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The vast majority of 1970s blaxploitation films were grounded in gritty realism, tackling themes like crime, drugs, and revenge in urban settings. However, every so often, a film would break the mold and offer something fresh—like introducing the first Black vampire to the big screen. William Crain’s “Blacula” (1972) did just that, blending classic horror with the era’s signature style to create a cult classic.
In “Blacula”, African prince Mamuwalde seeks Count Dracula’s assistance in ending the slave trade. Instead, Dracula betrays him, transforming Mamuwalde into a vampire and imprisoning him in a coffin. Nearly two centuries later, in 1972 Los Angeles, the coffin is unwittingly opened, releasing Mamuwalde into a modern world. As he adapts to contemporary society, he encounters Tina, who bears a striking resemblance to his late wife, igniting a tragic quest for love amidst a series of vampire-induced horrors.
“Blacula” had always been on my radar, but I never got around to watching it. Based on the title alone, I assumed it was a comedy or even a spoof. However, to my surprise, the film plays it straight, treating its horror elements seriously. The name “Blacula” itself is only mentioned once—and even then, as a cruel insult from the racist slaver, Dracula.
If there’s one thing “Blacula” has going for it, it’s William Marshall’s commanding lead performance. With his deep, resonant voice and regal presence, he elevates the character beyond typical horror villains, making Blacula a truly memorable figure. He even borders on being an anti-hero—if not for the trail of innocent victims left in his wake.
But sadly, there’s not much else to this movie beyond its unique premise. Then again, what really defines a “standard” vampire film? After a few brutal kills to satisfy his hunger following two centuries of imprisonment, “Blacula” shifts focus as he becomes infatuated with Tina. His violent tendencies take a backseat to a tragic love story, while the horror elements are largely handed off to the newly turned vampires wreaking havoc in his wake.
There is some intriguing back-and-forth between Mamuwalde and the doctor investigating his victims, as they cross paths while socializing before the doctor realizes who he’s truly dealing with. However, given that this unfolds in a city of millions, their chance encounters feel rather far-fetched.
The highlight of the movie is undoubtedly the scenes where Mamuwalde transforms into a bat puppet. Achieved through a simple fade effect, the result is unintentionally hilarious. It’s a shame the rest of the film isn’t this amusing, because “Blacula” certainly isn’t scary.
