests they put
out an APB for Bobby, Peters thinks it's
risky to call for the search of someone
whose already dead.
[Adam
12/] "Attention all units.
Attention all units. Be on the lookout
for an effeminate black male, 5'8",
@ 20 years of age, sporting a huge pair
of fangs. Approach with caution and
crucifixes. Over." [/Adam 12]
Since
they won't find any more vampires until
the sun goes down, Peters orders Thomas to
go home and get some rest. But Thomas says
he can't; he's got a hunch and has to
check up on something first. When night
comes, Thomas and Michelle meet Tina and
Mumawalde at The Club. After they all
order drinks -- Mumawalde orders, of
course, a Bloody Mary (... no, I'm not
making this up) -- Thomas starts
asking all sorts of bizarre questions
about vampires and the occult. Even though
he believes there is some truth to be
found in these myths and legends, Mumawalde
scoffs at Thomas, and asks if he truly
believes that vampires are behind these
recent killings. Before the two can argue
further, Skillet arrives and asks if
anyone's seen Nancy lately, but no one's
seen her since the party. Turning his
attention to an agitated Mumawalde,
Skillet offers to buy his cape. Offended
by this constant harassment, Mumawalde and
Tina leave. Thomas leaves,
too, and heads over to Nancy's place.
She's not home, but there are signs of
foul play: her dark room has been torn
apart and all the pictures are gone. He
sets the imager back up on it's stand;
it's still on, and projecting an image on
the table. When Thomas brings it into
focus, he sees a picture of Tina talking
to a blank space -- right where Mumawalde
should be! That clinches it: Mumawalde is
the head vampire -- and he's with Tina!
At
Tina's apartment, Mumawalde is begging his
true love to come with him. And she seems
ready to cave in when they both hear
police sirens approaching fast. Below, two
patrolmen spy Mumawalde running away and
give chase, split up, and one of the
unlucky patrolmen catches up and gets his
neck broke before the vampire disappears
into the night. Back at the apartment,
while
Michelle consoles Tina, Thomas breaks the
news that her new lover is also mass
murderer. When he receives a report that a
patrol car spotted Bobby with a new
boyfriend, Thomas says to follow them --
but not to close, in hopes they'll lead
them to Mumawalde's lair. Leaving the
girls at the apartment with a handy
crucifix, Thomas tells Michelle to lock
the door and let no one in. Alas, the
patrolmen lost Bobby, but they're near the
warehouse where he and Billy were killed,
so Peters figures that must be the place.
Surprised to find Sgt. Barnes already
there, together, they enter the darkened
warehouse. The first sign of trouble comes
quick when the door mysteriously slams
shuts behind them by itself, sealing them
inside. Thomas produces another crucifix
as the search presses on until they find
the body of the man Bobby was with. Then,
Bobby attacks, and as Thomas wards him off
with the crucifix, more ghouls pop up and
attack. Seems Mumawalde and his brood have
been busy as there are over a dozen
vampires loose in the warehouse. And when
Barnes shows his fangs and joins the
attack, the other patrolmen are overrun by
ghouls, leaving only Thomas and Peters
alive. Finding a crate of volatile oil
lamps, this dynamic duo starts chucking
them at the vampires. And when these lamps
mysteriously ignite on impact, they
firebomb the vampires, who are consumed by
the flames. Those they don't burn, they
stake with wood from the busted crates as
they fight their way toward the door. And
they almost make it out before Mumawalde
presents himself. And thanks to Thomas's
inadvertent warning earlier at The Club,
he moved his coffin to a different and
safer locale. He'd also love to stay and
chat more, but the vampire claims to have
an urgent appointment elsewhere. Turning
into a bat, he then flies away.
Knowing
full well he's headed back to Tina, they
hightail it to her apartment, where Tina
is confessing to Michelle that even though
Mumawalde killed all those innocent
people, she still loves him. (What
is it with women always falling for these
bad seeds?) Beating the
vampire there, Peters decide to set a trap
for him, using Tina as bait. But what they
don't realize is that Mumawalde's already
there, on the roof, watching the police
cordon off the area. Realizing what's up,
he uses his psychic-hypno-whammy to summon
Tina from her bedroom. Message delivered,
he transforms back into a bat and flaps
away. But someone spots him and raises the
alarm. Inside, Thomas checks on Tina but
she's long gone, having snuck out the
bedroom window. When an A.P.B. is put out
on the girl, a patrol car spots Tina and
tails her to some kind of chemical plant.
Ahead, Tina enters and rendezvous with her
undead lover. They kiss, but soon hear
sirens approaching again and retreat
further into the twisting and turning
metal structure. Outside, several patrol
cars arrive. Thomas, with his crucifix at
the ready, cautiously leads Michelle,
Peters, and about a dozen officers into
the plant. Once inside, they split up and
continue the search. One officer spots the
fugitives, and orders them to freeze. When
they don't, he opens fire. (Yep,
this is definitely L.A.) The
bullets don't hurt the vampire at all, but
Tina gets hit, too. An enraged Mumawalde
quickly dispatches the officer but it's
too late; Tina's wounds appear to be
fatal, and when she begs him to help,
Mumawalde asks her forgiveness for what
he's about to do. Slowly, he moves toward
her, and as he bites down on her neck,
Tina rolls her eyes in orgasmic ecstasy.
As
the others search, Mumawalde's booming
voice suddenly echoes throughout the
building, promising that no one,
especially Thomas, will get out alive and
this building will now be their mass tomb.
After the announcement, the enraged
vampire starts
buzz-sawing through the cops. But as they
meet their gruesome fate, this gives
Thomas and Peters time to find the coffin. Peters takes up a stake,
ready to strike, as Thomas hands the
crucifix over to Michelle and prepares to
open the lid. Yanking it open, Thomas sees
Tina is inside but Peters strikes, plunging the stake into her
heart. Tina, fangs bared, jumps up and
screams. Michelle joins in on the
screaming while her sister writhes in pain
until Tina
finally falls silent. Mumawalde heard these screams,
too. Ordered to move away from the body,
Thomas and Peters move to intercept -- but
Mumawalde stops them, saying there is no
reason to attack. With Tina gone, he has
nothing left to live for. Spying a
staircase that leads to the roof,
Mumawalde leaves. When Peters starts to
pursue, Thomas stops him.
Above,
Mumawalde makes it outside, where he
writhes in pain as the sunlight slowly
destroys him. He collapses, and
pulls his cape over the top of himself.
Thomas and Peters catch the end of this,
and when they pull the cape back, they see
[a not very convincing replica of]
Mumawalde's head, slowly disintegrating,
with maggots crawling in the eye sockets.
This head slowly smolders on until all
that's left is the skeleton.
The
End
Truth
be told, Blacula is another one of
those movies that is cursed by it's own
title.
(See
also I
Married a Monster from Outer Space.)
Serious horror fans shy away from it;
blaxploitation fans are disappointed
because there are no foxy mommas, pimps,
or pushers getting their heads busted in
by a vengeful soul brother or sister; fans
of camp and the so bad it's good crowd are
disappointed because the film takes it's
premise and subject matter pretty
seriously. Sure, there are some
inadvertent laughs to be had, mostly at
the expense of the dated fashions and
outdated lingo, but these induced yuks are
the exception, not the rule, so to speak,
which is why most folks, led in by the
title, find the film's restrained tone
dull and boring. Not me. Nope. Unlike our
last review, where
the movie actually wound up being worse
than the idiotic title would imply,
this film, on the other hand, really has
no business being as good as it is. Yes,
the film has
plot-holes a plenty and is littered with
inexplicable anachronisms: How does
Mumawalde know how speak English? Why
doesn't he suffer from a bad case of
jet-lag or culture shock? Or what a Bloody
Mary is for that matter? Pfeegh.
Minor details. And
yes, there aren't that many actual scares
in the film when compared to, or stacked
up against, the gaffes, but the few
moments there are really stick with you.
Kudos to director William Crain and
cinematographer John Stevens for pulling
this off. And even though both men's
static roots in episodic television
leeches through the proceedings more often
than not, there are enough flashes of
brilliance to keep the viewer visually
interested. And no sequence flashes
brighter than Juanita Jones' slow-motion
attack in the morgue...
With
her teeth bared...
Her
hair all whacked out...
Screaming
like a rabid banshee...
As
she thunders down the hall...
That
is pretty damned effective, if you ask me.
Now,
usually, a film like this -- based on a
novel idea, or bizarre gimmick -- fizzles
out by the second reel. Here, not only
does it succeed but flourishes because
Torres and Koenig wisely choose not to
rely on the hook of "Dracula's soul
brother" but focused, instead, on the
tragic and doomed romance between
Mumawalde and Tina.
The
vampire as a tragic figure was nothing
new. As far back as Dracula's Daughter
(1936) a person could see that certain
strains of the infected openly fought to
reverse the curse, who fed only
reluctantly, and were consumed with guilt
whenever they did cave in. And Curse of
the Undead's (1959) gunfighter/vampire
Drake Robey has to pay for his earthly
sins as one of the maligned undead after
he commits suicide. Blacula's anti-hero
is no different, but what it adds to the
mix is a stronger emphasis on the
sensuality and sexual magnetism of the
vampire, who no longer needs to enthrall
his victim when they'll give themselves
over willingly (-- beating John
Badham's disco Dracula to the punch
by almost a decade). The cinematic
origins of the woe is me, and cursed to
walk the Earth alone, vampire can also be
traced to Blacula; and borrowing an
idea from another Universal franchise,
namely The Mummy, Torres and Koenig
also introduced the notion of a
reincarnated lover, with the prospect of a
reunion and spending eternity with your
soul mate a distinct possibility. And when
Mumawalde declares he will not force or
coerce Tina into joining him, the vampire
movie would never be the same again.
Though
thoroughly pasted by the critics when it
was released, Blacula did well
enough at the box-office that Arkoff and
Co. did what they always did and cashed
in. Starting with a direct sequel,
Scream,
Blacula Scream
is actually better, I think, than the
original. Teaming Marshall with Pam Grier (--
who had replaced Vincent Price as AIP's
crown jewel ... not bad considering she
started at the company working as a
switchboard operator), who plays a
voodoo priestess that uses her juju to
help Mumawalde free himself from Dracula's
curse. In the same vein, AIP
went on to make a funkified zombie movie
called Sugar
Hill,
based on a script called Mama Voodoo.
They were also involved with the birthing
process of Blackenstein,
but the film quickly lost favor and they
cut it loose. The
last all black horror movie that AIP
backed was William Girdler's Abby.
But after it was released, the company was
sued by Warner Bros. because it was
nothing more than a
carbon-copy of The
Exorcist.
And since the movie had already made back
it's production cost, and then some, it
was yanked from circulation without much
of a fight. And that was about it for the
blaxploitation monster-cycle, as the
company concentrated on its actioneers
like Coffy,
Truck
Turner
and Black
Caesar.
But
Blacula
was ground zero and started the whole
blaxploitation monster mix, and along with
it's sequel, is the cream of the
admittedly small crop. So my advice, if
you wish to explore it yourself, start
here first.
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