Monstro sem Alma

Another horror classic receives the Blaxploitation treatment; wisely, the producers recruited for the task the director of the most sustained effort in this vein, namely the original BLACULA (1972). While not emerging a success on a similar level, the film under review is still a reasonably interesting one. The main reason for this is that it keeps a generally sober approach throughout (apart from the caricatured depiction of pimps) and the central performances (notably Bernie Casey and Marie O'Henry) are as committed as can be expected under the circumstances. As in the horrid BLACKENSTEIN (1973), the script contrives to incorporate some half-baked form of social commentary: the effects of substance abuse (since here the doctor injects himself rather than drinks a potion) and – less successfully, given Stan Winston(!)'s ludicrous make-up – race relations (Dr. Pride, as the protagonist has been renamed, turns white as a result of the drug!). Perhaps the most unexpected trait allotted the transformation in this case is "Hyde"'s unearthly shriek, which is effective at first but does begin to grate with the repetition! Unlike in previous versions, too, this monster (apart from the typical savagery of his depredations, at one point, he is made to throw a prostitute clear across the street!) proves remarkably resilient in being put down – necessitating attacks by police dogs, innumerable gun-shot wounds and, finally, a leap from L.A.'s oddly-shaped Watts Tower. Rosalind Cash (from THE OMEGA MAN {1971}) appears as Pride's conservative colleague-cum-neglected fiancée.