Category: Robert Quarry

MonsterGirl’s 150 Days of Classic Horror #43 Deathmaster 1972

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!

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MonsterGirl’s 150 Days of Classic Horror #36 Count Yorga, Vampire 1970 & The Return of Count Yorga 1971

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.

A Trailer a Day Keeps the Boogeyman Away! Robert Quarry-“I’m hard to scare”

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A Trailer a Day Keeps the Boogeyman Away! Halloween A-Z

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Supernatural 1933

Supernatural (1933) is directed by Victor Halperin and stars Carole Lombard as Roma Courtney, a young woman who finds herself entangled in a web of eerie supernatural events. After a strange encounter with a fortune-teller Madame Gourjan (Beryl Mercer), Roma’s life takes a dark turn. She becomes connected to the mysterious and malevolent spirit of Ruth Rogan (Vivienne Osborne), a black widow murderess who returns to life in Roma’s body, her evil spirit wants to exact revenge on her former lover, a phony spiritualist Grant Wilson (Randolph Scott) who betrayed her.

As Roma investigates the circumstances surrounding Ruth’s death, she becomes increasingly convinced of the supernatural forces at play. The film weaves a tale of suspense and eerie occurrences as Roma races against time to uncover the truth behind the threat that is haunting her.

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The Slime People 1963

The Slime People is a 1963 science fiction/horror film directed by actor Robert Hutton. The movie is set in Los Angeles, where a thick, mysterious fog suddenly engulfs the city. As the fog dissipates, it reveals a group of grotesque creatures known as the Slime People who have emerged from the underground. These slimy and subterranean beings begin to terrorize the city’s residents.

The film primarily follows the efforts of a small group of survivors who band together to combat the Slime People and find a way to escape the city. Along the way, they must navigate the treacherous streets of Los Angeles, evade the Slime People’s attacks, and uncover the mystery behind the creatures’ origins. It also stars sci-fi regular Les Tremayne. The Slime People was photographed by William G. Troiano who did the cinematography for the exploitation film Scream of the Butterfly 1965, The Devil’s Messenger 1962, and Horror of the Blood Monsters 1970. Tom Hollan is the guy in the slime suit.

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Scars of Dracula 1970

Scars of Dracula is a 1970 Hammer horror directed by Roy Ward Baker. In this installment of the Dracula series, the infamous vampire Christopher Lee’s Count Dracula returns to terrorize a small Eastern European village.

Paul (Christopher Matthews) seeks refuge in the village after escaping from Dracula’s castle. However, as Dracula sets his sights on Paul’s girlfriend Sarah (Jenny Hanley), the villagers become increasingly desperate to rid themselves of the vampire’s curse. The battle between good and evil intensifies as the villagers and a fearless priest attempt to confront the immortal Dracula and put an end to his malevolent reign. Scars of Dracula stars Dennis Waterman, Michael Gwynn as the priest, and beloved Michael Ripper as the Landlord.

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Simon King of the Witches 1971

Simon, King of the Witches is a 1971 cult film directed by prolific television scriptwriter Bruce Kessler (Chopper ep. Kolchak). The film follows the surreal journey of the enigmatic Simon Sinestrari, a modern-day, self-proclaimed witch and occultist who lives in the counterculture of Los Angeles. Simon, portrayed by Andrew Prine, uses his mystical knowledge and psychedelic experiences to navigate the tumultuous world of the 1970s. Simon is deeply involved in mysticism and practices witchcraft.

Simon’s quest for enlightenment and his desire to harness supernatural powers lead him to experiment with various rituals and mind-altering substances. Along the way, he encounters a colorful cast of characters, including a fellow witch named Linda (real-life love Brenda Scott), and a police officer who becomes obsessed with him.

As Simon delves deeper into the occult and his own psyche, the film blurs the lines between reality and hallucination, taking viewers on a bizarre and psychedelic journey into the world of magic, mysticism, and countercultural rebellion.

Simon is a complex character who combines elements of mysticism, rebellion, and a sense of being an outsider in society.

Andrew Prine captures Simon’s eccentric nature with a charismatic and unconventional performance as a nonconformist who rejects societal norms, and Prine embodies this by delivering his lines with a mix of intensity and whimsy. His portrayal of Simon’s oddball behavior, such as his penchant for wearing outlandish clothing and embracing a bohemian lifestyle is superb.

Read my tribute to Andrew Prine HERE:

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Sugar Hill 1974

Sugar Hill 1974 is an American International film, a unique and potent blend of blaxploitation and horror directed by Paul Maslansky. It’s known for its stylish and gritty portrayal of 1970s New Orleans. The story is centered by Diana “Sugar” Hill, portrayed by Marki Bey whose performance is marked by her charisma, confidence, and undeniable screen presence. a nightclub owner in the vibrant city of New Orleans. When Sugar’s boyfriend, Langston (Larry Don Johnson), is brutally murdered by a group of gangsters led by the ruthless Morgan played by Robert Quarry, she becomes determined to seek revenge. Bey effortlessly manifests Sugar’s journey from a nightclub owner into a vengeful force of supernatural retribution. The Black culture magazine Jet asked the question of why Black horror films drew their inspiration from the Christian vision of the Dracula mythos, ”when there was Voodoo in the Black experience.” Sugar Hill, attempts to rescue the legitimacy of Voodoo. ‘‘If most Blaxploitation celebrated a ‘bad N…’ who challenges the oppressive White system and wins, then Sugar Hill celebrated the ”Baad Bitch who did the same.” (Robin R. Means Coleman)

Mama Maitresses ‘‘How strong is your hate?'’

Sugar Hill ‘‘As strong as my love was, my hate is stronger.”

However, Sugar doesn’t turn to conventional methods of retribution, she uses supernatural forces to combat her adversaries. Instead, she seeks out the assistance of Mama Maitresse (the wonderful Zara Cully), a voodoo priestess, to help her get vengeance through supernatural means. With the guidance of Mama Maitresse and the power of voodoo, Sugar raises an army of undead, zombie-like enforcers to take down Morgan and his criminal empire one by one.

Sugar Hill [after feeding a man to a sounder of starving pigs in a pig pen] I hope they’re into white trash.

 

Sugar Hill ”Hey, Whitey! You and your punk friends killed my man.'

Tank Watson ‘‘You know, you got one of the prettiest asses in town. I’d sure hate to see it kicked in for accusin’ people.'

Sugar Hill ‘‘I’m not accusin’ you, Honk. I’m passin' sentence”

Marki Bey’s performance as Diana “Sugar” Hill in “Sugar Hill” is a standout in the blaxploitation genre. She brings a captivating mix of strength, determination, and vulnerability to her character. As Sugar, Bey portrays a woman who transforms from a grieving girlfriend into a fearless avenger, seeking justice for her murdered lover. Sugar Hill also co-stars Don Pedro Colley as Baron Samedi, Richard Lawson as Valentine, and Charles Robison as Fabulous.

The zombies in this film more closely resemble the creatures of voodoo legend – i.e., the walking dead who do the bidding – than the flesh-eating “living dead” popularized by Romero. According to the film, the zombies are the preserved bodies of slaves brought to the United States from Guinea, Africa.

“Much like the White Final Girl, Black women stare down death. However, these Black women are not going up against some boogeyman; rather, often their battle is with racism and corruption. In this regard, there is no going to sleep once the ”monster” is defeated, as the monster is often an amorphously coded as ‘Whitey”, and Whitely’s oppressions are here to stay. From Horror Noire Blacks in American Horror FIlms from the 1890s to Present by Robin R. Means Coleman

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Strange Behavior 1981

Strange Behavior 1981  is a disturbing and uneasy atmosphere that fills this science fiction/horror film directed by Michael Laughlin (Strange Invaders 1983, produced The Whisperers 1967 and Two-Lane Blacktop 1972). Set in a small American town, the film follows a series of gruesome murders that seem to be connected to a mysterious research project. The film explores the exploration of mind control, innocence lost, the terrifying realization that they may be capable of committing heinous acts against which they have no free will, paranoia and the juxtaposition of innocence all played out with graphic violence.

The story centers around a teenager named Pete Brady ( Dan Shor), who becomes entangled in the investigation when his friends are brutally murdered. As Pete delves deeper into the case, he discovers that the murders are linked to a behavioral experimentation program led by the enigmatic Dr. Le Sange (Arthur Dignam).

What makes the killings even more chilling is that the perpetrators are seemingly ordinary townsfolk who have been turned into mind-controlled killers on a homicidal rampage.

The film is known for its eerie and atmospheric cinematography, as well as its unique take on the horror genre. It explores themes of psychological manipulation, the consequences of unethical scientific experiments, and the dark side of human behavior.

With its combination of a small-town setting, a mysterious conspiracy, and a rising body count, Strange Behavior is a cult classic that offers a distinctive and unsettling take on the horror genre of the early 1980s. The murders are gruesome, one scene in particular still makes me queasy, not so much for its gore but for the naked realism that it conveys with its cold and mindlessness, and I don’t mean unapologetic, I mean somnambulistic viciousness. The brutal, violent acts of controlled killing, like homicidal puppets, still have a quite shocking effect. This intelligent visual construction of gore and violence diverges from the work of the father of the splatter genre -Hershell Gordon Lewis.

Strange Behavior is set in a small, seemingly peaceful town, which enhances the sense of isolation and vulnerability. The idea that such disturbing events can occur in an otherwise idyllic setting creates a feeling of unease and an atmosphere of mystery and paranoia as characters try to unravel the enigmatic events taking place in their community. The sense of not knowing who can be trusted and who may have succumbed to mind control adds to the film’s tension. The film stars Louise Fletcher, Michael Murphy as Pete’s dad John Brady, and Fiona Lewis as Gwen Parkinson Le Sang’s assistant.

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This is your EverLovin’ Joey Sayin’ S’eeee Ya at the snack bark to grab me a tray of the letter T for terror with some cheese on top!

A Trailer a Day Keeps the Boogeyman Away! Halloween A-Z

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Dr. Renault’s Secret 1942

His animal instinct cannot be tamed!

Dr. Renault’s Secret is a classic mystery and suspense film released in 1942, directed by Harry Lachman (Dantes Inferno 1935, The Man Who Lived Twice 1936). The story revolves around Madelon, the daughter of Dr. Robert Renault who lives in a small French village during World War II and the secret her father holds the keys to.

In the 1942 film Dr. Renault’s Secret starring J. Carrol Naish, a young man Dr. Larry Forbes (Shepperd Strudwick) arrives at a remote French villa to visit his fiancée Madelon (Lynne Roberts), who resides there with her scientist father, Dr. Renault. However, he becomes increasingly intrigued by Noel (J.Carrol Naish), Dr. Renault’s mysterious assistant, who seems strangely drawn to the doctor’s daughter. As the story unfolds, the young man unravels a shocking truth: Noel is no ordinary man but an ape transformed into a human through Dr. Renault’s bizarre, disturbing, and unorthodox experiments.

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Dr. Blood's Coffin 1961

Read my special tribute here: Brides of 60s Horror featuring Hazel Court

Dr. Blood’s Coffin is a British horror film released in 1961, directed by Sidney J. Furie, and a story and screenplay by Nathan Juran. The film tells the story of Dr. Peter Blood (Kieron Moore), a brilliant but eccentric scientist who relocates after medical school to a remote Cornish village of his youth called Porthcarron. There he sets up his Dr. Blood sets up his laboratory in an abandoned tin mine, where he conducts mysterious and unethical experiments on his human guinea pigs, in an attempt to discover the secret of immortality and raising the dead. As he conducts his brutal medical procedures, he is veiled by his surgical mask, hiding his true face until it is finally revealed that he is a medical monster. In between running hither and yon, he tries to woo Linda.

Initially, Peter is able to fool his father Dr. Robert Blood played by Ian Hunter, and Hazel Court who plays Nurse Linda Parker a young widow but soon enough he becomes suspicious of his son’s curious behavior once the villagers start to go missing. As the townspeople become increasingly suspicious of Dr. Blood’s activities, they fear that he may be responsible for a series of gruesome murders in the area. The local police, led by Inspector Cook, launch an investigation into the strange occurrences in Porthcarron and Peter offers to help out in order to lead Cook astray, but Linda grows weary and stumbles upon Peter harvesting a heart from one of his victims.

Enraged by Linda’s failure to recognize the significance of his groundbreaking research, Peter tries to impress her by trying to reanimate her dead husband, with horrible, disastrous results. After marinating in a grave for an entire year, he has become a grotesque rotting corpse.

“You haven’t brought Steve Parker back to life! that’s something out of Hell!”

Regardless of its Operatic title Dr. Blood’s Coffin is a pretty tepid chiller that focuses on the mad scientist archetype, the eerie atmosphere of a small, isolated village, and the unholy alliance between madness and scientific meddling. The film only comes to life in the last 20 minutes. However, it is a curio of the 1960s Gothic horror and Hazel Court is always mesmerizing.

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Dr. Jekyll and Sister Hyde 1971

Dr. Jekyll and Sister Hyde is a 1971 horror film directed by Roy Ward Baker and written by Brian Clemens. The movie is a unique twist on the classic mythos of Dr. Jekyll and Mr. Hyde, blending elements of horror and Victorian-era intrigue.

The story revolves around Dr. Henry Jekyll (Ralph Bates), a brilliant scientist living in 19th-century London, who becomes obsessed with discovering the secret of immortality. In his experiments, he creates a potion that transforms him into his beautiful and deadly evil alter ego Sister Hyde, brought to life with decadent flair by Martine Beswick.

As Dr. Jekyll continues to experiment with his potion, he finds himself increasingly drawn to his alter ego, Sister Hyde. The dual identity becomes more complex as Dr. Jekyll’s male and female sides vie for control, leading to a series of gruesome murders in the city.

Dr. Jekyll and Sister Hyde explore themes of gender identity, sexuality, and the duality of human nature while putting a fresh and provocative spin on the classic story. The film is known for its mix of horror, dark humor, and social commentary, making it a notable entry in the pantheon of Jekyll and Hyde adaptations.

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The Deathmaster 1972

“Would you like to trade a lifetime of petty passions for an eternity of ecstasy?”

The Deathmaster is a 1972 horror film from American-International starring Robert Quarry as the enigmatic title character, Khorda. The movie follows a group of young people who find themselves drawn into the world of the charismatic and ageless Khorda.

Khorda is a vampire who has lived for centuries, and he has the ability to turn others into vampires as well. He forms a coven of followers, luring them with the promise of eternal life and power. As the group becomes more deeply involved with Khorda, they begin to experience the consequences of their newfound immortality.

The Deathmaster, which had stealthily made its way into neighborhood theaters appears to be a fusion of different influences where Roger Corman’s productions collide. According to Roger Ebert, there was evidence from within, it seems the producers had Robert Quarry committed for approximately two weeks of work. Additionally, they seemingly possessed a trove of active contracts for a troupe of unemployed beach-party extras. It was Ebert’s ponderings that came up with the notion that otherwise, how can you explain this horror film’s schizophrenic nature, arguably the most disjointed narrative part -‘ beach party’ film & ‘anti-establishment film & finally a modern gothic vampire movie?

By now, the enigmatic Quarry was a seasoned pro in the realm of vampires having mastered the contemporary bloodsucker in Count Yorga, Vampire 1970, and The Return of Count Yorga 1971 both favorite horror films of the ’70s decade as a matter of fact Robert Quarry is perhaps my favorite vampire next to Bela Lugosi. Please Hammer fans don’t come for me, while I recognize that Christoper Lee is certainly enigmatic and stylishly ferocious as bloody-eyed sharp-toothed Count Dracula, Bela has an old-world sensuality befitting the old count, and Quarry possesses an urbane magnetism that is captivating to watch.

The Deathmaster Quarry arrives at dawn in an ancient coffin that washes ashore on Santa Monica Beach. he then inextricably turns at a beach house inhabited by the castoffs from beach parties and a motorcycle vagabond who seems to be refugees from the best exploitation biker movies.

Count Khorda presents them with a radical proposition: “Would you like to exchange a lifetime of petty pursuits for an eternity of rapture?”

The Deathmaster is known for its cult following and Robert Quarry’s portrayal of the enigmatic vampire leader captures the countercultural spirit of its time while also providing a unique take on vampire mythology.

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Dark Places 1974

Dark Places is a 1974 British horror film directed by Don Sharp and stars Christoper Lee, Joan Collins, Herbert Lom as Prescott, Robert Hardy, Jean Marsh as Victoria Marr, and Jane Birkin. It tells the chilling story of a family’s dark secrets and the eerie events that unfold in an isolated mansion. The film revolves around the Marlowe family, who have recently moved into a secluded manor.

After taking ownership of a decaying mansion, Robert Hardy as Edward Foster at a bequest from a former mental patient, Edward Foster becomes increasingly attuned to eerie phenomena and ghostly voices within its walls, echoing the violence and psychological torment and betrayal that led up to the tragic events.

Unsettlingly, he finds himself falling under the sway of Mr. Marr (Foster), the deceased original owner of the manor, as the chilling tale of his family’s demise gradually unfolds.

Marr had contemplated abandoning his family, to start a new life with his mistress Alta (Jane Birkin), and had emptied his bank account before succumbing to madness. Madness ran in the family bloodline and his two psycho offspring are a murderous pair of demonic children.

The whereabouts of the hidden fortune somewhere within the mansion become a tantalizing enigma. Meanwhile, the local doctor and his sister, along with Foster’s solicitor, Mr. Prescott, pretend to befriend the new proprietor while harboring ulterior motives"”uncovering the hidden wealth. Christopher Lee plays Dr. Ian Mandville and Joan Collins his sister Sarah who tempts Edward romantically in order to find the secret fortune hidden in the house. But the ghosts of the past revisit themselves upon those who would seek to obtain the Marr wealth with a few twists and turns along the way.

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Day of the Animals 1977

Day of the Animals is a 1977 eco-horror film directed by William Girdler (Three on a Meathook 1972, Abby 1974, ‘Sheba, Baby’ 1975, The Manitou 1978) The movie is set in the beautiful but perilous wilderness of the Sierra Mountains, where a group of people embark on a hiking expedition. However, they soon discover that something unnatural and deadly is happening to the wildlife.

As the group journeys deeper into the wilderness, they begin to experience increasingly aggressive and bizarre behavior from the local animal population. It becomes clear that a depletion of the ozone layer due to pollution has caused animals to go mad and become violent, targeting humans as their new prey.

The film explores themes of environmentalism, human impact on nature, and the consequences of ecological imbalance. It also delves into the survival instincts and group dynamics of the hikers as they fight for their lives against the relentless onslaught of deadly animals.

Day of the Animals is a classic example of the eco-horror subgenre, where nature itself becomes the antagonist. It combines suspense, action, and a cautionary message about the importance of preserving the environment. The film stars Leslie Nielson, Christopher George, Lynda Day George, Richard Jaekel, Ruth Roman, and Paul Mantee, and a slew of god’s creatures who are rightly pissed off at us!

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Dead and Buried 1981

Dead and Buried is a 1981 horror film directed by Gary Sherman and stars Jack Albertson as the town’s busy mortician. It is atmospheric in its tone and unease from the beginning which is sustained throughout the movie. Set in the small coastal town of Potter’s Bluff, which seems like an idyllic, peaceful place making it both picturesque and sinister, harboring a nightmarish secret. However, the town holds a dark secret. When strangers visit, they are subjected to gruesome and mysterious murders. The local sheriff, played by James Farentino, starts investigating these bizarre killings, uncovering a horrifying conspiracy involving a mad scientist, reanimation, and a town that is not what it seems. As the sheriff delves deeper into the mystery, he becomes increasingly aware that the town’s residents may not be entirely human.

As the Farentino investigates the bizarre murders, the audience is drawn deeper into the enigmatic plot. The movie keeps viewers guessing and engaged as it slowly unravels its secrets. Dead and Buried is praised for its practical effects, particularly the gruesome and shocking death scenes. It also features a pervasive sense of dread and relentless unease shaped by director Gary Sherman and cinematographer Steven Poster.

The story opens with a photographer George Le Moyne (Allport) shooting images of a serene beach when he is lured by a mysterious solitary woman. Suddenly he is overtaken by a mob of townspeople who brutally set him on fire while the woman (Lisa Blount) smiles. Showcasing the film’s dark humor his final words are ‘‘Welcome to Potters Bluff.” Next comes a fisherman, a hitchhiker, and a family of tourists, all of whom are violently mutilated.

From the gruesome prologue on, the movie follows Sheriff Dan Gillis who seeks answers as he untangles the macabre and alarming occurrences that are gripping his once peaceful town. It becomes clear that the townspeople are responsible for the savage murders.

Dan turns to help from the town’s eccentric mortician and coroner William G. Dobbs (Jack Albertson) who laments about being underappreciated for his artistry and skill in restoring the dead who had come by a grisly end. Along the way, Dan finds several disturbing clues, for instance, the gas station attendant Freddie seems to be the spitting image of the photographer who was burned alive at the beach and later murdered at the hospital. Townfolk eventually grow as a community of familiar dead folk, Robert Englund as Deputy Sheriff Harry, and Michael Pataki as Sam the gravedigger are amongst the living dead community who joyfully join in the serial murders.

The mystery deepens when Dan’s wife Janet played by Melody Anderson is found to have been involved with the dead photographer. She also seems to have a curiosity about witchcraft and books about raising the dead. Driving on a foggy night in a coastal town, you’re bound to hit a pedestrian right? Though the guy’s arm is ripped off and is caught on the grill of Dan’s car, he runs off taking his arm with him. Dan brings a tissue sample from the grill to the local doctor who analyzes it and tells him that it belongs to someone who has been dead for months. Dobbs had been removed from a city hospital when he was found dabbling with the corpses. “This is an art. I am the artist.”

Over the years, Dead and Buried has gained a dedicated cult following. Its blend of horror, mystery, and supernatural elements has endeared it to fans of the genre, who appreciate its unconventional approach. Some critics have noted that the film incorporates social commentary on themes like the fear of outsiders and the consequences of blindly conforming to authority, adding depth to the story beyond its horror elements.

Dead and Buried remains a particularly interesting curiosity from the ’80s due to its gruesome and chilling deaths which are highlighted by the exceptional artistry of the special effects maestro Stan Winston.

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 This is your EverLovin’ Joey sayin’ don’t be D’etoured from moving on to the E-vil letter E!

A Trailer a Day Keeps the Boogeyman Away! Robert Quarry-“I’m hard to scare”

For this upcoming Halloween, I thought I’d pay the Boogeyman off with a few fearful trailers! I put together a little theme here at The Last Drive In – and I thought to myself… how ’bout offering up several off-beat & groovy horror flicks from the 1970s featuring that smooth & sinister villain – cult horror star!-Robert Quarry, the enigmatic dark anti-hero of horror, suave yet not overtly theatrical. He’s got a sublime sex appeal with the underlying trance like magnetism of a viper – mysterious, charistmatic and dangerous. He even attained his villainous status to go head to head with Vincent Price as Darrus Biederbeck, his nemisis in Dr. Phibes Rises Again 1972 and in Sugar Hill 1974 he plays another predatory bastard – Morgan who needs to get his arrogant ass whooped by the entrancing Marki Bey as Diana ‘Sugar’ Hill.

It’s his aesthetic that works so perfectly in the cult horror genre. And I believe that the sophistication and malignant evil of his Count Yorga is perhaps one of THE most exquisitely predatory vampires in the history of terror on screen! Quarry’s vision of his style of vampirism, was to move away from the conception of what we experienced watching Bela Lugosi or Christopher Lee’s Dracula. Not to downplay the significance of those two great performances. He wanted to give Yorga ‘a kind of reality and play him straight.’ (Robert Quarry in an interview)

Narrator: (George Macready) A vampire, in ancient belief, was a malignant spirit who when the earth lost its sunlight rose nightly from its dark grave to suck blood from the throats of the living. Its powers were many. It could see in the dark, which was no small ability in a world half-veiled from light. Its hypnotic skills baffled the domain of science. It was of a cunning more than mortal, for its cunning was a growth of ages, since it could not die by the mere passing of time. It had to have been by a wooden stake driven deep into its heart, or exposure to the rays of the sun, which would instantly decompose its body into a miasma of putrid decay. The believers of this superstition referred to vampires as the living dead. I seem to be making use of the past tense. Perhaps the present would be more precise, for it stands to reason that if one is superstitious, even on a small, seemingly insignificant level, one must be vulnerable to all superstitions, conceivably even those of vampires. Superstition? (laughs maniacally)

COUNT YORGA, VAMPIRE 1970

Dashing, Dark and Deadly-MISTRESSES of the DEATHMASTER – sharing his hunger for human flesh, his thirst for human blood, his evil lusts that even Hell cannot fulfill!

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“… the special appeal of Count Yorga, Vampire may well be its Los Angeles locale… Count Yorga’s ambience is pure Hollywood and the seamy elegance of Robert Quarry’s performance… exactly compliments {sic} that ambience. Bob Kelljan’s direction, often resourceful, does especially well by Quarry’s disdainful civility… “ – Roger Greenspun, New York Times, November 12, 1970.

Count Yorga, Vampire is a moody 70s dive into terror, amidst a sense of mounting dread, squalor, claustrophobic panic and Robert Quarry’s conjuration of arrogance and menace, with an opening seasoned with campy irony and provocative narration by character actor George Macready! At the time of it’s release, because Yorga is a departure from Victorian or 1930’s settings, the film can be considered a move forward, bringing the vampire lore into modern times, that started a new trend. Though not showcasing modernity with the wheels of progress spinning as with films like The Hunger 1983 or The Lost Boys 1987, Count Yorga possesses a somewhat reformist aura and the hints of Gothic fairytale meeting up with a contemporary feel that makes for a very  inventive atmosphere. Though Quarry’s vampire still wears a cape, his Machiavellian hostility oozes from underneath his blood red velvet smoking jacket. It is this remnant of actors sinking their teeth into the role of Dracula or in this case another descendant of European vampiric royalty transported to contemporary California – that gives Quarry’s attempted tribute a bit of a twist, yet deliciously cliché.

I was so lucky to have seen Count Yorga, Vampire during it’s theatrical release in 1970. I hadn’t experienced anything like it before having grown up being transfixed by Bela’s swarthy, sensual, old world vampire, and Christopher Lee’s terror inspiring, blood red eyed Count. With Yorga, he evokes a level of disquiet in me from watching a slew of campy yet shockingly gruesome scenes in the film. There’s a languidness, an eerie dread, a modern Gothic sensibility that washes over films like Yorga, overcast with a hazy lens of 70s colors and an uncanny pacing that is indicative of many of the decade’s horror films. Consider Let’s Scare Jessica to Death 1971 – and any attempt at contemporary homage to that grand decade of experimental horror, will always lack that organic moody vibe that is persistent in 70s classic cult horror. To me it all seems to appear – a forgery.

Directed by Bob Kelljan  Yorga co-stars Roger Perry, Michael Murphy, Michael Mcready (George’s son), Donna Anders as Donna, Judy Lang as Erica, Edward Walsh as the brutish Brudah, Marsha Jordan as Donna’s mother (reigning queen of softcore cinema in the 1960s), Julie Conners, Paul Hansen as Peter and Sybil Scotford as Judy.

The film takes place in contemporary Los Angeles where vintage hipsters assemble a groovy séance in order to contact Donna’s (Donna Anders) mother, who has recently passed away. The medium who has been chosen to lead the ceremony is the enigmatic Count Yorga, who claims to have been her mother’s lover. Oddly, Yorga talked Donna out of cremation. He is in fact a modern day vampire who also has the power of telepathy and hypnosis. After the séance, Erica (Judy Lang) and Paul (Michael Murphy) take Yorga back to his creepy isolated mansion, and must camp out in the surrounding woods when their van gets stuck in a convenient mound of mud. After the couple indulge in some 70s VW van nookie, Yorga lurks, then attacks to the backdrop of cricket’s eerie night song and a lake of murky dark. He beats Paul unconscious and bites Donna, putting her under his control.

The next day, Paul notices the strange puncture wounds on Erica’s neck and takes her to see his friend, a blood specialist, Dr. Hayes (Roger Perry), who discovers that the pale as chalk Erica has been drained of blood and is now suffering from pernicious anemia. After they find Erica drinking the blood from her WARNING: – kitten- Paul is skeptical about the existence of a modern day blood sucker, but Hayes suspects that she is the victim of a vampire attack. That evening, Yorga summons Erica and offers her eternal life, taking her back to his secluded castle where his other brides await. She is transformed into a lustful creature, ghostly, predatory, under Yorga’s masterful spell and hungry for blood.

Paul, Donna, her boyfriend Michael and Dr. Hayes show up at the castle looking for Erica. Her boyfriend Paul who had arrived earlier and has been killed by his servant Brudeh.

There begins a restless game of cat and mouse as Dr. Hayes insinuates himself in Yorga’s castle, and tries to talk Yorga into dawn, working his way up to the question, does he believe in vampires? Vampires are real and more superior than humans, he smugly informs Hayes. Onto Haye’s game, Yorga manages to evade the daylight, so he and Michael plan on coming back the next night kill him. Donna, under Yorga’s hypnotic domination, exercising his influence on others, is summoned to the castle. Hayes and Pete (Paul Hansen) must somehow fight off the grotesque servant, Brudah, Yorga’s thirsty brides (Donna’s mother being one of them), who dwell in the castle like deathly Hammer nymphs, and must somehow save Donna and ultimately destroy Yorga.

Quarry would go on to reprise his role in 1971 with The Return of Count Yorga.

THE RETURN OF COUNT YORGA 1971

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The overlord of the damned… The last of the vampires walks again among us… and Evil will have its bloodiest hour! 

American International Pictures brought back Yorga using the original crew, a script by Yvonne Wilder, directed by Kelljan and a bigger budget. The film also stars Mariette Hartley as the heroine, Cynthia Nelson, who will become the object of Yorga's desire. There's a looming sense of expressionist disharmony. It opens with a sequence in a graveyard, in almost Jean Rollin fashion, where buried vampire brides break through the ground while young Phillip Frame (as creepy Tommy from the neighboring Orphanage), plays with his ball, and winds up coming face to face with Count Yorga. Once again Yorga uses his powers of hypnosis to get his victims to do his bidding, and the film does suggest that Tommy has himself become a fiend.

The undead vamps slaughter a family at a fancy dress party in suburbia. Yorga, wipes the memory of the surviving members who were attacked. Tommy has an evil little ghostly angel face, and he lies about what happened to the family who were murdered, as well as helps Yorga ensnare his victims and he too commits murder, when he stabs Jennifer to death. Jennifer (Yvonne Wilder) is mute and somehow resistant to Yorga’s influence. She’s the only one who knows what happened the night of the attack, but no one believes her.

Once again, Count Yorga waves his powers of hypnosis over Cynthia, who also survives the attack, and eventually pieces from that night start coming back to her. The overlord of the damned decides that he is in love with Cynthia and wants her to share an eternity with him, though he wants her to come willingly. She comes to stay with him at Gateway Mansion, where David (Roger Perry) fights for her eternal soul.

Perry is back once again as a doctor, this time Dr. David Baldwin, her fiancé, and George Macready makes an actual appearance as Professor Rightstat. The Return of Count Yorga also co-stars Michael Pataki and Walter Brooke.

Incidentally, George Macready is the producers father, which explains the actors involvement in both films, though Macready is not a stranger to being cast in eerie narratives. He gave a feverish performance in Boris Karloff's anthology series, Thriller episode The Weird Tailor, (written by Robert Bloch) where he will stop at nothing, even black magic, to bring his son back to life.

THE DEATHMASTER 1972

Eyes Like Hot Coals…Fangs Like Razors! Khorda the Deathmaster Has Left His Tomb!

Directed by Ray Danton (actor I’ll Cry Tomorrow 1955, The Longest Day 1962-directed the very freaky Psychic Killer 1975) Screenplay by R L Grove, music by Bill Marx who also worked on Scream Blacula Scream 1973. The Deathmaster resurrects Robert Quarry’s synergy of sophistication and menace, this time as Korda, a long haired vampire who washes up on a Southern California beach in his coffin, and is met by a flute playing spaced out hippie, that serenades his arrival, then proceeds to drag his master along the sand on his back. Only after he has strangled a surfer who has made the mistake of looking inside the coffin. The opening feels like an exploration into the bohemian netherworld, somehow inverted into a modern dance of the macabre. Marx’s opening score, using bell trees, clarinets and harpiscord are truly a moody piece of work.

Korda proceeds to play a Guru surrounded by hippies, sans cape this time, instead trading in his smoking jacket for a Nehru or ruffled poet shirt and beads and a talisman around his neck and leather sandals and sardonic goatee. The Deathmaster is a trippy low-budget dive into the craze for spiritual growth and metaphysical discourse, with Korda spouting philosphical meanderings that Quarry in fact improvised. After fusing together a Manson type cult, they all become lambs to the slaughter. Korda radiates his connection to immortality which gives him a godlike aura he uses to mesmerize this 1970s generation that are renegade seekers of truth and transcendence, and free will and free love. The only one who rebels against the master, is Pico who sees him as a false prophet. Pico’s girlfriend, Rona becomes Korda’s object of desire.

Deathmaster also features John Fiedler as poncho wearing Pop, Bill Ewing as Pico and and Brenda Dixon as Rona-who appeared in 165 episodes of the popular soap opera- The Young and The Restless.

FUN FACT:

A production still reveals that the picture was filmed in December 1970 under the shooting title “Guru Vampire.”

The critic Robert Ebert claims that the Santa Monica beach used at the start of the movie is the exact same location used by Corman’s “Attack of the Crab Monsters”.

Quarry wears the same set of prop vampire fangs in this as he did in both Count Yorga movies. They were specially made and fitted by his dentist.

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This is your EverLovin’ Joey sayin’ keep your homemade stakes wittled out of broom handles, ready in case Robert Quarry’s lurking round your VW van… don’t you wish you had one! I do…