Deathmaster

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").

A pipe playing reject from the cast of "I Walked With a Zombie" and an ancient vampire who bears more than a passing resemblance to Jason Isaacs take over some prime oceanside property (isn't that just like a bloodsucker?) and seduce a bunch of young and groovy hippies, forcing them to participate in all-night dance parties. A pretty girl who looks like Jane Asher falls under the spell of the Vampires, and it's up to her inept boyfriend and an old geeky man to save her. When the police fail to believe their story, they attempt to make a rescue on their own. Can they save her in time? Who cares, really?

A biker-momma and her old man are the first to become food. A young man displays his Kung Fu talents at films beginning, and when attacked by a group of vampires, apparently forgets all of his martial arts training and starts kicking and screaming like a two year old having a tantrum. The Vampire dresses like Liberace...it's all pretty goofy, but it's harmless. I can think of worse ways to waste an hour or so.

This was another surprising film. With a title like "Deathmaster" you don't expect too much, do you(?)

Unexpectedly, what we get is an average, but watchable and enjoyable vampyre yarn. The screenwriter, R L Grove, gives us the first metaphysical vampyre story I've seen. He uses the undead's immortality to play on the issues of existence and truth. Subjects that have hounded mankind since creation. Khorda uses this philosophy to draw in his young prey, whose eager minds are ready to accept the snake oil he's selling. Quickly, he's the Sire of his brood... except for Pico, the anti-hero of our tale.

Can Pico save the love of his life, Rona, from becoming a member of this Vampyre Clan?

For the answer to that question, you must watch the movie.

Ray Danton, who directs this little number, gives the audience some impressive scenes. The best example being the opening sequence. This perfect way to start a film. We see a man arrive at some seaside cliffs. He sets up some paraphernalia, which may be occult in origin. He then produces a wooden flute and plays. As the tune floats on the wind, the surf washes a black coffin ashore. A passing surfer lets his curiosity get the better of him and he opens up the casket. Shocked by what's inside, he quickly closes the lid and turns to leave... only to find the flautists hand waiting to strangle the life from him. Casting the dead surfer aside, the man then hefts the coffin onto his back and drags it away across the sands. Danton has constructed this sequence splendidly. It slams a mystery straight into the viewers' minds. And is a powerful hook to keep their eyes on the screen.

There is one slight drawback to the scene, though. That is the wooden flute. The sound it produces is so deep and rich in a tone that you instinctively know it doesn't come from this woodwind instrument. You need something with more substance and resonance to produce the beautiful timber. This is a shame because it breaks the viewers' concentration from the first note played.

I wish Danton had included more well-constructed scenes throughout the film. I have to admit the film's conclusion comes close to the power of the opening sequence. However, thanks to Bill Ewing's poor acting, it doesn't reach the same enthralling heights. And regrettably, most of the film is pedestrian in both direction and creativity, There were several instances when my attention faltered and I withdrew from the story. It's not great for the film or the viewer. It should focus your attention on the unfolding story. However, I got through to the end, which I'm glad I did. The ending presents a most bittersweet conclusion to the story.

Robert Quarry gives an outstanding performance as the Vamp Khorda. He exudes the right balance of conviction and sliminess the character requires. He also has the perfect stance to carry his character with regal elegance. Proving, he's the leader of this pack.

Bill Ewing play Pico, the native American. Sadly, Ewing is the weakest link in the film. I found him to be under-skilled at his craft. His acting was staid and wooden. Though Ewing's body acting hinders the movie most. Nearly destroying the climax of the film. He is wholly unbelievable as Pico and there's zero chemistry between him and Rona, Brenda Dickson. So it becomes difficult for the audience to relate to him or get behind his quest to save his beloved.

Dickson is amiable enough in her role of Rona. She's better skilled at acting than Ewing and almost makes up for his weakness... almost.

Because the "A-Cast" isn't too good, it's the "B-Cast" who bolster the film. Especially the veteran actor John Fielding who plays Pops. Pops' persona is comparable to every character we've seen Fielding play. Yet, this very reason is how he strengthens the movie. When you see Fielding your mind connects him with his other roles and gives you a sense of familiarity and reliability. Automatically you believe the film can't be too bad because he's chosen to act in it. A marvellous ploy, but alas, Pops doesn't have much screen-time. This is a shame as both Fielding and his character deserved more time and presence within the story.

That said, the film offers a different take on the Vampyre mythos and for that reason is worth one sitting. I don't think I'll be rushing back to this one too soon. This film's for the Vamp lovers out there. Horror fans can steer clear as there's little to no fear here.

Ratings: Story 1 : Direction 1.25 : Pace 1 : Acting 1 : Enjoyment 1 Total 5.25 out of 10

Flap those bat-wings and fly on over to my Absolute Horror list to peek at where this bat nested in my rankings.

Take Care and Stay Well.

What a truly tripy movie. An obscure and mostly overlooked cult classic. Not certain if the original Yorga film was to ever see a sequel, and having been paid peanuts compared to what the film had grossed at the box office, Quarry was determined to make a quick buck by exploiting "The Deathmaster" name (which had been used profusely in the iconic promo posters of the original Count Yorga Vampire film) and the whole concept of him as a chic and charismatic vampire. A true exploitation film through and through, the movie obviously tries to make Quarry appear like Charles Manson. It also ties into the whole "evil cult" aspect of the Charles Manson case and the infamous and brutal murders, which had, at the time, shocked the nation to its very core. In the end it's a descent film, but not nearly as entertaining as the original Count Yorga Vampire movie or the riveting sequel, The Return of Count Yorga. In any case, it's nothing less than a true gem of a film for any hardcore horror fan.

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.