Count Yorga, Vampire was originally conceived as a
soft-core porno film with supernatural elements, but when the producers
decided that a straightforward horror film might be more profitable, the
emphasis was shifted from sex to the more ghoulish aspects of the plot.
Count Yorga arrives in Los Angeles from Bulgaria. As his coffin is
transported through the city in the back of a truck, a solemn narrator
(George Macready) provides a little information about vampires and their
existence through history to the present (1970). This somber voiceover
marries centuries-old vampire lore to contemporary urban imagery, neatly
paving the way for the appearance of a traditional vampire in a modern
setting.
We first see Count Yorga (Robert Quarry) conducting a séance at the home
of his recently deceased lover, attempting to contact her spirit for the
benefit of her grieving daughter Donna (Donna Anders). The séance is
actually a pretext for Yorga to gain hypnotic control over Donna, and to
insinuate himself into the lives of her friends Erica (Judith Landers) and
Paul (Michael Murphy). Later that night Yorga viciously attacks Paul and
Erica in their stranded vehicle. The next day, Paul remembers nothing
clearly, while Erica visits blood specialist Dr. James Hayes (Roger Perry,
who plays a similar role in Return of Count Yorga) with a severe case of
pernicious anemia. Later Paul and Donna's boyfriend Michael (Michael
Macready) are horrified to discover Erica feasting on a kitten. Mysterious
disappearances follow soon after, with all clues pointing toward the Count
from Bulgaria.
Count Yorga, Vampire is great fun, a stylish indie horror film picked up
for distribution by AIP in 1970. The story is basically an updating of the
Dracula legend (handled far better here than in Hammer's attempt, Dracula
A.D. 1972). Yorga is very much the traditional vampire, in formal dress
complete with red-lined cape, arriving in a new land in search of fresh
blood. Young couples Paul/Erica and Michael/Donna roughly correspond to
Bram Stoker's Arthur/Lucy and Jonathan/Mina, performing essentially the
same narrative functions. Dr. Hayes fills the role of a would-be Van
Helsing, while scruffy servant Brudah (Edward Walsh) is Yorga's Renfield.
The plot is therefore fairly predictable, but the pleasure comes in
watching it unfold (much the same as with the Hammer Dracula films).
Director Bob Kelljan (Return of Count Yorga; Scream, Blacula, Scream)
delivers a genuinely creepy film with such style and atmosphere that it's
difficult to imagine him helming a skin flick. Moody lighting, inventive
camerawork, and a simple but effective score combine to create some fairly
intense horror sequences. Handheld camera shots are well-integrated into
the flow of the film; several scenes are shot at floor-level, playing off
the movement of characters' feet to surprisingly good effect. Particularly
noteworthy is a vampirism/seduction scene between Yorga and Erica, heavily
trimmed by a nervous ratings board for a GP upon theatrical release, but
restored here to its apparent full length. Another great shock moment is
the cat-eating scene, presented in an extended version on the DVD. (Animal
lovers can take heart knowing it's actually a sedated kitten covered with
lasagna).What makes the film,
though, is a truly impressive performance by Robert Quarry. Quarry is
every inch the master vampire, with his formal, old-world
sophistication; deep, resounding voice; and authoritative, almost
regal bearing. (It's no surprise that AIP began grooming Quarry to be
their next big horror star; sadly this never came to pass). Quarry is
consistently well-lit, photographed from low angles and in profile
shots that accentuate his already commanding presence. Quarry's Yorga
is a worldly, urbane gentleman, unruffled even as suspicions are
aroused and amateur vampire-hunters come calling. ("Would you care to
come in?" Yorga graciously asks a man he's just discovered trying to
break into his mansion, carrying a makeshift broom handle-stake.) Yet
as a vampire, Yorga is nothing short of terrifying: his attacks are
unexpected and swift, punctuated by screeching music and aided by
photography that makes him appear to fly at his victims several feet
off the ground. It's to Quarry and Kelljan's credit that Yorga is
believable and frightening when he easily could have appeared
anachronistic and foolish. |
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