Robert Quarry as the deathmaster in Bob Kelljan’s breakthrough feature COUNT YORGA, VAMPIRE.
film, ie., DAUGHTERS OF DARK- NESS, REQUIEM FOR A VAM- PIRE, LUST FOR A VAMPIRE and BLOOD FOR DRACULA, all of which seem to associate per- verse sexuality with aristocratic decadence.
This dual-layered, Limited Edition Blu-ray from Twilight Time serves up a 1080p transfer that respects COUNT YORGA, VAMPIRE’s original theatrical framing of 1.85:1. For a color film of this era, the imagery translates admirably, with appropriate grain and contrast. Other than some deep scratches that invade the film around the 1h 1m marker, we noticed no major technical disturbances.
The special features deeply enhance one’s understanding of the film within the broad context of the industry that created it. The enthusiastic audio commentary track is provided by film historian David Del Valle and filmmaker Tim Sullivan (2001 MANIACS). One matter they seek to clarify quickly is that COUNT YORGA,
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VAMPIRE was not the first vam- pire movie to play out in a mod- ern world, citing THE RETURN OF DRACULA (1958)—but overlook- ing the fact that all of Universal’s Dracula pictures were set in what was then present day. In truth, COUNT YORGA, VAMPIRE was to be not only a “nudie” but a pe- riod piece; alas, the $64,000 bud- get discouraged such treatment. Quarry lobbied producer Michael Macready (son of actor George Macready, who provides the nar- ration that opens and closes the film) to go to AIP with the straight horror concept that ul- timately would become AIP’s third-highest grossing release of 1970 at $7 million. Sullivan con- firms this Twilight Time version presents the film in its un- abridged form, with the disturb- ing (faked) cat-eating scene intact. Del Valle notes that se- quence equates the vampire’s nasty habit with drug addiction. The film’s preservation was jump-started by director Frank Darabont (THE SHAWSHANK
REDEMPTION, THE MIST), a huge fan of Quarry and the two Yorga films. Like many other Hollywood personalities whose stardom faded, Quarry probably accumulated more money at convention appearances than he did for portraying the roles re- membered by his loyal fans. Some trivia indie music fans are sure to appreciate: Edward Walsh (HARD TIMES), who portrays the grotesque manservant Brudah, was part of the New York music scene and appeared in EXPLOD- ING PLASTIC INEVITABLE, a docu- mentary short that featured concert footage of The Velvet Underground. Another possible blemish on a gen- erally stellar commentary track is Del Valle’s assertion that compe- tition from television was more of an issue in the early ’70s than to- day, a debatable view consider- ing the “binge watching” of television show episodes that has become so prevalent in the Net- flix era. These days, it is more difficult than ever to distinguish “movie actors” from “TV actors.”
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