Robert Quarry only did a handful of horror films unfortunately, but each showcases a fine performance of subtlety mixed with genuine menace. The Deathmaster is no exception. The film chronicles the activities of a vampire named Khorda that becomes the guru of a hippie commune in California. Quarry gives the vampiric guru charm and aloofness as he spouts hippie doctrines to eager high listeners, waiting for some kind of direction in their lives. The film itself is nothing monumental, yet I found it to be thoroughly entertaining. It is a period piece in a way, because it shows just how prevalent the hippie culture was and shows us the costume of the day so to speak. Quarry gives a fine performance, as do the bulk of the cast. There are some splendid scenes in the film, most notably the opening one of a man on a beach performing some ritual and playing his flute. Moments later we see a coffin wash up on the shore. A jogger comes across it, opens it, and attempts to flee. Just as he turns, the flute player throttles him and he falls to the sun-dried sand. This is the best scene in the film, but the rest is pretty entertaining overall.
22 Reviews
Vampires And Hippies
Rainey-Dawn10 January 2016
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
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
A Metaphysical Vampire Tale... Life, Death, And Immortality...
P3n-E-W1s326 May 2020
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.
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.
Good Horror Flick
dougdoepke10 January 2017
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.
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.
Deathmaster
BandSAboutMovies24 September 2022
Warning: Spoilers
Khorda (Robert Quarry) may look like Count Yorga and use a line from the ads for one of his two movies, but he is not him. I know, he's even wearing the same prop fangs, but I have been assured that this is not Count Yorga.
This vampire's coffin floats onto the beach from Invasion of the Crab Monsters and before you can say Manson Family, he has an entire army of impressionable hippies answering his orders like the flute-playing Barbado (LaSesne Hilton) who kills a surfer as simply as I would write about a movie and Bobby Pickett - yes, Boris "Monster Mash" Pickett - playing some folk songs while everyone tunes in and drops out.
There's also the union of biker couple Monk Reynolds and Esslin (William Jordan and Berry Anne Rees) with hippie kung fu practitioner Pico (Bill Ewing) and his lady Rona (Brenda Dickson) who get help evading the cops from a guy who sells ponchos and other counterculture stuff, Pop (John Fiedler, the voice of Piglet). When Pop's puppy gets bit by a vampire, it's time to breach the walls of Khorda's castle.
All the Yorga movies - yes, I know, I said this wasn't one - have bummer endings and this is no different. I guess I respect that it has counterculture cults with the least nudity one of those gatherings ever had. The hero is also a complete moron so you'll probably cheer on Khorda.
This vampire's coffin floats onto the beach from Invasion of the Crab Monsters and before you can say Manson Family, he has an entire army of impressionable hippies answering his orders like the flute-playing Barbado (LaSesne Hilton) who kills a surfer as simply as I would write about a movie and Bobby Pickett - yes, Boris "Monster Mash" Pickett - playing some folk songs while everyone tunes in and drops out.
There's also the union of biker couple Monk Reynolds and Esslin (William Jordan and Berry Anne Rees) with hippie kung fu practitioner Pico (Bill Ewing) and his lady Rona (Brenda Dickson) who get help evading the cops from a guy who sells ponchos and other counterculture stuff, Pop (John Fiedler, the voice of Piglet). When Pop's puppy gets bit by a vampire, it's time to breach the walls of Khorda's castle.
All the Yorga movies - yes, I know, I said this wasn't one - have bummer endings and this is no different. I guess I respect that it has counterculture cults with the least nudity one of those gatherings ever had. The hero is also a complete moron so you'll probably cheer on Khorda.
Keep on suckin'.
BA_Harrison5 February 2024
After starring as a vampire in Count Yorga and its sequel, The Return of Count Yorga, Robert Quarry appeared as yet another bloodsucker in Deathmaster, playing Khorda, a centuries old vampire who forms a Manson-style hippie cult, turning a commune of stoned drop-outs into loyal fanged followers. Bill Ewing plays Pico, who attempts to rescue his girlfriend Rona (Brenda Dickson) from the clutches of Khorda, with help from occult enthusiast Pop (John Fiedler).
Rarely have I seen a film that has dated so badly: rooted firmly in the hippie culture of the day, Deathmaster features dreadful flower power songs, groovy dancing, far-out fashion, and some hilariously bad '70s lingo ("We groove on what you're saying", "That cat is something else", Hey man, don't split", 'Wow, heavy"). All of this gives the film immense kitsch appeal, but also becomes quite wearisome after a while - like, there's only so much of this weird scene I can take, man.
After much bongo drumming, crazy gyrating by the hippies, and incomprehensible philosophising by Khorda, the film finally gains momentum as Pico and Pop sneak into the commune to try and find Rona before she too joins the ranks of the undead. After fighting Khorda's henchman Barbado (LaSesne Hilton) and accidentally impaling Pop with a stake, Pico finally manages to kill the head vampire, only to find that the hippies, including Rona, have been reduced to piles of ash. Bummer!
Rarely have I seen a film that has dated so badly: rooted firmly in the hippie culture of the day, Deathmaster features dreadful flower power songs, groovy dancing, far-out fashion, and some hilariously bad '70s lingo ("We groove on what you're saying", "That cat is something else", Hey man, don't split", 'Wow, heavy"). All of this gives the film immense kitsch appeal, but also becomes quite wearisome after a while - like, there's only so much of this weird scene I can take, man.
After much bongo drumming, crazy gyrating by the hippies, and incomprehensible philosophising by Khorda, the film finally gains momentum as Pico and Pop sneak into the commune to try and find Rona before she too joins the ranks of the undead. After fighting Khorda's henchman Barbado (LaSesne Hilton) and accidentally impaling Pop with a stake, Pico finally manages to kill the head vampire, only to find that the hippies, including Rona, have been reduced to piles of ash. Bummer!
Deathmaster
Scarecrow-884 March 2009
Warning: Spoilers
Enigmatic vampire, who arrived oddly on the shore of a beach in his casket, whose arrival is introduced by his enforcer/guardian, Barbado(LaSesne Hilton)playing a flute, masquerades as a philosophical leader, whose language regarding life and love casts a spell among the aimless hippie youth in a quiet little town. Only young Pico(Bill Ewing), who resists his power of influence, can stop vampire Count Khorda(Robert Quarry)who plans to sacrifice his girlfriend Rona(Brenda Dickson)in a Satanic ceremony. Pico will have to rely on the only help he can depend on, an aging hippie, Pop(character actor, John Fiedler, who is one of the most recognizable faces in Television history and the voice of Piglet in Winnie the Pooh)to help defeat Khorda who has turned all their friends into vampires.
Rarely seen Quarry vampire picture that, according to the great actor, was purchased by Sam Arkoff and buried into obscurity. Thankfully, Fred Olen Ray's DVD company Retromedia was able to get the rights and, not only that, but have audio commentary for DEATHMASTER with Quarry, which is quite a rewarding experience for fans of the horror icon. The print is fantastic and the director of the film, Ray Danton, has a very distinctive style where the camera follows the action, but in a very sophisticated way. The film is definitely of it's time, quite dated, but a fascinating curio for Quarry fans who are very familiar with his Yorga character, but not Khorda(..this film was sandwiched between the Yorga films according to Quarry)who is dressed in elaborate robes, jewelry, and long hair carrying the appearance of some guru or oddball prophet..Quarry admits in the audio commentary that his look is fashioned after Charles Manson and that the film itself regarding the hippie youth was modeled after his followers. Not incredibly violent, with Khorda's neck attacks shot in a non-offensive way, and DEATHMASTER still follows the basic vampire principles established in filmdom(..the cross effects them as does a stake through the heart)that we're accustomed to. By and large, this film benefits almost entirely from Quarry's charismatic presence alone, even if what he has to say to the hippie kids is basic mumbo jumbo(..Quarry admits that he ad-libbed much of this dialogue)often used at that point and time while these youth were stoned or spaced out on acid. Quarry even gets to pay homage to Lugosi with the close-up of his sinister eyes multiple times as Khorda uses his power to hypnotize victims. Barbado is about as imposing as his master, a bulky statuesque type of security who towers over everyone he comes in contact with. His face never changes, always distant and cold. Ewing is a very unlikely hero, a kid out of his league against a far superior foe..but the film allows him to become a worthy adversary, because of the very fact that he's not particularly your prototypical knight-in-shining-armour. The beach is a stunning location as is the cool tunnel underneath the hippie commune house where Khorda keeps his resting place(..it also leads to the beach and has a submarine door!). Only real beef I have(..despite the now silly hippie-speak)is the title..this kind of vampire movie needs a more credible title.
Rarely seen Quarry vampire picture that, according to the great actor, was purchased by Sam Arkoff and buried into obscurity. Thankfully, Fred Olen Ray's DVD company Retromedia was able to get the rights and, not only that, but have audio commentary for DEATHMASTER with Quarry, which is quite a rewarding experience for fans of the horror icon. The print is fantastic and the director of the film, Ray Danton, has a very distinctive style where the camera follows the action, but in a very sophisticated way. The film is definitely of it's time, quite dated, but a fascinating curio for Quarry fans who are very familiar with his Yorga character, but not Khorda(..this film was sandwiched between the Yorga films according to Quarry)who is dressed in elaborate robes, jewelry, and long hair carrying the appearance of some guru or oddball prophet..Quarry admits in the audio commentary that his look is fashioned after Charles Manson and that the film itself regarding the hippie youth was modeled after his followers. Not incredibly violent, with Khorda's neck attacks shot in a non-offensive way, and DEATHMASTER still follows the basic vampire principles established in filmdom(..the cross effects them as does a stake through the heart)that we're accustomed to. By and large, this film benefits almost entirely from Quarry's charismatic presence alone, even if what he has to say to the hippie kids is basic mumbo jumbo(..Quarry admits that he ad-libbed much of this dialogue)often used at that point and time while these youth were stoned or spaced out on acid. Quarry even gets to pay homage to Lugosi with the close-up of his sinister eyes multiple times as Khorda uses his power to hypnotize victims. Barbado is about as imposing as his master, a bulky statuesque type of security who towers over everyone he comes in contact with. His face never changes, always distant and cold. Ewing is a very unlikely hero, a kid out of his league against a far superior foe..but the film allows him to become a worthy adversary, because of the very fact that he's not particularly your prototypical knight-in-shining-armour. The beach is a stunning location as is the cool tunnel underneath the hippie commune house where Khorda keeps his resting place(..it also leads to the beach and has a submarine door!). Only real beef I have(..despite the now silly hippie-speak)is the title..this kind of vampire movie needs a more credible title.
This brings back some childhood memories....
jpilkonis2 March 2010
Warning: Spoilers
Back in the '70s, when cable TV first came to Northeastern Pennsylvania, subscribing meant the addition of three channels: WPHL 17, out of Philly, WPIX 11, out of New York, and WORTV 9, also out of New York. For an adolescent horror fan, however, these channels were a dream come true, with Dr. Shock's Horror Theater and Mad Theater on Channel 17, WPIX's Chiller Theater (with the six-fingered hand emerging from a pool of blood), and Channel 9's Fright Night at 1 a.m. on Saturdays. It's this last program where I first saw "Deathmaster," and at the time, I was too young to understand why it would be considered a bad movie. I didn't understand he plethora of exploitation genre it, well, exploited (biker movies, kung fu movies, hippie movies, etc.) I was - thankfully - unaware of the Tate-LaBianca murders. I watched this movie with no prejudicial baggage at all...and it scared the hell out of me. This was largely because of atmosphere. This movie is very emotionally claustrophobic. It's more grim than you'd expect. There's no comic relief, and as the film progresses, things get more and more desperate. There's no happy ending, and the final despair stayed with me a long time after that first viewing. Even now, just listening the very '70s score by Bill Marx (Harpo's son, by the way), I can feel the atmosphere closing in on me...which is a good thing, a sign of the film's effectiveness.
Listening to Robert Quarry's recollections on the DVD release was very disappointing, since this movie - which I've been seeking for years - seems to have been an afterthought by everyone involved with it, a way to make a cheap buck, with no real love or ambition invested in it. Too bad. I have to wonder what it would have been like had it been helm-ed by people who really wanted to make a great movie.
I don't know that I'd recommend this film to anyone unless. Unless you're the sort of person who, after hearing a brief description of the plot, would be curious, it's probably not going to satisfy you, or come across as being silly. It's only the few of us who were there, eyes glued to the screen on those late Saturday nights, who are going to have a true appreciation for this long-lost gem.
Listening to Robert Quarry's recollections on the DVD release was very disappointing, since this movie - which I've been seeking for years - seems to have been an afterthought by everyone involved with it, a way to make a cheap buck, with no real love or ambition invested in it. Too bad. I have to wonder what it would have been like had it been helm-ed by people who really wanted to make a great movie.
I don't know that I'd recommend this film to anyone unless. Unless you're the sort of person who, after hearing a brief description of the plot, would be curious, it's probably not going to satisfy you, or come across as being silly. It's only the few of us who were there, eyes glued to the screen on those late Saturday nights, who are going to have a true appreciation for this long-lost gem.
The 70's had the most bizarre movies ever. . .
Quark2518 February 2002
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.
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.
Yorga part 3 ? nahhh, just a good trip for fans of quarry and vampire horror flicks
shrame3 May 2017
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.
A hippie vampire. Far out, man!
Gene-5016 February 1999
A hippie vampire! There's really not much more to be said, save for an excellent performance by the underrated Quarry as the lead. This was a Saturday afternoon staple during the 70's on NYC local stations. I recommend it, if you can find it, but don't take it too seriously though.
Guru Vampire completed Dec. 1970
kevinolzak6 January 2021
For those intrigued by Robert Quarry's twin bill of Count Yorga vehicles, "Deathmaster" (one word) serves as a between course item, shot as "Guru Vampire" in Dec. 1970 on location in Topanga Canyon, self produced by Quarry and several friends. This was the sole producing credit for longtime television actor Fred Sadoff, and a genuine horror role for Bobby 'Boris' Pickett, billed as 'Bob Pickett' just 8 years after his #1 smash "Monster Mash." A silent confederate called Barbado (Le Sesne Hilton in his only film) awaits the coming of his master Khorda, washed ashore in a coffin discovered by a fatally curious surfer, then we cut to a hippie commune living out an existence where they wonder what the meaning of life is all about. What better place for a 2000 year old vampire to easily dominate with his accumulated wisdom, and how quickly the sheep dance to his wavelength, particularly sexy biker chick Esslin (Betty Ann Rees, later reunited with Quarry in 1974's "Sugar Hill"), who wavers when she sees no reflection of Khorda in the mirror but cannot resist the impulse of blood lust. Only Pico (Bill Ewing) and Rona (future daytime soap star Brenda Dickson) remain immune to the group think, but once Rona is kidnapped Pico must escape the underground tunnels beneath the mansion to seek help from middle aged shop keeper Pop (John Fiedler), who possesses books on the rituals of novice vampires (protection from the sun during the day) and believes that Rona's life may yet be saved. Nice robes and a long haired wig make this guru vampire stand out from Yorga, otherwise Quarry is very much at home balancing calm rationality in mixed company with maniacal laughter in full fanged attack mode, well staged by first time director Ray Danton, whose future horror efforts were "Crypt of the Living Dead" and "Psychic Killer" (all television work afterwards). After the opening scene on the beach, things proceed very slowly as the wafer thin characters mouth some of the most unspeakable lines ever committed to celluloid, part of the picture's extremely dated appeal as a nod to the hip, adding a cliched biker who admits he has to 'lose some water' rather than just taking a leak! In common with Quarry's Yorga entries, a downbeat ending is not unexpected, as are the same rules of battling the undead after dark on their turf, without anyone bothering to secure a genuine crucifix beforehand. Khorda also boasts a human manservant like Edward Walsh's Brudah, though Barbado remains mute throughout and is easily dispatched, repeating the notion of a vampire who has endured for centuries yet cannot survive his encounters with modern day Southern California youth. Easily overlooked as a tax write off for AIP distribution, Quarry's stardom continued with "The Return of Count Yorga," "Dr. Phibes Rises Again," "Madhouse," and the blaxploitation voodoo epic "Sugar Hill" (music supplied by Bill Marx, son of Harpo, whose strains are familiar from other AIP efforts like both Yorga titles, "Scream Blacula Scream," and "Terror at the Red Wolf Inn").
Rare and Groovy Hippie Vampire Film!
chance-911 June 2000
I watched this film many times as a kid in the late 1970's on late night TV. Robert Quarry co-produced this venture after the unexpected and phenomenal success of the two "Count Yorga" features, but it did not hold up to expectation at the box-office. I highly recommend watching this period piece, if you can find it. It is extremely hard to find anywhere.
Some creepy, campy 70's horror fun!
abmceo4 November 2004
When I was a kid I'd stay up late and watch creature features. I think that was a major influence on my tastes. This movie terrified me when I was 7 yrs old. Now I'm 30 and I love it!
I couldn't remember the name or find it. About a yr and a half ago I got this one on DVD. YES!!! Not quite as scary but just some good fun. This is a rare, good treat if your a horror geek. If you like Blackula, Children Shouldn't Play With Dead Things, or Carpenter and Romero, then I definitely recommend this one. Also the DVD has a decent commentary.
This one's more for nostalgia, but also for collectors too. The 70's are alive and well in Deathmaster!
I couldn't remember the name or find it. About a yr and a half ago I got this one on DVD. YES!!! Not quite as scary but just some good fun. This is a rare, good treat if your a horror geek. If you like Blackula, Children Shouldn't Play With Dead Things, or Carpenter and Romero, then I definitely recommend this one. Also the DVD has a decent commentary.
This one's more for nostalgia, but also for collectors too. The 70's are alive and well in Deathmaster!
Campy 70s Vampire flick.
sonya900283 December 2008
Deathmaster is a new twist, on the old Vampire film genre. Robert Quarry stars as Khorda, a guru-like character, who happens to also be a Vampire. The film takes place in the early 70s, when hippies were still around, and on the fringes of society. The main setting for the movie is an old abandoned mansion, inhabited by a group of young hippies in southern California.
It begins with a mysterious, hulking black dude, who plays flute on the beach. He's adorned with lots of bone necklaces, and a colorful flowing robe. A coffin washes-up on the beach, and is intercepted by a young surfer. The black man chokes the surfer to death, then hauls the coffin to the mansion containing the hippies.
Meanwhile, two of the hippies, Pico and his girlfriend Rona, are hanging-out at the local Nic-Nack shop. It's owned by an eccentric older fellow, who is a kindly father-figure to Pico and the other hippies. A belligerent biker named Monk, arrives with his girl, who's named Esslin. Monk threatens the shop-owner, over the price of a bauble that Esslin is interested in. Pico intervenes, and has a scuffle with Monk. But Monk is no match for Pico, who uses martial arts on him. A cop comes to investigate, so they all flee.
Pico has no hard feelings towards Monk, and so he invites him and Esslin to the mansion for dinner. The large mansion is teeming with the dope-smoking, philosophizing hippies. Pico offers his guests a sumptuous meal of organic foods. The eerie black guy who killed the surfer, is a part of the group too. They call him Barbado. Barbado is a mute, who 'speaks' through his flute-playing and bongo-drumming.
Outside the mansion, the coffin that Barbado had brought there opens, and a large bearded man emerges. Beneath a spooky full-moon, he waves his hand, and a sudden storm blows-up. He enters the mansion, announcing himself as Khorda. The hippies think that this weirdly charismatic guy, is 'far-out'.
Khorda spends the evening regaling the enthralled hippies, with advice about 'life and love'. They are looking for ways to find meaning in their lives, and Khorda seems to have all the answers. Little do they know, Khorda is a Vampire. Soon, Khorda's influence over the hippies, results in horrifying consequences for them all.
Robert Quarry, is mesmerizing as Khorda. His piercing gaze alone, is enough to send chills up your spine. The supporting cast is mostly lackluster. The notable exception, is Betty Anne Rees, as Esslin. Esslin becomes a Vampire, after being ravished by Khorda. Betty Anne Rees infuses the character of Esslin with a scary, yet irresistibly hypnotic aura, as Khorda's newly converted Vampire mistress.
All in all, Deathmaster is an intense, yet campy 70s horror flick. It's the kind of B movie classic, shown in the drive-in theaters back then. For fans of 70s B horror films, Deathmaster is a must-see.
It begins with a mysterious, hulking black dude, who plays flute on the beach. He's adorned with lots of bone necklaces, and a colorful flowing robe. A coffin washes-up on the beach, and is intercepted by a young surfer. The black man chokes the surfer to death, then hauls the coffin to the mansion containing the hippies.
Meanwhile, two of the hippies, Pico and his girlfriend Rona, are hanging-out at the local Nic-Nack shop. It's owned by an eccentric older fellow, who is a kindly father-figure to Pico and the other hippies. A belligerent biker named Monk, arrives with his girl, who's named Esslin. Monk threatens the shop-owner, over the price of a bauble that Esslin is interested in. Pico intervenes, and has a scuffle with Monk. But Monk is no match for Pico, who uses martial arts on him. A cop comes to investigate, so they all flee.
Pico has no hard feelings towards Monk, and so he invites him and Esslin to the mansion for dinner. The large mansion is teeming with the dope-smoking, philosophizing hippies. Pico offers his guests a sumptuous meal of organic foods. The eerie black guy who killed the surfer, is a part of the group too. They call him Barbado. Barbado is a mute, who 'speaks' through his flute-playing and bongo-drumming.
Outside the mansion, the coffin that Barbado had brought there opens, and a large bearded man emerges. Beneath a spooky full-moon, he waves his hand, and a sudden storm blows-up. He enters the mansion, announcing himself as Khorda. The hippies think that this weirdly charismatic guy, is 'far-out'.
Khorda spends the evening regaling the enthralled hippies, with advice about 'life and love'. They are looking for ways to find meaning in their lives, and Khorda seems to have all the answers. Little do they know, Khorda is a Vampire. Soon, Khorda's influence over the hippies, results in horrifying consequences for them all.
Robert Quarry, is mesmerizing as Khorda. His piercing gaze alone, is enough to send chills up your spine. The supporting cast is mostly lackluster. The notable exception, is Betty Anne Rees, as Esslin. Esslin becomes a Vampire, after being ravished by Khorda. Betty Anne Rees infuses the character of Esslin with a scary, yet irresistibly hypnotic aura, as Khorda's newly converted Vampire mistress.
All in all, Deathmaster is an intense, yet campy 70s horror flick. It's the kind of B movie classic, shown in the drive-in theaters back then. For fans of 70s B horror films, Deathmaster is a must-see.
Silly, nonsensical fun
Gafke16 January 2004
A pipe playing reject from the cast of "I Walked With a Zombie" and an ancient vampire who bears more than a passing resemblance to Jason Isaacs take over some prime oceanside property (isn't that just like a bloodsucker?) and seduce a bunch of young and groovy hippies, forcing them to participate in all-night dance parties. A pretty girl who looks like Jane Asher falls under the spell of the Vampires, and it's up to her inept boyfriend and an old geeky man to save her. When the police fail to believe their story, they attempt to make a rescue on their own. Can they save her in time? Who cares, really?
A biker-momma and her old man are the first to become food. A young man displays his Kung Fu talents at films beginning, and when attacked by a group of vampires, apparently forgets all of his martial arts training and starts kicking and screaming like a two year old having a tantrum. The Vampire dresses like Liberace...it's all pretty goofy, but it's harmless. I can think of worse ways to waste an hour or so.
A biker-momma and her old man are the first to become food. A young man displays his Kung Fu talents at films beginning, and when attacked by a group of vampires, apparently forgets all of his martial arts training and starts kicking and screaming like a two year old having a tantrum. The Vampire dresses like Liberace...it's all pretty goofy, but it's harmless. I can think of worse ways to waste an hour or so.
Enjoyable, New Approach to Old Story.
Space_Mafune20 August 2006
Warning: Spoilers
A strange guru-type character named Khorda suddenly appears on the scene and offers to guide a bunch of young hippies looking for some direction in their lives. We as an audience however know something is amiss having witnessed a coffin earlier floating ashore following the flute-playing of a most unusual looking black man who we later see arrive at the castle-like house in which the hippies seem to be squatting now acting as something of a servant/follower to Khorda. It's not exactly too surprising to us the viewing audience when we learn Khorda is actually a vampire preying on these clueless, direction-less kids. Will any of them escape his ghastly influence?
I really enjoyed this one. While it's basic underlying plot is largely the usual expected vampire story, there's some neat differences here that set this one apart from others. Quarry's Khorda is actually more a character akin to Charles Manson or even Jim Jones as his uses his guru rhetoric, something they mistake for guidance and understanding, to gain influence over his followers. His speeches are actually very nicely done and the one he gives on the nature of mortal religion is in particular very thought-provoking (and almost sure to offend those with strict Christian sensibilities). I also like this one's visual style. The opening of the coffin floating in the water and the black servant dragging the coffin actually rather reminds me of the German expressionist period and the film NOSFERATU (1922) in particular. A lot of the later vampire visuals though remind one more of the 60s Italian Horror films and the British Hammer films. I also like the inventiveness shown at the end when the film takes a number of unexpected twists and turns I never saw coming on first viewing. There's some problems with logic (as is often the case with films of this type) that stretch credibility (Pico attempting to stop Khorda at night instead of during the day, Khorda having a host of weapons that could potentially be used against him just laying around, etc.) but nothing so unforgivable as to take away one's enjoyment while watching this unfold.
I really enjoyed this one. While it's basic underlying plot is largely the usual expected vampire story, there's some neat differences here that set this one apart from others. Quarry's Khorda is actually more a character akin to Charles Manson or even Jim Jones as his uses his guru rhetoric, something they mistake for guidance and understanding, to gain influence over his followers. His speeches are actually very nicely done and the one he gives on the nature of mortal religion is in particular very thought-provoking (and almost sure to offend those with strict Christian sensibilities). I also like this one's visual style. The opening of the coffin floating in the water and the black servant dragging the coffin actually rather reminds me of the German expressionist period and the film NOSFERATU (1922) in particular. A lot of the later vampire visuals though remind one more of the 60s Italian Horror films and the British Hammer films. I also like the inventiveness shown at the end when the film takes a number of unexpected twists and turns I never saw coming on first viewing. There's some problems with logic (as is often the case with films of this type) that stretch credibility (Pico attempting to stop Khorda at night instead of during the day, Khorda having a host of weapons that could potentially be used against him just laying around, etc.) but nothing so unforgivable as to take away one's enjoyment while watching this unfold.
Actually, it's quite good for the 70's
Katatonia27 September 2003
I wasn't sure if I would like The Deathmaster or not, since I really didn't personally care much for the Count Yorga movie. I liked some of Robert Quarry's other work in films though, so I figured I would give this one a shot.
I must say that I liked it more than I thought was possible. It has a distinct and unmistakable 1970's cheesy "vibe" running rampant throughout the movie. That actually works in favor of the movie, it gives it an authentic flair of the era. The story is nothing too fabulous or original, but it was the visuals that intrigued me. The cinematography work on The Deathmaster was well above average.
So, it's a pretty good vampire flick of the early 1970's. Definitely worth a look for both Quarry fans, and also for Vampire aficionados.
I must say that I liked it more than I thought was possible. It has a distinct and unmistakable 1970's cheesy "vibe" running rampant throughout the movie. That actually works in favor of the movie, it gives it an authentic flair of the era. The story is nothing too fabulous or original, but it was the visuals that intrigued me. The cinematography work on The Deathmaster was well above average.
So, it's a pretty good vampire flick of the early 1970's. Definitely worth a look for both Quarry fans, and also for Vampire aficionados.
Groovy early 70's hippie vampire horror outing
Woodyanders20 September 2019
Warning: Spoilers
Charismatic guru Khorda (superbly played with smooth charm to burn by Robert Quarry) ingratiates himself on a group of wayward hippies who are seeking guidance and direction in life. Unbeknownst to said hippies, Khorda is actually a cunning and diabolical vampire who's looking for fresh victims to prey on.
Director Ray Danton relates the offbeat and enjoyable story at a steady pace, ably crafts a creepy atmosphere, and makes nice use of the pretty California coastline locations. R.L. Grove's quirky and thoughtful script provides a provocative allegory on how the naïve and trusting innocent nature of the hippie love generation made them susceptible to being corrupted and led astray by crafty and mesmerizing charlatans.
This film further benefits from solid acting by the colorful cast: Bill Ewing contributes a likeable turn as leery skeptic Pico, John Fiedler lends sturdy support as amiable middle-aged hippie headshop owner Pop, LeSesne Hilton cuts an imposing figure as Khorda's loyal mute servant Barbado, William Jordan hits the pleasing surly spot as scruffy biker Monk, Betsy Anne Rees brings a winning blend of sass and sexiness to her role as the sultry Esslin, and Bobby Pickett of "Monster Mash" fame and flash-in-the-pan 70's B-movie starlet Kitty Vallacher (the unwilling mother in "Grave of the Vampire") are amongst Khorda's disciples. Best of all, Quarry's magnetic presence as a manipulative character who's clearly patterned after Charles Manson really makes this picture hum throughout. The surprise bummer ending packs a jolting punch. Both Bill Butler's sharp cinematography and Bill Marx's funky-shivery score are up to par. Recommending viewing for fans of oddball 70's fright fare.
Director Ray Danton relates the offbeat and enjoyable story at a steady pace, ably crafts a creepy atmosphere, and makes nice use of the pretty California coastline locations. R.L. Grove's quirky and thoughtful script provides a provocative allegory on how the naïve and trusting innocent nature of the hippie love generation made them susceptible to being corrupted and led astray by crafty and mesmerizing charlatans.
This film further benefits from solid acting by the colorful cast: Bill Ewing contributes a likeable turn as leery skeptic Pico, John Fiedler lends sturdy support as amiable middle-aged hippie headshop owner Pop, LeSesne Hilton cuts an imposing figure as Khorda's loyal mute servant Barbado, William Jordan hits the pleasing surly spot as scruffy biker Monk, Betsy Anne Rees brings a winning blend of sass and sexiness to her role as the sultry Esslin, and Bobby Pickett of "Monster Mash" fame and flash-in-the-pan 70's B-movie starlet Kitty Vallacher (the unwilling mother in "Grave of the Vampire") are amongst Khorda's disciples. Best of all, Quarry's magnetic presence as a manipulative character who's clearly patterned after Charles Manson really makes this picture hum throughout. The surprise bummer ending packs a jolting punch. Both Bill Butler's sharp cinematography and Bill Marx's funky-shivery score are up to par. Recommending viewing for fans of oddball 70's fright fare.
Over-the-hill hippies become vampire's meal tickets
kifaru29 January 2002
Warning: Spoilers
***SPOILERS*** ***SPOILERS*** Ah, the 70's. A time of turmoil and contradiction. America was at war, both in and out of country. The Flower Children had become assimilated by the very society they protested against. Nowhere was this confusion of cultures more evident than in the movies. The 70's are primarily regarded as the "Grand Era of Exploitation," a title well-deserved if only for the quantity of films unleashed on the masses at this time. Both big and low budget productions utilized the conflicts of the generations and their concurrent heroes to milk profits from the movie-going public. Whenever ideas seemed to be drying up, society itself gave us new myths for our brave new world. In the 70's, one such myth was personified by Charles Manson. The crimes of Manson and his followers are well known, as is his manipulation of the media during and after his trial. He is a certified nut job, and, as anyone in the biz can tell you, that means he's box office gold. Don't believe me? Just look at the number of films made since 1969 involving a messianic character leading a counter-culture rabble. Also, think about how many of these flicks portray these types as anti-heroes done in by their own greed. Sizing up the prevailing conditions, and knowing a quick buck when they see it, Ray Danton and the gang at AIP hopped on the band wagon in '72 with "The Deathmaster." Made a year after "Count Yorga, Vampire," then rushed to release after that one started making unreal profits, this is the quaint little tale of hippies led astray by an ageless guru with a really bad wig. Of course, their hairpieces are nothing to sneeze at either. The film opens innocuously enough with vampire Khorda's coffin washing up on the shore. A curious surfer starts snooping around and runs into cliche numero uno, Barbado, the hulking, mute, ethnic and, therefore, unbelievably strong, servant. After dispatching the wimp ( and man did he look pale to be a surfer in SoCal), Barbado lugs the boss' box up to the local commune. In the next hilarious sequence, we are introduced to our hero 'Pico' (?!) and his girlfriend Rona. They rub biker dude Monk and his sleazy girlfriend Esslyn (where did they get these names?!) the wrong way. The ensuing fight makes Tom & Jerry look like "Crouching Tiger." As all good young folk do, they call a truce and hit the bricks when the cops show up ('cause cops hate bikers and hippies equally). Monk compliments 'Pico" on his fighting skills(?), whereupon 'Pico' informs him he is a master of "Gung Fu." Gung fu. Uh-huh. Joining the hippies for a groove-in, Monk and Esslyn are introduced to the commune as "new friends." A blackout during the daily chanting sessions gives Khorda the opportunity to make his entrance. he does so rather quietly, and introduces himself as a seeker and bearer of enlightenment. At this point, Monk has seen enough, and announces he is splitting the scene, getting away from these freaks and going into town for some whiskey and steak. His trip is cut short by Khorda's abrupt ambush, which the chanting flower children fail to see or hear (must be some serious chanting going on there). After a few more yarns about finding his center (or some such drivel), Khorda excuses himself, but has the sense to ask Esslyn to join him. The hippie gals and guys separate for the night and go to their respective gender sides of the house. Wait a minute! Hippies with morals? Egad! While the art school rejects are showering (?!), Khorda offers the aroused Esslyn (she really digs him, man) a brief history lesson. The lesson ends with her becoming a snack for the guru. Her screams are heard by the guys and gals, but since barbado locked the bathroom doors, they can't get out to help. The doors mysteriously unlock after a brief silence, and Khorda appears with the now-vampirized Esslyn. She puts the moves on 'Pico,' who rejects her toothsome advances and flees the scene. This is where it gets weird. 'Pico' gets Pops (a rightfully embarrassed John Fiedler) to accompany him on a "Save Rona" trek. They, of course, get sidetracked in a battle with Barbado (what about that Gung Fu crap, dude? It should've been easy to dispatch a lumbering ox like that) and assorted vamp-slayings (see ya, Esslyn). Pops disappears for a time, but winds up on the wrong end of 'Pico's' stake attempt. Khorda has the befuddled hippie watch as he initiates his girl to the cult. He snaps out of his reverie long enough to stake the Deathmaster, turning him to dust. However, the same fate befalls the now dead Rona. The film ends with our "hero" sobbing over his lost lady like a man who bet the farm on the Jets. Like so many of the exploitation films of the 70's, "The Deathmaster" suffers from the director and crews' desire to combine all of the great elements of cinema in a weak story with rotten actors. The result is a mish-mash of plot devices but no real coherent story. Lots of unanswered questions left hanging. The only real reason to see this film (outside of a desire to snicker at the inanities of a bygone era) is Robert Quarry. As in "Count Yorga, Vampire" and other films, he rises above all of the contrivances and the hideously untalented supporting cast. His turn as Khorda successfully combines Manson's charisma and the vampire mythos, which, when you think about it, is probably what the crew was aiming for.
Bizarre or not, it actually made me sad....
Veronica6515 May 2015
...that Pico and the gang fall victim to a vampire. I like hippies! I root for hippies to win the day! The first part seems less like a horror film (aside from the opening scenes) and more like a 'hippies- find-their-spiritual-path' movie...call me a sentimental old fool if you will, I was rooting for Pico and the gang to find a more satisfying outlook on life. Quarry is masterful, of course, even in Manson drag... and I really liked Bill Ewing as Pico. It's also always a treat to find a movie with John Fiedler. Main criticism: Pico SHOULD have used his Kung Fu against Barbado, he would have come off better. It was almost like the filmmakers forgot that Pico had that particular training in the second half. I love this movie! Music and all.
Blood Is The Drug I'm Thinking Of...
azathothpwiggins6 June 2022
In DEATHMASTER, Robert Quarry is a Manson-like guru named Khorda, who seems to be all about peace, love, and expanded consciousness. In reality, he's a ravenous vampire out to enslave and destroy the weak-minded.
Quarry is quite good in his devilish role, and the film does an effective job of using a vampiric cult as a metaphor for the actual Manson Family. Whether intentional or not, it works. Behind all of the robes and jargon is a homicidal blood addict, bent on gathering disciples to slake his thirst.
In the end, what's just as frightening as this charismatic leader himself, are those who are willing to follow his every word...
Quarry is quite good in his devilish role, and the film does an effective job of using a vampiric cult as a metaphor for the actual Manson Family. Whether intentional or not, it works. Behind all of the robes and jargon is a homicidal blood addict, bent on gathering disciples to slake his thirst.
In the end, what's just as frightening as this charismatic leader himself, are those who are willing to follow his every word...
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