Deathmaster

What a truly tripy movie. An obscure and mostly overlooked cult classic. Not certain if the original Yorga film was to ever see a sequel, and having been paid peanuts compared to what the film had grossed at the box office, Quarry was determined to make a quick buck by exploiting "The Deathmaster" name (which had been used profusely in the iconic promo posters of the original Count Yorga Vampire film) and the whole concept of him as a chic and charismatic vampire. A true exploitation film through and through, the movie obviously tries to make Quarry appear like Charles Manson. It also ties into the whole "evil cult" aspect of the Charles Manson case and the infamous and brutal murders, which had, at the time, shocked the nation to its very core. In the end it's a descent film, but not nearly as entertaining as the original Count Yorga Vampire movie or the riveting sequel, The Return of Count Yorga. In any case, it's nothing less than a true gem of a film for any hardcore horror fan.

This is a bit different for a vampire film - the idea of vampires and hippies together. The movie does have entertainment value for fans of vampires in film.

For a budget film it's pretty good. The acting is much better in this film than you'd expect. The story is interesting enough and the costumes and sets are good.

Robert Quarry make one creepy looking vampire - he's a bit scary in this one. He plays Khorda a mysterious man that ends up with a following of hippies.

Overall this is a fun vampire film - it may not be the best vampire film made but it's an entertaining one that is enjoyable to watch.

6/10

Good horror flick. No movie can be overlooked that has wimpy John Fielder as a fearless vampire stalker. Seems a hippie clan up LA's Topanga Canyon is enticed by ethereal stranger (Quarry) into coming to his canyon mansion. Of course, he has dire motives for enticing them. But he's a smooth talker, with what sounds like a profound message about life and eternity. I couldn't help thinking Charles Manson given the general context of hippies following a charismatic leader. But the mansion turns out to be something of a labyrinth of horror, as the care-free kids soon find out.

I like the way Pico (Ewing) is shown early on as possessing what was then an unusual knowledge of Asian martial arts. That way, we know he's more than his rather slight appearance. He'll need that when he defies the imperious Khorda. Then too, the exotic looking Barbado (Hilton) makes a scary zombie-like enforcer. That opening scene with him at the beach amounts to a real grabber. Also, there're a couple of good twists that break with genre clichés.

Anyway, pitting hippies against a vampire is an imaginative premise that plays out in pretty effective fashion. So ignore establishment critic Roger Ebert who hated the movie (IMDB), probably because the title smacked of lowly drive-in fare. And kudos to leading-man actor Ray Danton who shows talent in his first directorial outing. Meanwhile, as an LA resident, I guess I won't be going up Topanga Canyon any time soon.

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.

This was another surprising film. With a title like "Deathmaster" you don't expect too much, do you(?)

Unexpectedly, what we get is an average, but watchable and enjoyable vampyre yarn. The screenwriter, R L Grove, gives us the first metaphysical vampyre story I've seen. He uses the undead's immortality to play on the issues of existence and truth. Subjects that have hounded mankind since creation. Khorda uses this philosophy to draw in his young prey, whose eager minds are ready to accept the snake oil he's selling. Quickly, he's the Sire of his brood... except for Pico, the anti-hero of our tale.

Can Pico save the love of his life, Rona, from becoming a member of this Vampyre Clan?

For the answer to that question, you must watch the movie.

Ray Danton, who directs this little number, gives the audience some impressive scenes. The best example being the opening sequence. This perfect way to start a film. We see a man arrive at some seaside cliffs. He sets up some paraphernalia, which may be occult in origin. He then produces a wooden flute and plays. As the tune floats on the wind, the surf washes a black coffin ashore. A passing surfer lets his curiosity get the better of him and he opens up the casket. Shocked by what's inside, he quickly closes the lid and turns to leave... only to find the flautists hand waiting to strangle the life from him. Casting the dead surfer aside, the man then hefts the coffin onto his back and drags it away across the sands. Danton has constructed this sequence splendidly. It slams a mystery straight into the viewers' minds. And is a powerful hook to keep their eyes on the screen.

There is one slight drawback to the scene, though. That is the wooden flute. The sound it produces is so deep and rich in a tone that you instinctively know it doesn't come from this woodwind instrument. You need something with more substance and resonance to produce the beautiful timber. This is a shame because it breaks the viewers' concentration from the first note played.

I wish Danton had included more well-constructed scenes throughout the film. I have to admit the film's conclusion comes close to the power of the opening sequence. However, thanks to Bill Ewing's poor acting, it doesn't reach the same enthralling heights. And regrettably, most of the film is pedestrian in both direction and creativity, There were several instances when my attention faltered and I withdrew from the story. It's not great for the film or the viewer. It should focus your attention on the unfolding story. However, I got through to the end, which I'm glad I did. The ending presents a most bittersweet conclusion to the story.

Robert Quarry gives an outstanding performance as the Vamp Khorda. He exudes the right balance of conviction and sliminess the character requires. He also has the perfect stance to carry his character with regal elegance. Proving, he's the leader of this pack.

Bill Ewing play Pico, the native American. Sadly, Ewing is the weakest link in the film. I found him to be under-skilled at his craft. His acting was staid and wooden. Though Ewing's body acting hinders the movie most. Nearly destroying the climax of the film. He is wholly unbelievable as Pico and there's zero chemistry between him and Rona, Brenda Dickson. So it becomes difficult for the audience to relate to him or get behind his quest to save his beloved.

Dickson is amiable enough in her role of Rona. She's better skilled at acting than Ewing and almost makes up for his weakness... almost.

Because the "A-Cast" isn't too good, it's the "B-Cast" who bolster the film. Especially the veteran actor John Fielding who plays Pops. Pops' persona is comparable to every character we've seen Fielding play. Yet, this very reason is how he strengthens the movie. When you see Fielding your mind connects him with his other roles and gives you a sense of familiarity and reliability. Automatically you believe the film can't be too bad because he's chosen to act in it. A marvellous ploy, but alas, Pops doesn't have much screen-time. This is a shame as both Fielding and his character deserved more time and presence within the story.

That said, the film offers a different take on the Vampyre mythos and for that reason is worth one sitting. I don't think I'll be rushing back to this one too soon. This film's for the Vamp lovers out there. Horror fans can steer clear as there's little to no fear here.

Ratings: Story 1 : Direction 1.25 : Pace 1 : Acting 1 : Enjoyment 1 Total 5.25 out of 10

Flap those bat-wings and fly on over to my Absolute Horror list to peek at where this bat nested in my rankings.

Take Care and Stay Well.