As a fan of Dracula (from Lee to Lugosi) and blaxploitation cinema (from Coffy to Dolemite), I have a hard time resisting the nocturnal urban lure of Blacula (1972). By the 1970s Count Dracula had seen countless screen re-imaginings and misrepresentations. The movies were hammering the final nail into the classic icon’s coffin, but there was always the occasional hit that kept him from staying in the grave permanently. Blacula may not be considered a great film, but for what it is—a movie about a black Dracula—it’s actually a really enjoyable romp through the supernatural…and it’s got soul. Sure, it has it’s fair share of cheese and hokiness, but even the immortal Bela Lugosi version from 1931 wasn’t perfect and was certainly not lacking in the melodrama department.
The story of Blacula begins exactly as it should: in Transylvania in the year 1780. The African noble, Prince Mamuwalde of the Ebani tribe (played by impeccably William Marshall), is having a little chat with the notorious Count Dracula. Mamuwalde urges the Count to aid him in his efforts to end the slave trade, but the Count evidently likes the slave trade and, additionally, has developed a fancy for Mamuwalde’s wife, Luva (Vonetta McGee). Dracula feels it is perfectly acceptable—nay, even complimentary—to take Luva as a concubine. When Mamuwalde refuses the diabolical insult, the Count reveals his vampiric powers and has his undead minions attack the Prince and his wife. Pay attention to the disappearing and reappearing candles during the scuffle. Biting Mamuwalde on the neck, Count Dracula curses him with an unquenchable lust for human blood and seals him shut in a coffin, leaving Luva to die alone in the stone room with her trapped husband.
Flash-forward to 1972. Two gay interior decorators are buying stuff in the Count’s old castle and, naturally, just have to have the coffin, unaware of the horror within. While unpacking their Transylvanian bounty they unleash a very cramped Blacula. Bewildered and stiff, Blacula discovers the unstoppable desire to snack on human blood. He makes short work of his first two victims.
Blacula wanders the streets of Los Angeles and chances upon Tina (Vornetta McGee again), a dead-ringer for the deceased Luva. The encounter proves incredibly taxing on Tina as she frantically flees the strange man as a chase reminiscent of a Pepé Le Pew cartoon ensues, ending with one of my favorite scenes in the whole movie: Blacula’s pursuit of Tina is punctuated by him getting hit by a taxi cab and a rattled female cabbie berating his apparent lack of intelligence as he casually rises up off the ground, muttering about the collision ruining his reunion with his reincarnated lover. When at last he realizes the cabbie’s antagonism he snaps into vampire mode (developing fangs, some super-gnarly eyebrows, a rather pronounced widow’s peak, and cheek-burns) and bites her. Awesome.
Things get more coincidentally complicated when Tina’s sister, Michelle (a very fine Denise Nicholas), is the girlfriend of Dr. Gordon Thomas (Thalmus Rasulala—easily the coolest name ever) who is investigating the mysterious murders of the gay interior decorators and the cabdriver. The deep holes in the necks and the absence of blood in their bodies seems suspicious, so Dr. Thomas reads up on the occult.
At a night club, Tina, Michelle, and Gordon are treated to a special guest. It is Blacula, arrived to return the purse Tina dropped when she ran away. He apologizes for frightening her and joins them for drinks. The sight of this caped, eloquent, and charismatic aristocrat (with the diction of a god!) against these modern settings doesn’t seem to bother anybody. And the stranger’s deep poetic voice with its enchanting cadences (seriously, I want William Marshall to read me bedtime stories) echoing back to time’s long past captivates his new friends. Things are going well, bloody Marys are ordered, Tina is warming up to Mamuwalde, and then someone snaps a picture of them and the gallant ex-prince excuses himself…to kill the photographer just as she’s developing the pictures and discovers that Blaculas don’t show up on film.
The movie goes on with many things happening at once. Blacula courts Tina like a true gentleman while Dr. Thomas digs up corpses and realizes they’ve a vampire epidemic on their hands that the police station will never believe. Also, several characters that Blacula has bitten earlier in the film become vampires themselves and start biting everybody indiscriminately. Apparently you never truly die from a vampire bite, you only become a superhuman vampire with greenish skin (there is one cop and a guy with a hook hand we never see again after they get bitten, but seeing as how every other character survives to be vampires I just bet those two guys are still wandering around somewhere). It almost reminds me of Cannibal Apocalypse (1980) starring John Saxon (Enter the Dragon), a particularly terrible movie where so-called cannibals bite people and then those people in turn become “cannibals” who only desire to bite other people and make them “cannibals” (yeah, nobody ever dies. They just become oppressed minorities with weird nibbling habits fleeing government retaliation. Like Blacula the only characters who truly die are the ones who get killed by normal means). A highlight of Blacula is the police raid on a warehouse full of vampires bitten by one of the gay guys from the beginning. People get shot, attacked, bitten, and set on fire. Major points for all the full body burns, but I can’t help but wonder about this scene. The gay vampire seems to have bitten (by far!) the most people. Is Blacula making some kind of commentary about promiscuity or the spread of social diseases during the 70s? Should we be offended?
As Tina falls more and more in love with Blacula/Mamuwalde, Dr. Gordon Thomas and the cops get closer and closer to unmasking the vampire and discovering its daytime coffin hideout. Actually, the romance between Tina and Blacula is the least interesting and least believable part of the movie, but the movie seems to know that and focuses on other things while that stuff is happening. By the time Gordon and the cops find Blacula’s hideout in a chemical plant, Tina has already agreed to be Luva II for the undead Prince Mamuwalde (it’s like The Mummy). Time is running out and cops with spherical helmets—seemingly from Mel Brooks’ Spaceballs —fill the chemical plant, putting Blacula on the defensive. Comically, the cops are very easy to kill. Gently bumping their big, stupid helmeted-heads against a wall takes them out in a flash. Something I noticed the second time I watched it; I wonder if Dr. Gordon Thomas is safe from vampire attacks because he’s always wearing a turtleneck.
SPOILER ALERT: skip to the next paragraph to avoid spoiling the epic finale of Blacula.
One dopey cop catches Blacula and Tina running away down a hallway and discharges his firearm, killing Tina. Blacula dispatches the policeman by gently bopping his helmet head on a pipe and punching him. With no time to lose he bites Tina to ensure she will have eternal undead life as a vampire with him. Angered and vengeful, Blacula storms through the dark chemical plant killing cops left and right. Guys get stuff dropped on them, they get thrashed, and some guys get thrown off ledges, but soon Dr. Gordon gets to the coffin, hands the stake to the police sergeant, opens it up, and the sergeant rams the stake into the body…only to discover it’s Tina! Tina sits up (now with vampire fangs) and claws at her bleeding chest and finally dies. Her sister Michelle screams in horror and cries as Gordon stands off to the side (probably tacitly reflecting on the grim turn of events and thanking God Almighty he gave the stake to the sergeant). Blacula appears and everyone backs away with fear and respect as he steadily approaches Tina’s dead body. A beaten and heart-broken vampire, Blacula announces that he has lived again only to lose Luva twice. With a heavy heart Balcula turns and marches up the stairs and into the dawn’s early light to commit vampire suicide. He stumbles as the sun’s cruel rays burn him and he at last collapses and his flesh melts away revealing a maggot-filled skeleton.
For the all the questions Blacula raises, the film is kind of awesome. Perhaps Mamuwalde’s acclimation to life in the 20th century was a bit too easy, but maybe they didn’t want to rely on simple fish-out-of-water jokes like the George Hamilton movie Love at First Bite. I do wonder how he innately knew that cameras—an invention he would have never been introduced to beforehand—would not pick up his image, but that’s nit-picking, I guess. There are some continuity errors, but the editing is pretty good for the most part. The plot moves quickly and the characters (with the possible exception of Tina, unless Mamuwalde put some spell on her to make her fall in love with him) have believable motivations and are interesting and engaging. William Marshall takes the role very seriously and commands every scene he is in. Another actor might have tried to bring humor to the part, but Marshall plays it completely straight and, you know something? It works. Any Dracula character needs one essential ingredient: charisma (unless you’re the gnarled Nosferatu type). William Marshall has great charisma and screen presence as Blacula and he elevates the entire film. It’s a fun Halloween movie with classic horror-tragedy and some great action. Unlike the Bela Lugosi or Christopher Lee Draculas, Blacula is almost a good guy. He is the victim of Dracula’s evil and is driven more by love than by wrath. He is a compelling character with a life full of tragedy. Maybe Blacula isn’t quite as raucous or ground-breaking as other blaxploitation movies like say Sweet Sweetback’s Baadasssss Song, but for my money it’s pretty entertaining.
The sequel, Scream Blacula Scream (1973) is not as fun. Blacula’s not in it as much and it doesn’t have the same quick pace and much of the magic is gone, but Pam Grier is in it and the last scene in the house is pretty neat. I like the first movie and I hope you will too. For great soul horror this Halloween look for Blacula.
Top 10 Reason to See Blacula
1. Blacula totally sticks it to the Man (by gently bopping their helmeted heads against walls).
2. It’s got a great funky score.
3. Thalmus Rasulala’s mustache.
4. Denise Nicholas is real pretty.
5. William Marshall’s commanding and elegant performance.
6. If we all watch it maybe we can bring back the cape look.
7. People get set on fire.
8. Blacula was the first movie to win the Saturn Award for “Best Horror Film” (to put this in perspective: other great films to win since include The Exorcist, Young Frankenstein, The Wicker Man, The Fly, The Silence of the Lambs, and Army of Darkness).
9. It’s a cherished classic from the blaxploitation genre.
10. Remember Twilight? Me neither, watch Blacula.
Originally published for “The Alternative Chronicle” Oct. 30, 2010