With Robert Quarry, Roger Perry, Michael Murphy, Michael Macready. Too bad that Quarry never got the acclaim his magisterial performance deserved. With Heyes' back to the approaching brides (and Hayes' attention fixed on Yorga), the brides attack and drain the helpless Hayes. He eliminates each of the friends one by one until it's up to two remaining friends to become reluctant vampire hunters to save Donna from an existence of living death. At the tender but preococious age of 8 years old I was obviously too young to see this film when it played at the now iconic State Theatre in Sydney in 1970 but I remember well the buzz surrounding it and the length of time it played for.By the following year or so (1972), I was granted permission from my parents to see the sequel The Return of Count Yorga at a local cinema with some other youngsters in my street.Alas my first excursion into the world of horror genre cinema.I was absolutely terrified, having to make mad dashes outside the cinema to escape and take into account the ghastly and subversive images I was being witness to.Mind you I was only 10 years old.Upon returning to find the family in the film being dispatched in their home by Yorga's none too glamourous harem, I immediately raced outside once more into the safety of the sunlight.The one thing I remember most clearly whilst outside the cinema was the almost deafening clamour and screaming from the fully packed, virtually all teenage audience.It sounded like standing outside a lunatic asylum, the shrieking and incessant stamping of feet on the wooden floors continued well into the scary third act of the film.Nostalgia...often well inducted by those early scream features, it was like an event in itself as well as the end of my childhood innocence.I have re-visited both films many times during my adult years and the nostalgic effect still surfaces, courtesy of American International Pictures and their wonderful trademark cinematography -I'm glad the success of both these original horror landmarks paid off well for them. Robert Quarry is the man as Count Yorga, and what's up with the coffin movers? This movie is about what most vampire movies are about cool confrontations with the undead, spiced with some lightweight eroticism. A group of hippies conduct a séance led by a Bulgarian mystic named Yorga in order to make contact with the mother of one of the participants. Lang is attractive and reasonably good (soap fans will be interested to know that her daughter Katherine Kelly Lang has played Brooke on "The Bold and the Beautiful" for many years!) There was a sequel called Return of Count Yorga, but after seeing this movie, you'll wish for a remake of this one instead of a pretty mediocre sequel. It was written and directed by Bob Kelljan. On the way to the staircase, Brudah emerges from the living room, holding his profusely bleeding knife wound, but still intent on attacking Michael. The film begins by showing us a coffin being removed from a ship, then trucked out to an estate in modern day (circa 1970) Los Angeles. The actor clearly relishes the chance to perform this type of role and brings a gravity to it, despite some of the lighter and campier aspects of the movie. He attacks Yorga with a crucifix and a wooden stake, while yelling out for Michael (who hears Hayes and begins to run in the direction of his call). I was a bit surprised by this rather low budget 1970s incarnation of vampire films. Not owning the rights to the Bram Stoker creation, AIP decided to invent their own vampire myth: the result is Dracula-in-all-but-name, being suave (sporting gracefully graying hair), cunning (even when caught off-guard, he manages to assert himself and turn the tables on interlopers), psychic (amusingly, he doubles as a medium at private séances!) Quarry is a striking presence as Count Yorga (actually meant to be Iorga, and pronounced that way in the film, but changed by the distributing company in order to be more easily pronounced by the movie-going public!) Written and directed by Bob Kelljan, who later directed episodes on various 70's TV shows like Starsky and Hutch, Dukes of Hazzard, and Charlie's Angels, Count Yorga, Vampire (1970), aka The Loves of Count Iorga (not a misspelling), did extremely well when it opened. The movie was written and directed by Bob Kelljan. If that's your bag, you should like this. Yorga distracts Hayes, and Yorga strengthens his hypnotic control over Donna. apparently afraid of something, and begs Paul to kill her. Lang becomes intrigued by Quarry, a recent transplant from Bulgaria who lives in a musty castle on a gated estate. Some good surprises, too. IMDB only gave this one a rating of 5.7. Michael alerts Hayes that Paul has gone to the mansion, and Hayes confides that Paul's lack of preparation will probably lead to his death. Sure, it's done on a shoestring, but director Kelljan gets the most out of the cavernous mansion interiors and clever camera set-ups. Michael and Donna rest while Hayes studies vampire lore until he too falls asleep. In contrast to her exuberant personality on the night before, Erica now seems despondent and listless. Tall, handsome, and charismatic actor Robert Quarry was born on November 3, 1925 in Santa Rosa, California. Count Yorga (Robert Quarry), a vampire, comes from Bulgaria to 1970 Los Angeles and starts making a coven of beautiful female vampires. Michael oversleeps due to Donna's sabotage of the alarm clock, and it's nearly evening when he calls to awaken Hayes. Experiencing car trouble outside of Yorga's mansion (though Paul notices the road was dry a minute ago), the two resign themselves to spend the night in their van. Michael rams the charging Yorga with his stake, killing him. He lives in a large house somewhere in California and terrorizes young women and their boyfriends. Sixties couples Michael and Donna and Paul and Erica become involved with the intense Count Yorga at a Los Angeles séance, the Count having latterly been involved with Erica's just-dead mother. He and Donna watch Yorga turn to dust. Perry gives a skilled, knowing performance as well, obviously aware that a blend of seriousness mixed with levity was called for in the production. Kelljan had acted in a couple of Richard Rush movies in the 60s including 'Psych-Out', before making a few exploitation movies of his own in the early- to mid-70s. During the seance, Count Yorga builds a strong bond between Donna, the grieving daughter, and himself. Michael encuentra a Hayes, ensangrentado y moribundo en el sótano del Yorga. It opened to limited theatrical release in the United States on June 10th, 1970. I haven't seen it for 30+ years. As with many genre pics of the period, the acting and direction are pretty nondescript, and the whole thing looks like it was filmed through a screen door. A must see for the classic horror fan. Unable to reach her by phone, the concerned men drive to her home. Dans les rues dâune ville de Californie du Sud. 1970 alone includes two Dracula sequels from Hammer Films, a Jesús Franco Dracula and a Dracula-esque picture called "Jonathan." His presence is so strong that he is able to rise above what ever flaws there are of the film and portrays Yorga as someone who is charming and intelligent, but underneath is something that you wouldn't want to meet in a dark alley. A couple invites a Count from Hungary, who recently immigrated to America, to conduct a seance for the woman's recently deceased mother, oblivious to the fact that he is actually a vampire. They find the place in disarray, and an hysterical Erica eating her pet kitten. Eventually, our characters find out that Yorga is no mere mortal, but instead one of the undead. Sont présents Paul et ⦠Bob Kellijan does a great job with this and the follow-up ''The Return of Count Yorga '' of capitalizing on Quarry's appeal which carries the film .Hail Robert Quarry ! Erica visits Doctor James Hayes to have the mysterious bite wounds on her neck inspected. Michael locks them in and takes Donna's hand, believing the danger is over. Like most of the films that I saw when I was younger I watched it on a small black and white T.V. This was really the first vampire film that treated them as swift and animalistic. A truck is loaded at the Port of Los Angeles, and as it climbs to a gated mansion in the California hills, the cargo is revealed to be a coffin. The film contains some truly startling moments (such as the count's toothy grimace as seen through a van's window), restrained but effective use of gore, a deliciously downbeat ending, and even a nice little shocker as a final capper.
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