DEATHMASTER 1972
Deathmaster (1972) is a groovy slice of early ’70s horror that blends vampire chills with counterculture vibes. Directed by Ray Danton (Crypt of the Living Dead 1973, Psychic Killer 1975) and starring the master of urbane menace, Robert Quarry—fresh off his success as Count Yorga—this film takes the vampire mythos out of gothic castles and drops it right into a hippie commune in sunny California. Quarry plays Khorda, a mysterious, guru-like figure who arrives in a coffin, summoned from the sea by his mute servant Barbado. With his flowing robes, hypnotic presence, and cryptic philosophy, Khorda quickly charms the free-spirited commune members, offering them eternal life—but, of course, at a deadly cost.
The film leans heavily into the era’s countercultural aesthetic. There are bongo drum parties, stoned conversations about eternity, and fabulous hippie fashions. But beneath the peace-and-love exterior lies a darker commentary on how idealistic charismatic leaders can manipulate youth. Quarry dials back the campy menace of his Yorga persona to deliver a more subdued yet sinister performance as Khorda, embodying a predatory opportunist who preys on the commune’s vulnerabilities.
The cast includes Bill Ewing as Pico, the skeptical hero who grows suspicious of Khorda’s true intentions, and John Fiedler (of Twelve Angry Men and The Bob Newhart Show fame) as Pop, a Van Helsing-like elder trying to rally resistance. The film’s eerie score by Bill Marx and its low-budget yet atmospheric visuals—complete with shadowy castle interiors—add to its offbeat charm.
Wilmer C. Butler did the cinematography for Deathmaster, while the soundtrack by composer Bill Marx returns after also scoring the Count Yorga films (Count Yorga, Vampire and The Return of Count Yorga), as well as Scream, Blacula, Scream. His work on Deathmaster features a rock-inspired score with elements like sitar, played by Bill Plummer, to match the film’s hippie-cult vibe.
With its mix of vampire horror and counterculture critique, Deathmaster 1972 feels like a trippy time capsule of the early ’70s. It’s part Jean Rollin-inspired art-horror and part Manson-era cautionary tale. If you’re in the mood for something weirdly hypnotic and dripping with retro vibes, this one’s worth checking out. Fangs out! Far out!