#williamcrain

October is upon us, meaning that spooky season is in full effect.  Like clockwork, most people turn their attention towards the wonderful genre of horror films for the month-long march to Halloween, and while my month is jam packed with DJ gigs and my attempts to catch up on 2021 releases, I’m going to do my best to take part in the horror film indulgence.  Luckily for me and the legions of horror fans out there, Shudder has more movies than we could ever hope to watch in one month, hence the christening of this month as ShudderWeen for the DOOMonFILM faithful.  I popped open the app, and like a beam of light from heaven, the perfect film to set things off popped up for me : Blacula.

With horror already being a form of exploitation cinema in its own right, it is interesting to see it combined and infused with a heavy dosage of the Blaxploitation movement that was present at the time of release.  This mixture, specifically the choice of turning the Dracula legend on its head, creates a very interesting dynamic in terms of the sociological aspects of the film, chiefly in two realms : the symbolically elevated ‘class’ that Prince Mamuwalde receives via his transition to Blacula despite his already regal status, and the assumptions that Blacula’s victims are simply victims of standard issue Black crime.  As the story progresses and Dr. Gordon Thomas closes in on Blacula, these two ideas begin to clash in very uniquely symbolic ways that could not exist outside of the horror constructs the film thrives in.  The way that Blacula is able to thread his way through high society, build a relationship with Tina and essentially flaunt his existence in the face of Gordon Thomas has subtle underpinnings that match the way that pimps and drug pushers scoff at society and authority in other Blaxploitation films, though all of it is done very subversively and without the need for self-congratulatory measures or heavy-handed expositional dumps.

The mystery that surrounds Blacula serving as a “modern day” Dracula figure unintentionally opens the door for the Gordon Thomas character to lay down a strong foundation of an investigative detective movie, with each revelation and little bit of information parceled out serving as a way to push the narrative forward towards its inevitable climax.  This is intertwined with an interesting love story involving Vonetta McGee in the dual role Luva (Prince Mamuwalde’s former wife) and Tina (Blacula’s seemingly reincarnated Luva) that could easily come off as corny, but with the way that William Marshall elevates the status of Blacula with his performance, it actually becomes one of the strongest pillars holding the story up.  Perhaps it is this mixture of familiar elements existing within the structure of a traditional horror film that makes Blacula feel like a perfect balance of both genres while simultaneously feeling like it steps beyond the constraints of each.

Like most Blaxploitation films, the nostalgia is kicked into hyperdrive via the amazing costuming and hairstyles present within the film, as the color choices, tailored styles and natural hair exudes a wonderfully addictive air of freedom.  The score and soundtrack mixture is on point as well, with the Blacula-heavy scenes scored in the manner of an Argento film, while the soundtrack is heavy on funk and soul elements.  The locations also stand outk with Blacula’s dwelling having a timeless and regal feel that stands in contrast to the wonderfully dated locations of nightclubs, apartments and so on.  There are also some wonderful nods to Argento films in the lighting choices, especially the immaculate darkroom scene.

While there are memorable performances across the board, William Marshall leads the pack with a dignified and confident performance akin to that of Ron O’Neal’s attempts to bring a level of Shakespearean candor to Superfly.  Vonetta McGee offsets this lifted approach with a very grounded, sincere and tender performance, standing as one of the innocent and purest characters in the film.  Thalmus Rasulala matches Marshall’s dignity with determination and resolve in the face of the outrageous, standing as both a protector and investigator in his attempts to quell the bloodshed.  Denise Nicholas works as a sort of audience surrogate with her palatable fear and humanitarian desire to keep those she loves safe.  Elisha Cook, Jr. brings levity to the table as the disassociated, burnt out morgue attendant, while Ted Harris, Rick Metzler and Ketty Lester all serve us heavy laughs before dedicating themselves to monster performances.  Gordon Pinsent serves as the voice of opposition and disbelief, attempting to tow the line of law enforcement while finding it hard to beleve in the threat presented.  Appearances by Emily Yancy, Logan Field, Charles Macaulay, a hilarious Ji-Tu Cumbuka, Eric Brotherson and talented singers The Hues Corporation round things out.