Product Details

• Amazon Sales Rank: #6947 in DVD
• Released on: 2004-01-20
• Rating: PG (Parental Guidance Suggested)
• Aspect ratio: 1.85:1
• Formats: Subtitled, Widescreen, NTSC
• Original language: English
• Subtitled in: English, French, Spanish
• Dimensions: 1.00 pounds
• Running time: 93 minutes

From Amazon.com
William Marshall, a Shakespearean actor with a rich baritone voice, enriches this otherwise bland blaxploitation vampire film with his strong, seductive performance. He's Manuwalde, a European-educated 18th-century African prince who appeals to the Count Dracula for help in ending the slave trade. Dracula, never known as a great emancipator, puts the bite on Manuwalde's troubles, dubs him "Blacula" (the only time the name is uttered in the film), and imprisons him in a casket. Stirred to life, so to speak, centuries later in Los Angeles by gay antique hunters, he steps into the soulful '70s and splits his energies between feeding his bloodlust and wooing a young beauty (Vonetta McGee), a dead ringer for his long-dead wife. Thalmus Rasulala (Friday Foster) is a modern medical professor turned urban Van Helsing, and Elisha Cook Jr. has a bit part as a coroner with a hook for a hand. The potential for a clever urban black twist on the European vampire myth is lost in this dull, thoroughly conventional tale. Marshall is under enough sloppily applied facial hair to make him a wolfman, and his victims walk around with a plastic blue pallor. But despite the limitations, Marshall creates a magnetic, aristocratic character and infuses his monster with a sense of loss and sadness in the climax. It was followed by a sequel, Scream, Blacula, Scream, and inspired Blackenstein. For a more interesting and thoughtful African American take on the vampire legend, look to Ganja and Hess. --Sean Axmaker

Review
This crossbreed of horror and blaxploitation is better than its campy title might lead one to believe. The conceit of a vampire dubbed Blacula is a bit silly and the film suffers from the occasional bit of awkward humor (the bits with the two homosexual interior decorators are the most squirm-inducing), but Joan Torres and Raymond Koenig's script keeps things moving at a fast clip and generates some genuine chills. The scare factor is further enhanced by effective direction from William Crain; although he is periodically hampered by the film's low budget, he manages to craft some genuinely atmospheric and chilling moments. The standouts in this area include a confrontation between the police and Blacula's minions in their warehouse lair and the film's tragic yet poetic final moments. However, the film's key attribute is a stunning performance from William Marshall as the title character; he brings a magnetic presence to the role that makes it fascinating to watch, and his deeply felt portrayal gives the film an emotional weight it might have otherwise lacked. To sum up, Blacula is a solid horror programmer with plenty of appeal for both horror and blaxploitation fans. ~ Donald Guarisco, All Movie Guide

On the DVD
ccOriginal theatrical trailer

Customer Reviews

That Mumawalde really is one weird dude
1972's Blacula gave birth to the horror subgenre of the blaxploitation genre. Its title probably turns more people away than draws them in, as it's hard to believe a film with such a campy, race-infused title could be any good (and might well be offensive). Blacula, however, is not only a surprisingly good, somewhat serious film - it also works quite well as a horror movie. It essentially follows the traditional mode of the Dracula story, and William Marshall succeeds in evoking the dual persona of the vampire as a creature to be both pitied and feared. Blacula features some wonderful lines of dialogue that we will never hear again in the politically correct modern world, but for all its focus on African-American players in the drama, the racial element of the film is unimportant to the story itself - which, I suppose, was the whole point of the blaxploitation movement.

I have no idea why Prince Mumawalde thought Count Dracula an important diplomat who could use his influence to stop the slave trade, but he did - and he was quite wrong. Dracula got so riled up that he cursed the African prince with both his name and affliction, dubbing him Blacula and locking him away inside a coffin so that he would endlessly hunger for the human blood he could never possibly attain. There he lay for two centuries until a pair of exceedingly gay antique dealers bought Dracula's castle and threw a veritable hissy fit over the wonderfully ornate coffin they found in a secret room. It's not hard to guess what happens when they return to America with their newly-acquired antique wares - there are soon two less outrageously gay men in the world. Blacula then gets his first look at the new world around him - and almost immediately encounters a woman who is the spitting image of his beloved bride. With Tina (Vonetta McGee) as our Mina, all we need is a Van Helsing character, and he soon emerges in the form of Tina's sister's main squeeze Dr. Gordon Thomas (Thalmus Rasulala, who is perhaps most familiar as Raj's father on What's Happening!!!). With a number of corpses turning up with holes in their necks and then disappearing altogether, Gordon comes to believe that a vampire is on the loose. These characters aren't too hard to convince; when Mumawalde tells Tina his true story, she reacts to the words slave trade but doesn't bat an eyelash over Mumawalde's claim that he was turned into a vampire by Dracula two hundreds year earlier. The final confrontation, which you know is coming, plays out rather well, with Marshall bringing his Shakespearean training to bear in order to give the scene a serious quality that it would probably have lacked otherwise.

Blacula is far from perfect in conception and execution, providing a number of really funny scenes and lines of dialogue. My favorite moment comes early on, when one of Dracula's henchmen conks Mumawalde over the head with a pot or something - he obviously throws it across the room, coming closer to hitting a member of the production crew than Mumawalde himself. Then there are the oil lamps that spontaneously combust, of course. The whole film is just a little too outrageous to take completely seriously, but the depth and probity of Marshall's performance maintains an aura of respectability, some of the vampire scenes are somewhat eerie (although there's a woeful lack of blood each time some vampire puts the bite on another victim), and the ending achieves a poignancy that rises far above the blaxploitation origins of the film. As a pretty decent horror movie as well as a blaxploitation classic, Blacula really is a must-see.

Alright Then...
This is quite a...bizarre...movie. I thought it would be some sort of a comedy or maybe a black comedy or maybe even a horror black comedy. It's not really any ot these. I think it's supposed to be a horror, but the story's so old and the plot in this movie is so predictible it's not scary. I don't think it was supposed to be a comedy, but I found humor in how fake it looked when Blacula transformed into a bat. I have to admit, they could have made a great whack-ass comedy type parody out of this, but they tried to take it seriously and got...this. I think someone like Marlon or Damon Wayans should remake this and make it intentionally funny. But seriously, this is a baaaad movie. Stay away.

Afrocentrism meets vampirism
"Blacula," directed by William Crain, tells a story that begins in Transylvania in 1780. Prince Momuwalde, a Black African, comes to the legendary Count Dracula to seek his aid in ending the slave trade. Instead of helping the prince, the evil count transforms him into a vampire: Blacula!

"Blacula" is an interesting and entertaining blend of the vampire and "Blaxploitation" genres. After the atmospheric opening sequence (and cool opening credits!) the action shifts to urban America in the 20th century. A lot of elements make this film fun to watch: the fashions, hairstyles, music, and dance moves.

William Marshall brings both an animalistic ferocity and an aristocratic elegance to the title role; I would definitely rate his work among the best of cinematic vampire portrayals. Marshall is superbly complemented by Thalmus Rasulala, who brings gravitas and intelligence to his portrayal of the scientific investigator who is on Blacula's case.

Yes, some aspects of the film might strike some viewers as cheesy or dated. And the script fails to fully develop the fascinating concept of an African vampire; I felt that some of the political and cultural issues raised in the opening sequence could have been better explored. Still, "Blacula" is a real treat for fans of both Black cinema and horror films.