Die schwarzen Zombies von Sugar Hill

I wish I'd get a nickel for every horror movie I watch starting with an occult voodoo ritual during the opening credits! If that were the case, I'd be rich myself instead of spending all that precious money on purchasing obscure movies! Although, in all honesty, I have to admit that the voodoo mumbo-jumbo at the start of "Sugar Hill" is merely just a staged act, set up in a groovy establishment called Club Haiti owned by a black businessman and located in the middle of a mafia-infested city with a white guy at the top of the crime ladder. As you can derive already from this two-line synopsis intro, "Sugar Hill" is a Blaxsploitation horror effort, like the contemporary blockbusters "Blackenstein" and "Blacula", only with voodoo spells and zombies this time. The owner of Club Haiti gets killed for not giving in to the mafia's blackmail, but his left behind wife Sugar, nicknamed like this because she is – and I quote – looks as sweet as sugar tastes, plots a virulent revenge. She seeks help with a voodoo priestess and together they head out to a swamp to resurrect an army of black zombies to fight the mafia.

The summoning of Voodoo God Baron Samedi is quite a preposterous but hysterically entertaining sequence as the guy (Don Pedro Colley) turns out to be a prototypic pimp from the hood who literally screams out to all his dead servants to awake and emerge from their burial grounds. Awesome! This scene alone was enough reason to make "Sugar Hill" my brand new favorite Blaxsploitation movie of all time! Subsequently all the obnoxious white villains get what they deserved: imaginative and violent deaths inflicted by black zombies – illegally buried victims of slavery – with swollen eyeballs and covered in dirt and cobwebs. Like Baron Samedi marvelously states, they should be put to evil use because it's all they ever knew. "Sugar Hill" is a fast-paced and ultimately swinging 70's flick; guaranteed entertainment for all experienced freaks of obscure cult horror. Lead actress Marki Bey doesn't play in the same league as her fellow exploitation heroines Pam Grier or Tamara Dobson, but she's certainly a genuine foxy lady with sexual charisma to boot and far above average acting capacities. She also has a couple of cool witty one-liners to make when she gets rid of yet another opponent, like when she feeds one of the mobsters to a bunch of filthy pigs and murmurs the phrase "Talk about white trash…". The Caucasian baddies are pretty terrific too – especially Robert Quarry – and it's a joy to listen to their chauvinistic and misogynist dialogs. The make-up effects on the zombies are deliciously outrageous and the coolness-factor of the actors is simply immeasurable. The aforementioned Don Pedro Colley depicts a voodoo guru, but he plays pool like a real badass MF. The only things missing in order to make "Sugar Hill" a true masterpiece are a groovier soundtrack (the music is a bit of a letdown) and a bit of sleaze. Otherwise, the coolest Blaxploitation flick out there to discover!

Langston (Larry D. Johnson) is the owner of a successful nightclub and he proposes his girlfriend, the photographer Diana "Sugar" Hill (Marki Bey), to get married with him. However the kingpin Morgan (Robert Quarry) and his henchmen kill Morgan when he does not accept his offer to sell the nightclub. Sugar Hill seeks out the voodoo priestess Mama Maitresse (Zara Cully) to revenge the death of her beloved Langston. Mama summons the Lord of the Dead, Baron Samedi (Don Pedro Colley), who offers a horde of zombies to Sugar Hill take revenge. In return, she offers her soul to him. She lures Morgan while his gangsters are murdered one by one by the zombies. Meanwhile his former boyfriend, Detective Valentine (Richard Lawson), investigates the gruesome deaths of Morgan´s mobsters and suspects that the killer is using voodoo to kill them.

"Sugar Hill" is a funny and cult low-budget zombie film with Blaxploitation to the best. The plot is highly entertaining and the make-up is great, with creepy zombies with half- Ping-Pong ball on each eye. My vote is seven.

Title (Brazil): "Os Zumbis de Sugar Hill" ("Sugar Hill´s Zombies")

"Sugar Hill" has a lot of what made "Foxy Brown" so compelling, but adds an interesting plot device for a novel twist. I've seen lots of black gangster films where black heroes (and anti-heroes) get over on The Man and The Establishment, but "Sugar Hill" is the only film I've seen where horror monsters (as opposed to gun-play and car chases) are the vehicle for social justice. Of course, there could be others. I don't get out much. (And no, I don't count "Zombie Nightmare", which is a vanity project, not a movie.)

The heroine of the story loses her man to the predations of the local Mob when the Mob moves in on their nightclub. In order to exact revenge, she manages to contact a local voodoo cult (because in this film's social milieu, all black people in the South maintain contact with their pagan cult roots, don'chaknow) and convince them to aid her cause. Hilarity ensues.

On the plus side: the makeup effects for the zombies were novel and extremely effective - I've never seen any other film use 'brass eyes and cobwebs' effects and bluish "bad skin" tints like this. Someone did a wonderful job coaching the extras on how to be convincing as cold, soulless, remorseless, shambling piles of ex-humanity. And they are framed and filmed and lighted in setups out of your worst nightmares. The setups for each of the revenge scenes are well done, and there is a lot of variety in the scenarios, as well as some macabre humor - the 'death by massage therapy' scene managed to be both funny and appalling at the same time, which is a great trick.

Also on the plus side: The actress playing Sugar is very striking and carries the movie effortlessly. She's convincingly merciless and cold as she delivers judgment on each of her foes, and obviously relishes her revenge. The actor playing Samedi seems familiar; I think he shilled for "7-Up" some years ago. He's got a wonderful, deep, rich patois that resonates in the viewers' solar plexus. His sadistic glee and delight in the suffering and terror he inspires in his prey is enough to make you seriously considering defecting to the ranks of the "voodoun."

On the minus side: Once Sugar gets the voodoo revenge ball rolling, it's just too damned easy for her - there is no struggle, or suspense at all. In "Foxy Brown", the heroine suffers rape and beatings and humiliation before she turns the tide on her enemies, and it makes the story more compelling because of it. Even in a Jim Brown "Slaughter" film, Jim had to sweat some to win the day. For that matter, Bruce Lee took some serious hits in his various fights for justice and revenge. But here, the Mob guys are dumb as toast and go down before the voodoo onslaught like mice under a field mower.That turns the film from a heroic struggle to an exercise in righteous sadism against a bunch of mannequins.

And traditionally in films and literature, if the protagonist messes with "Dark Forces" to exact their revenge, they have to pay a price themselves. But Samedi just goes out and tears Sugar's foes apart like an obedient supernatural Pit Bull and it doesn't cost her a thing, at least not overtly. The protagonist's desire for revenge and/or justice is much more convincing if the story shows them paying a real price to achieve it. So again, the film is less than it could be; instead of making Sugar Hill's story a tale of revenge no matter the cost, it becomes an plodding exercise in vicarious power fantasy and butt-kicking.

But still, it's a powerful experience, if only due to the fortunate accident of the makeup and the charisma of the two lead black actors. I'm glad I managed to catch it on Showtime, and if I ever see it on DVD for a reasonable price, I'll probably pick it up for my collection.

1974's "Sugar Hill" marked the end of Robert Quarry's brief horror stardom beginning with 1970's "Count Yorga Vampire" (a total of 6 features), although he worked continuously in smaller roles in lower budgeted films. In the early 70's, AIP maintained its policy of old fashioned horror, all PG titles, even after the departure of James H. Nicholson, the ideas man, leaving Samuel Z. Arkoff, the financier and distributor, alone in charge. The 2 Count Yorga films were profitable, as were the Blaculas, and other black-themed takes on familiar subjects arrived, like this one here, plucked from obscurity (like "The House on Skull Mountain") by recent showings on Turner Classic Movies. Zombies and voodoo no longer go together in this age of flesh eating Romero copies, but provide all the intrigue in a script filled with clichéd characters and dialogue. Marki Bey stars in the title role, turning to voodoo to avenge the beating death of her fiancée by the hired goons of crime boss Morgan (Quarry), complete with Southern accent and horny moll (Betty Anne Rees, a prior victim in 1972's "Deathmaster"). Betty and Marki even engage in a catfight, ala Pam Grier, a nice touch considering neither would continue acting much longer. Richard Lawson ("Scream Blacula Scream") pads out the running time in a dead end investigation that fails to stop the bloodless carnage carried out by the walking dead, ancestral slaves still in shackles, lifeless eyes covered in creepy webs. Easily the real standout is Don Pedro Colley, a far cry from his restrained performance in 1970's "Beneath the Planet of the Apes," playing the role of Baron Samedi, leader of the dead, a part essayed one year before by Geoffrey Holder in the James Bond thriller "Live and Let Die." Among the supporting cast, the lone familiar face is top henchman Charles Robinson, who appeared in ROOTS:THE NEXT GENERATIONS, before landing a co-starring role on NIGHT COURT. Director Paul M. Maslansky was no stranger to horror, having first worked with Michael Reeves and Christopher Lee on 1964's "The Castle of the Living Dead," mostly as a producer. AIP continued to have hits for the remainder of the 70's ("The Food of the Gods," "The Amityville Horror"), but never really latched on to the genre's changes escalated by "The Exorcist," and by 1980, Sam Arkoff had sold out, the company renamed Filmways, continuing to churn out hits ("Dressed to Kill"). By that time, the blaxploitation era was already long gone, waiting to be rediscovered.

Sugar Hill is that rare mixture of 70's blaxploitation and horror that started in movies like Blacula, Scream Blacula Scream, Blackenstein, and others. It is a pretty neat little film with some good horror sequences of zombies in graveyards and zombies administering revenge. The revenge is based on a woman who loses her boyfriend to thugs wanting to buy his business. He is beat to death and Marki Bey(who by the way is VERY easy to look at)seeks the help of an old voodoo woman(played by the woman that played Mrs. Jefferson on the Jeffersons)that helps her reach the spirit world. She sells her soul for the help of the zombies. The next part of the film deals with the revenge sequences for each individual in the mafia-like gang. The murders are chilling, well-executed(no pun intended), and have a pinch of humour as well. The acting is decent for this kind of film. Vampire star Robert Quarry, having to fill a contract obligation, plays the heavy with his usual charm and wit. The scenery and sets are very good too, but remember this is the 70's...the music is something and the clothes are like WoW! All in all a good zombie flick.