IMDb > Blood Bath (1966)
Blood Bath
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Blood Bath (1966) More at IMDbPro »

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Release Date:
2 March 1966 (USA) See more »
The shrieking of mutilated victims caged in a black pit of horror!
A crazed artist who believes himself to be the reincarnation of a murderous vampire kills young women, then boils their bodies in a vat. | Full synopsis »
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User Reviews:
In Need of a Reassessment From Critics See more (15 total) »


  (in credits order)

William Campbell ... Antonio Sordi
Marissa Mathes ... Daisy Allen
Lori Saunders ... Dorean (as Linda Saunders)
Sandra Knight ... Donna Allen
Karl Schanzer ... Max, the artist (as Carl Schanzer)

Biff Elliot ... Cafe Manager

Sid Haig ... Abdul the Arab
Jonathan Haze ... Beatnik
Fred Thompson ... Beatnik
David Ackles ... Carousel Operator
Thomas Karnes
Frank Church
David Miller
Jess Nichols
Lowe Stephens
rest of cast listed alphabetically:

Roger Corman ... Antonio Sordi (in flashback) (uncredited)
Jac Flanders ... Guest (uncredited)
Patrick Magee ... Linda's Husband (archive footage) (uncredited)
Steve Pendleton ... Head shop operator (uncredited)

Directed by
Jack Hill 
Stephanie Rothman 
Writing credits
(in alphabetical order)
Jack Hill 
Stephanie Rothman 

Produced by
Jack Hill .... producer
Roger Corman .... executive producer (uncredited)
Original Music by
Ronald Stein 
Mark Lowry (uncredited)
Cinematography by
Alfred Taylor 
Film Editing by
Candace Kane 
Production Design by
James Bruner 
Makeup Department
William Condos .... makeup artist
Production Management
Bart Patton .... production manager
Sound Department
Gary Kurtz .... sound
Music Department
Ronald Stein .... music supervisor
Other crew
Sharon Compton .... script supervisor

Production CompaniesDistributors

Additional Details

Also Known As:
"Track of the Vampire" - USA (TV title)
See more »
80 min
Sound Mix:
Filming Locations:

Did You Know?

Just over 9 minutes were cribbed from "Portrait in Terror." Jack Hill shot all the new scenes with William Campbell and most of the beatnik footage, while Stephanie Rothman added all the vampire footage.See more »
Movie Connections:
Referenced in New Year's Evil (1980)See more »


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2 out of 3 people found the following review useful.
In Need of a Reassessment From Critics, 6 October 2011
Author: gavin6942 from United States

A crazed artist (William Campbell) who believes himself to be the reincarnation of a murderous vampire kills young women, then boils their bodies in a vat.

Michael Weldon called Blood Bath "a confusing but interesting horror film with an even more confusing history." This is quite right, as the film actually started out as a spy thriller filmed in Yugoslavia with William Campbell, and Francis Ford Coppola somehow involved. But Roger Corman did not like the finished product -- which no one has ever seen -- and scrapped it.

And then, wanting to revive it as a horror film, he brought in Jack Hill to cut out the spy parts and film new horror parts. Let me say, I love Jack Hill. Now, that is because I think "Spider Baby" might be the greatest horror film of the 1960s. But Hill is no slouch in this earlier outing, either (financially backed by B-movie god Roger Corman and with supporting actors Sid Haig and Patrick Magee).

But then, after Hill completed his version of the film, Corman again did not like it... and a third director was hired to finish the job. That is the film we have today.

With the three visions mixed, there is a something of a mystery to this film, almost like a bit of a dream to it. While it could be compared to "Color Me Blood Red" or "A Bucket of Blood" (many have pointed out the beatnik artist connection), there is more ambiguity here. Is the artist a vampire? A reincarnation of a vampire? Even connected at all? George Romero explored this theme again (albeit in a very different way) with "Martin", but I think Jack Hill did just as well in many respects.

I would love to see what Hill's version looked like before the new additions and changes. Would it be better? Worse? Just different? I have no idea. But now, looking back on Hill's career, we see he is a far more important part of cinema history than he could have been known to be at the time. Preserving his work would be a good way to add to his legacy, and I would firmly support it.

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