Deathmaster

I wasn't sure if I would like The Deathmaster or not, since I really didn't personally care much for the Count Yorga movie. I liked some of Robert Quarry's other work in films though, so I figured I would give this one a shot.

I must say that I liked it more than I thought was possible. It has a distinct and unmistakable 1970's cheesy "vibe" running rampant throughout the movie. That actually works in favor of the movie, it gives it an authentic flair of the era. The story is nothing too fabulous or original, but it was the visuals that intrigued me. The cinematography work on The Deathmaster was well above average.

So, it's a pretty good vampire flick of the early 1970's. Definitely worth a look for both Quarry fans, and also for Vampire aficionados.

Great early 70's clothing, a philosophizing folk song (wow, man is like a river, that's like, so deep), not so subtle drug references, and the undead! What more could you possibly ask for? Deathmaster really is Quarry's movie with his Mansonesque portrayal of Khorda infiltrating and taking over a commune of lost hippies. The movie's effectiveness really lies in the context that people can be so easily controlled and fall victim to cults, rather than the fact that Khorda possesses their minds because he is a vampire. That Quarry is made up to look like Charles Manson is a not-so-subtle hint to the movie's theme, the resemblance being especially relevant at the time the movie was made.Look for character actor and voice-over artist John Fiedler as the owner of a hippie bead shop!

The movie slows down and becomes a little dull about 2/3 of the way through, and yes, it's terribly dated, but this obscure little gem is an 8/10 for 60's and 70's horror movie freaks like myself. It's certainly a guilty pleasure. I found it at a convention, and watching it brought back a lot fond memories of the Saturday afternoon Chiller Theater flicks like Deathmaster, Lemora, Children Shouldn't Play With Dead Things, as well as a ton of bizarre British horror movies, and even some old giallo that independent stations like Channels 5, 9, and 11 out of NYC used to run constantly in the late 70's through the mid 80's. If you're a fan of such things, you'll want to own this movie.

For those intrigued by Robert Quarry's twin bill of Count Yorga vehicles, "Deathmaster" (one word) serves as a between course item, shot as "Guru Vampire" in Dec. 1970 on location in Topanga Canyon, self produced by Quarry and several friends. This was the sole producing credit for longtime television actor Fred Sadoff, and a genuine horror role for Bobby 'Boris' Pickett, billed as 'Bob Pickett' just 8 years after his #1 smash "Monster Mash." A silent confederate called Barbado (Le Sesne Hilton in his only film) awaits the coming of his master Khorda, washed ashore in a coffin discovered by a fatally curious surfer, then we cut to a hippie commune living out an existence where they wonder what the meaning of life is all about. What better place for a 2000 year old vampire to easily dominate with his accumulated wisdom, and how quickly the sheep dance to his wavelength, particularly sexy biker chick Esslin (Betty Ann Rees, later reunited with Quarry in 1974's "Sugar Hill"), who wavers when she sees no reflection of Khorda in the mirror but cannot resist the impulse of blood lust. Only Pico (Bill Ewing) and Rona (future daytime soap star Brenda Dickson) remain immune to the group think, but once Rona is kidnapped Pico must escape the underground tunnels beneath the mansion to seek help from middle aged shop keeper Pop (John Fiedler), who possesses books on the rituals of novice vampires (protection from the sun during the day) and believes that Rona's life may yet be saved. Nice robes and a long haired wig make this guru vampire stand out from Yorga, otherwise Quarry is very much at home balancing calm rationality in mixed company with maniacal laughter in full fanged attack mode, well staged by first time director Ray Danton, whose future horror efforts were "Crypt of the Living Dead" and "Psychic Killer" (all television work afterwards). After the opening scene on the beach, things proceed very slowly as the wafer thin characters mouth some of the most unspeakable lines ever committed to celluloid, part of the picture's extremely dated appeal as a nod to the hip, adding a cliched biker who admits he has to 'lose some water' rather than just taking a leak! In common with Quarry's Yorga entries, a downbeat ending is not unexpected, as are the same rules of battling the undead after dark on their turf, without anyone bothering to secure a genuine crucifix beforehand. Khorda also boasts a human manservant like Edward Walsh's Brudah, though Barbado remains mute throughout and is easily dispatched, repeating the notion of a vampire who has endured for centuries yet cannot survive his encounters with modern day Southern California youth. Easily overlooked as a tax write off for AIP distribution, Quarry's stardom continued with "The Return of Count Yorga," "Dr. Phibes Rises Again," "Madhouse," and the blaxploitation voodoo epic "Sugar Hill" (music supplied by Bill Marx, son of Harpo, whose strains are familiar from other AIP efforts like both Yorga titles, "Scream Blacula Scream," and "Terror at the Red Wolf Inn").

Robert Quarry only did a handful of horror films unfortunately, but each showcases a fine performance of subtlety mixed with genuine menace. The Deathmaster is no exception. The film chronicles the activities of a vampire named Khorda that becomes the guru of a hippie commune in California. Quarry gives the vampiric guru charm and aloofness as he spouts hippie doctrines to eager high listeners, waiting for some kind of direction in their lives. The film itself is nothing monumental, yet I found it to be thoroughly entertaining. It is a period piece in a way, because it shows just how prevalent the hippie culture was and shows us the costume of the day so to speak. Quarry gives a fine performance, as do the bulk of the cast. There are some splendid scenes in the film, most notably the opening one of a man on a beach performing some ritual and playing his flute. Moments later we see a coffin wash up on the shore. A jogger comes across it, opens it, and attempts to flee. Just as he turns, the flute player throttles him and he falls to the sun-dried sand. This is the best scene in the film, but the rest is pretty entertaining overall.

Good horror flick. No movie can be overlooked that has wimpy John Fielder as a fearless vampire stalker. Seems a hippie clan up LA's Topanga Canyon is enticed by ethereal stranger (Quarry) into coming to his canyon mansion. Of course, he has dire motives for enticing them. But he's a smooth talker, with what sounds like a profound message about life and eternity. I couldn't help thinking Charles Manson given the general context of hippies following a charismatic leader. But the mansion turns out to be something of a labyrinth of horror, as the care-free kids soon find out.

I like the way Pico (Ewing) is shown early on as possessing what was then an unusual knowledge of Asian martial arts. That way, we know he's more than his rather slight appearance. He'll need that when he defies the imperious Khorda. Then too, the exotic looking Barbado (Hilton) makes a scary zombie-like enforcer. That opening scene with him at the beach amounts to a real grabber. Also, there're a couple of good twists that break with genre clichés.

Anyway, pitting hippies against a vampire is an imaginative premise that plays out in pretty effective fashion. So ignore establishment critic Roger Ebert who hated the movie (IMDB), probably because the title smacked of lowly drive-in fare. And kudos to leading-man actor Ray Danton who shows talent in his first directorial outing. Meanwhile, as an LA resident, I guess I won't be going up Topanga Canyon any time soon.