Deathmaster (1972)

A strange guru-type character named Khorda suddenly appears on the scene and offers to guide a bunch of young hippies looking for some direction in their lives. We as an audience however know something is amiss having witnessed a coffin earlier floating ashore following the flute-playing of a most unusual looking black man who we later see arrive at the castle-like house in which the hippies seem to be squatting now acting as something of a servant/follower to Khorda. It's not exactly too surprising to us the viewing audience when we learn Khorda is actually a vampire preying on these clueless, direction-less kids. Will any of them escape his ghastly influence? I really enjoyed this one. While it's basic underlying plot is largely the usual expected vampire story, there's some neat differences here that set this one apart from others. Quarry's Khorda is actually more a character akin to Charles Manson or even Jim Jones as his uses his guru rhetoric, something they mistake for guidance and understanding, to gain influence over his followers. His speeches are actually very nicely done and the one he gives on the nature of mortal religion is in particular very thought-provoking (and almost sure to offend those with strict Christian sensibilities). I also like this one's visual style. The opening of the coffin floating in the water and the black servant dragging the coffin actually rather reminds me of the German expressionist period and the film NOSFERATU (1922) in particular. A lot of the later vampire visuals though remind one more of the 60s Italian Horror films and the British Hammer films. I also like the inventiveness shown at the end when the film takes a number of unexpected twists and turns I never saw coming on first viewing. There's some problems with logic (as is often the case with films of this type) that stretch credibility (Pico attempting to stop Khorda at night instead of during the day, Khorda having a host of weapons that could potentially be used against him just laying around, etc.) but nothing so unforgivable as to take away one's enjoyment while watching this unfold.

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.

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.

***SPOILERS*** ***SPOILERS*** Ah, the 70's. A time of turmoil and contradiction. America was at war, both in and out of country. The Flower Children had become assimilated by the very society they protested against. Nowhere was this confusion of cultures more evident than in the movies. The 70's are primarily regarded as the "Grand Era of Exploitation," a title well-deserved if only for the quantity of films unleashed on the masses at this time. Both big and low budget productions utilized the conflicts of the generations and their concurrent heroes to milk profits from the movie-going public. Whenever ideas seemed to be drying up, society itself gave us new myths for our brave new world. In the 70's, one such myth was personified by Charles Manson. The crimes of Manson and his followers are well known, as is his manipulation of the media during and after his trial. He is a certified nut job, and, as anyone in the biz can tell you, that means he's box office gold. Don't believe me? Just look at the number of films made since 1969 involving a messianic character leading a counter-culture rabble. Also, think about how many of these flicks portray these types as anti-heroes done in by their own greed. Sizing up the prevailing conditions, and knowing a quick buck when they see it, Ray Danton and the gang at AIP hopped on the band wagon in '72 with "The Deathmaster." Made a year after "Count Yorga, Vampire," then rushed to release after that one started making unreal profits, this is the quaint little tale of hippies led astray by an ageless guru with a really bad wig. Of course, their hairpieces are nothing to sneeze at either. The film opens innocuously enough with vampire Khorda's coffin washing up on the shore. A curious surfer starts snooping around and runs into cliche numero uno, Barbado, the hulking, mute, ethnic and, therefore, unbelievably strong, servant. After dispatching the wimp ( and man did he look pale to be a surfer in SoCal), Barbado lugs the boss' box up to the local commune. In the next hilarious sequence, we are introduced to our hero 'Pico' (?!) and his girlfriend Rona. They rub biker dude Monk and his sleazy girlfriend Esslyn (where did they get these names?!) the wrong way. The ensuing fight makes Tom & Jerry look like "Crouching Tiger." As all good young folk do, they call a truce and hit the bricks when the cops show up ('cause cops hate bikers and hippies equally). Monk compliments 'Pico" on his fighting skills(?), whereupon 'Pico' informs him he is a master of "Gung Fu." Gung fu. Uh-huh. Joining the hippies for a groove-in, Monk and Esslyn are introduced to the commune as "new friends." A blackout during the daily chanting sessions gives Khorda the opportunity to make his entrance. he does so rather quietly, and introduces himself as a seeker and bearer of enlightenment. At this point, Monk has seen enough, and announces he is splitting the scene, getting away from these freaks and going into town for some whiskey and steak. His trip is cut short by Khorda's abrupt ambush, which the chanting flower children fail to see or hear (must be some serious chanting going on there). After a few more yarns about finding his center (or some such drivel), Khorda excuses himself, but has the sense to ask Esslyn to join him. The hippie gals and guys separate for the night and go to their respective gender sides of the house. Wait a minute! Hippies with morals? Egad! While the art school rejects are showering (?!), Khorda offers the aroused Esslyn (she really digs him, man) a brief history lesson. The lesson ends with her becoming a snack for the guru. Her screams are heard by the guys and gals, but since barbado locked the bathroom doors, they can't get out to help. The doors mysteriously unlock after a brief silence, and Khorda appears with the now-vampirized Esslyn. She puts the moves on 'Pico,' who rejects her toothsome advances and flees the scene. This is where it gets weird. 'Pico' gets Pops (a rightfully embarrassed John Fiedler) to accompany him on a "Save Rona" trek. They, of course, get sidetracked in a battle with Barbado (what about that Gung Fu crap, dude? It should've been easy to dispatch a lumbering ox like that) and assorted vamp-slayings (see ya, Esslyn). Pops disappears for a time, but winds up on the wrong end of 'Pico's' stake attempt. Khorda has the befuddled hippie watch as he initiates his girl to the cult. He snaps out of his reverie long enough to stake the Deathmaster, turning him to dust. However, the same fate befalls the now dead Rona. The film ends with our "hero" sobbing over his lost lady like a man who bet the farm on the Jets. Like so many of the exploitation films of the 70's, "The Deathmaster" suffers from the director and crews' desire to combine all of the great elements of cinema in a weak story with rotten actors. The result is a mish-mash of plot devices but no real coherent story. Lots of unanswered questions left hanging. The only real reason to see this film (outside of a desire to snicker at the inanities of a bygone era) is Robert Quarry. As in "Count Yorga, Vampire" and other films, he rises above all of the contrivances and the hideously untalented supporting cast. His turn as Khorda successfully combines Manson's charisma and the vampire mythos, which, when you think about it, is probably what the crew was aiming for.