El vampiro negro

...from the standards of Blaxploitation movies of the time. The movie itself is more comical than scary (which is why I love it), but William Marshall brought a sense of dignity to his role of Mamawalde. In fact, it was his idea to change the main character from a jive-talking Black vampire to a tormented former king with a rich and tragic past. In the end, you actually feel sorry for him. This is an underrated film that is much better than it's avertizements would suggest. Though it may not be the best vampire/horror flick in the world, and it takes liberty with historical facts (a slave trade in Transylvania?!) it does contain a rather touching love story. With that being said, I have to admit that this movie also contains some of the most hilarious dialogue I've heard in a monster movie.

"Hey, man, that's a baaad cape!"

"A bat! A BAT! A GIANT BAAAT!!"

"Hey, where's that big dude with the cape?......AAAAH!"

"Suddeny I find your Congnac to be as...distasteful as your manner!"

And a load of others that, for censorship reasons, I probably cannot repeat here.

I recommend this movie to anyone who wants to have a spooky, retro good time.

The blaxploitation genre is now 40 years old, and many films that were big hits back in the day come off as dated and hokey. This one stands up fairly well, despite a limited budget and formula story, thanks to the strong central presence of the deep voiced and dignified William Marshall, plus a good supporting cast that included Denise Nicolas and Vonetta McGee. Plus, the production values are actually quite decent for a low budget, quickly shot movie, thanks to effective use of shadow- filled urban settings that create good nightmare landscapes. A chance meeting with Dracula turns an African prince (Marshall) into a bloodsucker and a further series of plot contrivances release him into modern (or at least modern for 1970) California. Marshall is a reluctant bloodsucker, however, horrified at what he has become and yet powerless to resist his vampiric thirst. Plus, even in the 20th century, vampires are still hunted, just as they must hunt to survive. Again, Marshall's strong presence as an actor saves the more overtly silly aspects of the movie from getting out of hand. Indeed, he is the most interesting and magnetic presence in the film despite being, in essence, the killer. This presents an unusual dilemma to the audience: should we root for the killer or the less compelling types who want him dead? Watch and enjoy, and then try to put that deep resonating voice of Marshall's out of your head. It lingers.

"Blacula" - can there be a title that would sound more promising for fans of 70s cult-material? And cult-stuff this is indeed! While "Blacula" of 1970 is certainly no highlight of 70s blaxploitation cinema, this is about as entertaining as it gets for lovers of cult-cinema, and an absolute must-see for all the blaxploitation enthusiast's out there. Plot and suspense are secondary, of course. This film is pure style and coolness, which is delivered in a highly entertaining manner.

In 1780, the African Prince Mamuwalde (William Marshall) is on a visit at Count Dracula's castle in Transsylvania with his wife Luva (Vonetta McGee). Mamuwalde, who wants to put an end to slave trade, falls on deaf ears with the evil Count who supports slavery. After a subsequent argument, Dracula bites Mamuwalde, turning him into a vampire, and locks him in a coffin for eternity. Almost two centuries later, a black/white couple of (very) gay interior decorators buy several pieces of furniture from Dracula's castle, including the coffin in which Mamuwalde was locked. Back in the United states, they open the coffin, releasing Mamuwalde, who has become a vampire... Blacula! And he subsequently runs into the beautiful Tina (also Vonetta McGee) who is the spitting image of his wife...

I did not expect extreme suspense, but what i was (a bit) disappointed with was the lack of gore. Whenever Blacula bites someone, I thought to myself that the whole thing wold be quite a bite cooler if he'd rip little pieces of flesh out (or do something else of the kind). The make-up is very cool, however. The atmosphere is generally very cool and typical for the funky 70s. William Marshall fits perfectly in the role of Blacula, and so does Thalmus Rasulala, who plays the hero character as a super-cool Shaft-style forensic specialist. For me personally, however, the absolute highlight is the sexy Vonetta McGee. I've been a fan of Vonetta McGee since I first saw her in Sergio Corbucci's Italian Western masterpiece "The Great Silence" of 1968 (one of my all-time favorite movies), and she sure is amazing here. Denise Nicholas is equally sexy as her sister. The movie is as sleaze-less as it is non-gory, however, so don't expect the amount of sex and nudity that you're probably used to from blaxploitation cinema. All things considered I have only one regret with "Blacula" - it should have been nastier! With more sex and violence, this could have been a great blaxploitation flick, but it is sadly too mild for my tastes. It is still a classic, however, and the funky soundtrack and super-cool 70s style make it even more enjoyable. Highly recommended to all the fans of blaxploitation and cult-cinema out there!

When you consider the fact that this movie was saddled with a low budget, a title that--while certainly apropos--is essentially a punch line, and all the constraints that low budget-dom entail... this is a pretty good movie. William Marshall is very good (the 'this will be your tomb' line is delivered as convincinly as any Chris Lee utterance) and was certainly worthy of the role of Bl(Dr)acula. The era of the film provides its own fun. 7/10. The sequel is better on all counts: more scary, campy, funny, visually interesting and sexy.

It seems that a lot of people dislike this film due to weak contextual restraints. Superficical gripes towards the actors' fashions or the homosexual lampooning in the film are myopic at best. This film came out in 1972- before Halloween, before Star Wars, and before the postmodern scare irony of the Scream franchise. It also seems that people do not take into account that this film is from the Black filmic canon, which is important to note when comparing it to other horror films.

Blacula was an early entry into the non-action field of 70's Black film. Forays in different directions were rare and notable entries few and far between. However, in the Black horror subgenre, Blacula is probably the most notable. It's a straight up vampire story with some well-conceived twists. The intro depiction of Mamuwalde as an African prince contesting slavery makes for a solid grounding and entry into the modern day. And then it's clear that AIP spent more than usual to grace this film just by the opening credits. The outstanding montage, with a considerable Saul Bass influence, are striking and instantly memorable. So too is the score, provided by Barry White collaborator Gene Page and his brother. The Hues Corporation contribute what could be one of their best songs, "There He Is Again", alongside 2 others. The act even sings them live in the movie to the characters ala "Superfly".

The superb acting and sturdy plot cannot be glossed over. The classically trained William Marshall proves a genteel, suave yet emotional main character. Vonetta McGee is graceful as the beauty easily swayed into Mamuwalde's charms. And staple actor Thalamus Rasulala's strength and authority are in full impact here as the skeptical doctor on the case. The plot might not break too many horror conventions, but it doesn't have to- who would have imagined a Black vampire story in 1962, just 10 years earlier? The love theme in the story provides excellent character development, something that many genre screenwriters skimp on.

A great film for the 70's and still a worthwhile viewing. Avoid the sequel, where Pam Grier is the only attraction.