COUNT YORGA, VAMPIRE 1970
When I saw Count Yorga, Vampire during its theatrical release in 1970, I was struck by its visceral impact. The film’s intensity was palpable, with several jarring scenes leaving an indelible impression on me through their raw power and suspenseful moments stacked one on top of the other. To me, Robert Quarry’s portrayal of the enigmatic Count Yorga is one of the most imposing modern vampires; his reimagining of the vampire mythos is particularly formidable.
Quarry insisted on transforming the film from Kelljan’s original soft-core concept into a serious vampire tale, showing his commitment to creating a compelling character. He drew on his acting training from Lee Strasberg, who taught that there are no true villains. Quarry applied this by playing Yorga as a man who believes his actions are justified. He worked to show both Yorga’s animalistic and human sides, insisting on more dialogue and scenes that would help develop the character’s complexity.
“They asked me to read the script. I said why don’t you just make a regular horror film out of it? They said will you do it? Of course, I said yes, if it’s going to be a straight horror film.”
On the challenges of speaking with vampire fangs, Quarry humorously recalled: “There was only one problem: I couldn’t talk with them. In the first movie, there was a line…That’s a handful to get your mouth around, but with the teeth it came out like, ‘Thoon I will thuck from veinth the thweet nectar of your thowl…’ That got cut out!”
Count Yorga, Vampire (1970), directed by Bob Kelljan, stands as a pivotal entry in the vampire genre. Kelljan’s inspiration for directing Count Yorga, Vampire came from an unexpected turn of events. The film was originally conceived as a soft-core pornographic movie titled “The Loves of Count Iorga, Vampire.” However, Kelljan, who had previously worked as an actor and made his directorial debut with Flesh of My Flesh, saw potential in the project beyond its initial concept. When approached to direct, Kelljan insisted on transforming the film into a straight modern-day vampire tale.
This decision shifted the focus from explicit content to a more traditional horror narrative placed in a contemporary setting. The producers agreed, and the film was subsequently toned down and released by American International Pictures (AIP) as a horror film, though some prints still retained the original title. Kelljan’s vision for updating the vampire mythos to a modern American context, particularly Los Angeles, allowed him to explore themes of sexuality and power dynamics within the framework of a horror film. Kelljan’s film became a contemporary retelling of the classic Dracula narrative for a modern American audience.
While not as visually robust as Hammer’s vampire films, unlike most vampire films of the era, which were set in Europe in the 1800s or early 1900s, Count Yorga was the first to bring vampires into a contemporary American setting, specifically in 1970s Los Angeles, with great use of music by Bill Marx. The score is a mesmerizing blend of dark funk and unsettling ambiance, weaving together dissonant melodies with a rhythmic pulse that’s both hypnotic and unnerving.
Count Yorga Vampire, which stars Roger Perry as Dr. James Hayes and Michael Murphy as Paul, offers a fresh take on vampire lore, with a tone that balances horror with a dry sense of humor and a certain sleaziness that reflected the changing social mores of the 1970s.
Kelljan, who also wrote the screenplay, crafts a narrative that blends traditional vampire mythology with contemporary sensibilities. Count Yorga Vampire opens with a narration by classic Hollywood actor George Macready, setting the stage for the supernatural events to unfold. Cinematographer Arch Archambault captures the eerie atmosphere of Los Angeles, contrasting the city’s modernity with the timeless threat of vampirism. The fusion of 1970s Los Angeles and ancient vampire lore in the film creates a uniquely dissonant ambiance, like a velvet-clad specter haunting a sun-drenched disco. This recontextualization of Gothic horror within the laid-back sprawl of L.A. winds up offering us a paradoxical atmosphere that is both groovy and imposing, where the darkness of a centuries-old evil and old-world menace seeps into modern hedonism and creates a mood that’s as intoxicating as it is unsettling.
The story begins with a séance, where Count Yorga, an urbane Bulgarian immigrant posing as a medium, is introduced. This scene immediately establishes Yorga’s connection to the occult and his manipulative nature. Kelljan skillfully builds tension as the narrative progresses, revealing Yorga’s true nature through a series of increasingly disturbing events.
Edward Walsh plays Brudah, a menacing and loyal assistant to Count Yorga. He often carries out his master’s sinister instructions. Brudah is depicted as a deformed and imposing brute, somewhat akin to the character of Renfield in traditional Dracula narratives, yet he comes across here as a ghoulish strongman.
Robert Quarry brings a sophisticated menace to the role, blending charm and malevolence with one stroke. He’s a stylish guru-esque figure who drives a Rolls Royce and wears contemporary clothing. Yorga is eloquent and intelligent, engaging in philosophical discussions about the occult and vampirism with Dr. Hayes (Perry), adding more nuanced layers to this devil beyond mere Gothic monstrosity. Hayes and Yorga begin their dance of ‘try and catch me if you can.’
As the plot unfolds, Dr. Hayes emerges as the film’s Van Helsing figure, piecing together the vampire mystery with scenes of Hayes researching vampire lore and preparing to confront Yorga. What truly sets Count Yorga, Vampire apart is its ambiguous ending, which daringly upends expectations and leaves a lingering sense of unease.
One of the unnerving qualities of the film is how its pacing is deliberate, allowing for the undercurrent of dread. There are a number of key scenes, such as Paul and Erica’s encounter with Yorga after driving him home. Asleep in their groovy ’70s van, they are awakened by Yorga’s growling face at the window before they are attacked. The sudden muddying of the road, seemingly at Yorga’s will, is one of the ways that the film introduces the element of supernatural control that extends beyond traditional vampiric power.
Kelljan and Archambault employ innovative techniques to convey horror without relying on explicit gore. The attack scenes, particularly Yorga’s seduction of Erica, are shot with a mix of sensuality and terror. Warning: For cat worshipers like myself, there is an upsetting and gruesome scene with a little black cat and Erica. If you’re like me, you’ll fast-forward through the scene altogether.
The use of quick cuts, shadowy compositions, and suggestive imagery creates a psychological unease that permeates the film, all building up to the shocking climax, culminating in a tense confrontation at Yorga’s mansion, where the full extent of his power and the fate of his victims are revealed.
The movie not only explores themes of sexuality and power dynamics but also heavily conflates sexuality and violence, as Yorga’s seduction scenes blur the line between consensual intimacy and predatory coercion, presenting vampirism as a metaphor for sexual domination. This is exemplified in a scene where Yorga telepathically commands his brides to engage in sapphic behavior. Yorga’s vampire brides, including Donna’s mother, are portrayed with a mix of eroticism and horror.
Count Yorga’s success inspired several subsequent vampire movies, including Hammer’s Dracula AD 1972, The Satanic Rites of Dracula, and even the Blacula films. Along with other contemporaries like Dark Shadows’ Barnabas Collins and Blacula’s Mamuwalde, Count Yorga, Vampire helped shake up the vampire genre in the early 1970s, moving away from simple Dracula knockoffs.
THE RETURN OF COUNT YORGA 1971
The Return of Count Yorga (1971) was once again directed by Bob Kelljan, who, this time around, worked with cinematographer Bill Butler. The film is a sequel to the cult classic Count Yorga, Vampire, which broke ground in 1970. The film features the powerful presence of Robert Quarry, reprising his role as the enigmatic Count Yorga, alongside Mariette Hartley as Cynthia Nelson and Roger Perry as Dr. David Baldwin.
This time, set in San Francisco, the story follows Count Yorga as he establishes himself near an orphanage, preying on the local community. Yorga sets his sights or fangs on Cynthia Nelson, a teacher at the orphanage, who becomes the object of his obsession. After he orchestrates an attack on Cynthia’s family, Yorga uses his hypnotic powers to manipulate her memory and attempts to make her his willing bride.
The film also features the return of Edward Walsh as Brudah. Tommy (Philip Frame) is a freaky young orphan who speaks and serves as Count Yorga’s servant. Tommy plays a significant role by leading adults into danger and possibly committing murders for Yorga. The mute maid Jennifer (Yvonne Wilder) is a young woman who is the orphanage’s organizer. She is unable to speak about the horrors she has seen, witnessing events that others don’t believe.
The Return of Count Yorga revisits the confluence of elements of traditional vampire lore with contemporary 1970s California, creating a unique atmosphere that balances horror with Kelljan’s subtle humor.
Some of the key scenes in this compelling sequel are: The Orphanage Attack: Count Yorga infiltrates a fundraising costume party at an orphanage, where he becomes infatuated with Cynthia Nelson. The Nelson Family Massacre: In a chilling sequence reminiscent of the Manson family murders, Yorga sends his vampire brides to attack Cynthia’s family. This violent scene is revisited throughout the film in flashbacks as Cynthia struggles to remember what happened. The Slow-Motion Chase: There’s a memorable, almost surreal scene where Yorga sprints down a hallway in slow motion toward one of his terrified victims. This visually striking moment has been noted for its nightmare-inducing quality. God knows, I jumped up from my theater seat! The Quicksand Trap: Yorga lures the Reverend to a quicksand pit on his property, showcasing the Count’s cunning and deadly traps on his estate. The Final Confrontation: The climactic scene on the balcony where Cynthia, having regained her memories, strikes Yorga with a battle-axe before Dr. Baldwin throws him off the balcony to his apparent death.
The Return of Count Yorga also features George Macready as Professor Rightstat: This was one of Macready’s final roles before his death in 1973. He plays a hard-of-hearing, past-his-prime vampire hunter. Rudy De Luca plays Lt. Madden: De Luca is known for his comedic roles, but here, he plays a more serious role as a police officer investigating the mysterious events. Craig T. Nelson plays Sgt. O’Connor: This marked one of Nelson’s early film appearances. He later became well-known for his roles in TV shows like Coach and films like Poltergeist, and there’s the appearance of Walter Brooke as Bill Nelson. Brooke plays Cynthia’s father, who becomes a victim of Yorga’s sinister plans. Tom Toner plays Rev. Thomas Westwood: Toner’s character is a drunk priest who fails to recognize the supernatural threat.The film also includes more of the discordant music by Bill Marx and fashions by Jeannie Anderson.
The Return of Count Yorga (1971) solidified Robert Quarry’s status as a formidable presence in 1970s vampire cinema, with his sophisticated portrayal of the titular character helping to modernize the vampire archetype for a new generation. His subsequent roles were as the Manson-esque vampire guru Khorda in Deathmaster (1972) and his portrayal of Morgan, the ruthless mob boss who serves as the target of Sugar Hill’s (Sugar Hill 1974) revenge plot. His character embodies the oppressive forces that Sugar Hill (Marki Bey) must overcome in her quest for vengeance. These classic horror films of the 1970s further showcased Quarry’s versatility and cemented his place as a cult horror icon of the era.
