In the blurb for this collection, we learn that “Count Yorga, Vampire” was among the first to successfully transpose the classic vampire, cloak and all, to a modern-day setting as the Count – played unforgettably by Robert Quarry – arrives in the United States and settles in a Southern California mansion with his mysterious “brides”. A drive-in favourite from the moment it was released, a sequel soon followed. The Return of Count Yorga ups the ante and sees the sardonic Count on the streets of San Francisco, his sights set on an orphanage as a potential source of sustenance.
This is a neat encapsulation of these two films, and concisely summarises the aim of the Count, driven as all vampires are by the desire for blood. However, the escapades of Count Yorga are unfortunately lacking in all the key elements of the vampire film, namely blood, sex, and charisma. One problem with both films is the glacial pace at which the story progresses, this is much better in The Return of Count Yorga but both films feel like there wasn’t quite enough story to fill the run time. There is also a distinct lack of blood, something of a crime in films about bloodsuckers.
The Count’s reign of rather toothless terror is set against the modern culture of the time. It is an interesting clash between the old ways, and the new, contemporary setting in which The Count thrives. In The Return of Count Yorga, this clash is more explicitly emphasised. At a Halloween party, the topic of vampires is scoffingly dismissed, much to Yorga’s chagrin. A partygoer states that this is the 21st century, and men have been to the moon, as though this removes the possibility of an ancient evil. This rejection of folklore, of the old ways, is nothing new in horror, but it is interesting to see the mythic figure of the vampire dropped into a modern setting; feasting on hippies, and watching vampire flicks in gloomy California mansions.
“… bloodless offerings, lacking the bite necessary to compete with other offerings in the vampire genre. In a bloody fight for vampiric supremacy, my money would still be on Dracula”.
Robert Quarry is a convincing Count Yorga, all eyebrows and jagged teeth. His derisive assessment of contemporary life, and cutting remarks add dry humour to the story. The films also play with the well-established lore of Vampires. Dusty coffins, mind control, and heaving bosomy women are plentiful. His attacks are entertaining and seeing him swoop stiffly from above, arms rictus, eyes flashing and teeth gnashing, add a bit of pep to the proceedings.
Although Yorba is charming, there is a sexless element to him that removes the enticing aura of many similar vampires. There is also a disconnect between the two films. For instance, in The Return of Count Yorga, we have no idea how the Count and his brides have moved to San Francisco, based on the ending of the Count Yorga. His motives in Count Yorga, besides collecting beautiful women, are unknown. The character development is minimal, particularly for the women he targets, meaning we care little about their fate. This is improved upon in The Return of Count Yorga where we begin to understand that the Count, after centuries of life, might be lonely and looking for a companion. The whiff of misogyny in his choice of a ‘pure’ and kind goody-two-shoes who works in an orphanage, whom he manipulates with mind control and murder, is typical of the vampire films of this era. His army of killer brides is an interesting play on the trope, and their cackling blood lust is a thrill to behold. In The Return of Count Yorga, we see more development of the women in Yorga’s orbit, in the form of Cynthia and Jennifer, two women traumatised by their interactions with, and proximity to the Count. Yorga’s pursuit of Cynthia, a romantic, if misplaced notion, adds depth to his character. In this regard, The Return of Count Yorga is a much better film, building on the promise of the first, and developing the premise.
Despite this, Count Yorga and The Return of Count Yorga are bloodless offerings, lacking the bite necessary to compete with other offerings in the vampire genre. In a bloody fight for vampiric supremacy, my money would still be on Dracula.
