#bobkelljan

After kicking off Shudderween with the cult-classic film Blacula, the next step seemed like an obvious one, but nonetheless, one that had to be taken.  The intent wasn’t to turn ShudderWeen into a hall horror exploitation and half Blaxploitation run of films, but the power and call of Scream Blacula Scream was undeniable, so I jumped immediately into double feature mode and fired it up.

While Blacula felt like an attempt to blend exploitation horror and Blaxploitation sensibilities, Scream Blacula Scream immediately and firmly sets its course of direction towards African roots by using voodoo as the method to resurrect Blacula.  Hearing voodoo referred to as a science and a religious faith-based system, but not as magic, is very unique and (at least to my knowledge) a fresh approach on the topic.  Similarly, I never put two and two together in terms of the coincidences between voodoo practices and Dracula lore, such as snake bites versus the infamous Dracula bite or the thirst for blood.  The African awareness not only leads to educational and informative moments surrounding African culture and artifacts, but once the story spills out into the streets, this awareness is held up like a mirror to the ills that plague disenfranchised society.  The idea of a romantic angle is also tossed to the side for the option of making Lisa a “chosen one” figure due to her prowess in voodoo, which in turn creates a narrative drive that fuels Blacula, provides a realm for tension as the other vampires are told to keep their distance, and seeds the film with intrigue as we wonder what Blacula’s ultimate plans for Lisa are.

While aspects of Blaxploitation cinema are still present in Scream Blacula Scream, the film seems to fancy itself as a horror film first as it not only plays into the conventions and styles of the day, but also employs looks and tone that would become staples in films like Halloween.  Using the jealousy that Louis feels as the impudence for bringing Blacula back into existence serves as an economical piece of storytelling, and having Blacula turn the tables on Louis by using him as a lure for future victims helps serve the overarching Dracula lore.  As the film progresses and further digs its heels in the horror realm, Louis not only provides us with Blaxploitation-style bursts of humor, but style as well, which helps in keeping things from getting too serious.  The investigative angle is still present via Justin Carter, which helps give the film narrative thrust, but it runs in the background for the most part, leaving us with ample time to focus on (and get lost in) the Blacula realms.

Scream Blacula Scream is a much more subdued and patient affair than its predecessor, with the Dracula bloodlust being the one true remaining thread from the first film.  While still period appropriate, most of the non-Blacula wardrobe is given a bit more of an evergreen feel, which has become a horror genre aesthetic used as recently as films like Malignant.  The film also sheds its highly stylized Argento-influenced lighting and feel for more of a cinéma vérité look, with tons of handheld cinematography and lighting that mirrors more of a natural look employed across the board.  Rather than employing a grand and terror-inducing score, the film goes with ominous stings and eerie passages, creating a sense of creeping dread rather than pure terror.

William H. Marshall returns, regal air and all, to serve as the lightning rod that the story charges itself around as he creates a definitive gravity for the other characters to revolve around.  Pam Grier turns in a humble, low key performance as a formerly troubled youth trying to find her place in the world in the face of newly-appointed responsibility, which in turn makes her a proper victim due to a lack of focus on external threats.  Don Mitchell brings a calmness to his investigative determination, turning the struggle between he and Marshall’s Blacula more of a cerebral and emotional one than a test of stronger will.  Arnold Williams, as mentioned before, brings a bit of humor and levity to an otherwise serious offering, serving as the voice of the streets in many ways.  These four serve the purpose of building the character-driven frame that gives the likes of Michael Conrad, Janee Michelle, Lynn Moody, Barbara Rhoades, Bernie Hamilton, Richard Lawson, a young Craig T. Nelson and a handful of others the room to navigate the world of Scream Blacula Scream.