Dracula’s Daughter (Hope Stansbury) and Lawrence Talbot (Alan Berendt), unhappily married, fight to the death in Andy Milligan’s BLOOD.
The liner notes explain that LEGACY OF SATAN has been transferred from the surviving CRI (Color Resolution Index) 35mm print. The 1.78:1 fram- ing is balanced and accurate and the high definition transfer looks spectacular, with rich vivid col- ors and fairly sharp resolution; it’s also remarkably clean. That said, as was reportedly also true of theatrical release prints, the source material is subject to nu- merous cuts where fairly innocu- ous images of bloodletting or blood-drinking would have oc- curred—43:37, 43:51, 51:01, two cuts beginning at 62:45, with several more audible cuts start- ing at 66:26. The result is a film by the director of DEEP THROAT that contains no nudity, no sexual activity or simulation, and very little blood. Camera- man Joâo Fernandes’ other films include DEEP THROAT, THE DEVIL IN MISS JONES, THROUGH THE LOOKING GLASS, THE PROWLER and CHILDREN OF THE CORN. It
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should be mentioned that the electronic score by Arlon Ober and Mel Zenicker is more abra- sive than effective, and some- times sounds like someone keeled over and died on the horn of their car.
The co-feature in this case is the real point of attraction. In VW 53:48, I reviewed an Iver Film Ser- vices VHS of Andy Milligan’s BLOOD, a PAL source that ran 57m 16s (59m 42s in NTSC). Code Red’s 35mm source print therefore runs 9m 35s longer than any previously documented ver- sion, restoring the equivalent an entire reel to one of Milligan’s most amusing and well-acted pic- tures—an exotic pastiche of classic Universal horror, Tod Slaughter “strong meat” melo- drama, man-eating plants, medical horror and Old Spice commercials.
Alan Berendt and VAPORS screenwriter Hope Stansbury star as Dr. and Mrs. Lawrence Orlofski—in fact, an arranged marriage between wolf man
Lawrence Talbot and Dracula’s daughter, Regina—who arrive from their home in Mortavia (where Milligan’s GURU THE MAD MONK took place) to lease a cramped and somewhat lopsided cottage on New York’s Ocean View Road. There, the awful Dr. Orlofski intends to raise the blood- fed, man-eating plants necessary to Regina’s subsistence, with the help of a bizarre retinue of mon- strous assistants—the legless Orlando (Michael Fischetti), his beloved Carrie (Patti Gaul, whose legs are rotting from a shared malady), and the demented Carlotta (the unlikely-named Pichulina Hempi) whose blood feeds the plants. Their stay is meant to last only until Orlofski’s scurrilous attorney Mr. Root (John Wallowitch) is able to sell the Tal- bot family estate in Mortavia; how- ever, as Lawrence is told by Root’s attractive secretary Prudence Tow- ers (Pamela Adams), he has squandered his fortune and sold off the property at a loss to cover his own reckless investments. This
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