Count Yorga, Vampire (1970) User Reviews

Pretty good

[preppy-3 · 7/10 · 10 June 2007]

Count Yorga (Robert Quarry), a vampire, comes from Bulgaria to 1970 Los Angeles and starts making a coven of beautiful female vampires. Will their boyfriends be able to stop him?

This was a huge hit in 1970 because it was the first modern vampire film. Up until then all vampire films had been set in Europe in the 1800s or early 1900s. This was the first vampire film set in modern day. Still it isn't a great film. It was originally shot with soft core sex scenes which were (pretty obviously) edited out and it was turned into a sleazy PG rated film. It was made on a very low budget (it shows) and suffers from some horrible 1970s fashions and dialogue. Also the makeup on the female vampires is pretty poor. Still this isn't a total disaster either.

The script is actually pretty intelligent considering this was a fairly rushed production. The acting is good--especially by Quarry who makes an imposing vampire. Very subtle performance but he handles the violent scenes quite well too. It moves at a fairly quick pace and has a great bloody climax--pretty extreme for a PG film. This won't impress audiences like it did in 1970 but it's still not that bad.

The 2000 video version I have has "Yorga" spelled as "Iorga".

Lesson To Be Learned

[ferbs54 · 7/10 · 15 March 2010]

Lesson to be learned: If your girlfriend or fiancée happens to develop sudden listlessness after attending a seance conducted by a smooth-talking count from Bulgaria, or perhaps develops a yen for consuming dead house cats, you may want to heed the advice of your doctor friend when he tells you that the count in question may be nothing less than...a vampire! Anyway, that's the setup in Bob Kelljan's surprisingly shocking, intelligent and believable horror film from 1970, "Count Yorga, Vampire." Several ingredients really help to lift this modern-day tale above the raft of similar competitors. It is extremely well acted by every cast member; Robert Quarry makes for an exceptionally sinister neck nosher indeed, and he is well matched by Roger Perry as Dr. Hayes. 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. Perhaps best of all is the wholly credible reaction of the guys (Michael Murphy and Michael Macready, the latter also serving as producer, and whose father, hissable character actor George Macready, provides the wonderfully dreary intro narration to the film) to the horror that has entered their lives. First they are dismissive, then skeptical, and finally stunned and frightened when faced with the realization of what they must do to rescue their women. As I said, an entirely realistic series of responses that really aids the viewer in buying in to the story. Oh...how could I forget to mention the count's brides; possibly the scariest-looking, fastest-moving bunch you've ever seen! Yes, this little horror flick, despite an underlit fight scene with the count's lupine manservant Brudah, is a pretty perfect outing. And from what I hear, the 1971 sequel, "The Return of Count Yorga," is even better....

Not bad at all--and it stacks up quite well compared to the Hammer Dracula films

[planktonrules · 7/10 · 17 May 2008]

I was a bit surprised by this rather low budget 1970s incarnation of vampire films. That's because around this same time period, vampire films were getting a bit stale and silly--with too many Hammer Dracula films (the franchise was getting weaker due to so many sequels) as well as dumb films like OLD Dracula and the Blacula films (which weren't terrible, but they sure were silly). However, despite my fear that this would be another stale film, this one turned out to be better than average and well worth a look. While only a nut would compare this to the greatness of Dracula or NOSFERATU, it still is a decent example of the franchise.

Before talking about the plot, there was something odd I noticed and that was how sexy the film was and it looked, at times, like it was a soft-core porno movie. However, again and again when it looked like it was going that direction, the movie abruptly changed direction--sometimes as if scenes were edited out to make this a film for general viewing. I checked IMDb for this and was not at all surprised to find that this was indeed the case. For example, a lesbian sex scene seemed about to occur--then the scene just ended. In another case, a woman was wearing a very revealing nightgown and began a very torrid scene with Iorga (there were two spellings in the film) and this just ended as well. There was also a very gratuitous scene involving a couple making love in a van for absolutely no reason--but again, with creative editing you really didn't see anything! As a result, the film is still quite sexy--but also one you could probably still let your teens watch.

Iorga/Yorga lives in the Los Angeles area in a house that looks more like a castle than a house. Even in crazy L.A., this house was definitely out of place! The film begins with his having a séance with three couples and it's soon apparent that the Count has magical hypnotic powers. Soon, it also becomes rather obvious that the Count is a heterosexual vampire--with strong desires for the three women but only a desire to kill off the men.

Many elements are taken from Dracula--even including a Dr. Helsing-like character. Despite the familiarity, the decent acting and nice update of the old tale make this worth a look. Plus the performance by the guy playing the Count was pretty cool.

Very innovative for its time

[mleeper · 7 May 2001]

At the time this film was made, vampires were almost always slow and hypnotic. This was really the first vampire film that treated them as swift and animalistic. That made this film surprisingly effective. It was even more surprising since it was originally supposed to be a pornographic vampire film called THE LOVES OF COUNT IORGA. It is flawed, but I still think it is the most effective vampire film I have ever seen. And I have seen quite a few.

The film is good, but Quarry is great.

[Hey_Sweden · 7/10 · 29 October 2016]

Robert Quarry is the main reason to watch this early 70s, California-set vampire favorite. Quarry plays the title character, a Bulgarian émigré hired by some young adults to conduct a seance. Soon some of them are disappearing, the females falling under the spell of this stranger. It's up to those that are left, including Michael (Michael Macready, who also produced the film), and doctor / blood specialist Jim Hayes (Roger Perry), to wage war with the fiend.

"Count Yorga, Vampire" is good fun for fans of the vampire genre. Writer & director Bob Kelljan creates some convincing suspense and atmosphere (as well as a few well timed shocks). Things also get satisfactorily gory without ever turning the proceedings into a true bloodbath. Of course, it's also quite sexy, with the young ladies dressed provocatively, and Yorgas' vampire brides taking up residence in his cellar. Standout scenes include our protagonists facing off against the bloodsucker, trying to keep him up until dawn. But Yorga always seems to have the upper hand. A dapper, aristocratic type, he clearly holds his opponents in contempt and doesn't doubt that HE can vanquish THEM. Quarry is absolutely aces in this role, and it makes one wish that he could have had more leading roles over the years (not that he did that badly for himself - his career was especially impressive during the 70s).

Yorgas' nemeses come off as reasonably likable, if occasionally foolish. What's particularly amusing is the way that Dr. Hayes is so readily accepting of the concept of vampires and that it's actually him that has to convince the others of the possibility.

The lovely actresses present include Donna Anders, Judy Lang, Julie Conners, Marsha Jordan, and Deborah Darnell. Future star Michael Murphy is amiable as Paul, another of our would be Yorga slayers, the hulking Edward Walsh is amusing as the Counts' ugly manservant, and that's Michael Macready's father, veteran actor George M., speaking the narration for the opening few minutes.

Highlighted by an effectively grim ending.

Seven out of 10.

Blast From the Past--The Seventies Rock!

[jnation5511 · 7/10 · 14 February 2005]

I saw this one on a movie channel and loved it. I haven't seen it for 30+ years. Robert Quarry is magnificent as a "matinee idol" vampire, in the best Lugosi tradition. Someone should post a short biography of this often-overlooked actor. A little heavy-handed in parts, but it's sure sexy and scary. The supporting actors are very good, especially a young Michael Murphy. You might also want to view Dr. Phibes Rises Again with Quarry and Vincent Price going toe-to-toe. See this one if you like seventies style or good low-budget horror.

Rated PG-13 (kitty munching; lewd activities in Volkswagen Bus and cleavage isn't quite the word).

Yorga come with me

[dfranzen70 · 5/10 · 6 June 2019]

In this alternate take on the Dracula story, the titular count (from Bulgaria) holds a seance to contact the mother of young Donna. Donna's mom died of some kind of anemia, which of course fits in with the movie's theme. The seance doesn't go as planned, but Yorga is able to implant some post-hypnotic control on poor Donna, and soon enough bodies are piling up as Donna and her friends try to figure out what's what. There's even a henchman who's (apparently) a werewolf! But aside from the present-day (well, 1970) atmosphere and setting, this is a movie useful only as a cult hit. Tired of the same old vampires? Try Count Yorga, sort of a Diet Dracula. 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 Modern Vampire Tale

[claudio_carvalho · 6/10 · 20 May 2015]

In Los Angeles, a group of friends of Donna (Donna Anders) reunites for a séance conducted by Count Yorga (Robert Quarry) to make contact with Donna's mother, who has recently died and was having a love affair with the Yorga. Paul (Michael Murphy) and Erica Landers (Judith Lang) drive Count Yorga home in an isolated manor and in the return, their Kombi gets mysteriously stuck in the mud. On the next day, they have no recollections from the previous night and Erica has lost blood. Dr. James 'Jim' Hayes (Roger Perry), who is a family friend, sees Erica drinking the blood of a cat and he believes that Count Yorga is a vampire. Paul decides to go to Yorga's house and disappears and Donna's mate Michael 'Mike' Thompson (Michael Macready), Jim and Donna decide to pay a visit to Count Yorga late night. When Donna also disappears, Jim and Mike plan to hunt Yorga down to save Donna. Will they succeed in their intent?

"Count Yorga, Vampire" is a modern vampire tale, with a tedious beginning and an entertaining but predictable conclusion. The plot has a poor and rushed initial development and uses the usual clichés where the vampire hunters chase the vampire during the night, and not along the day. My vote is six.

Title (Brazil): Not available on DVD or Blu-Ray

Yorga, the Weak Dracula

[Cineanalyst · 3/10 · 20 May 2018]

Another Dracula film in all but name, "Count Yorga, Vampire" was one of quite a few early-1970s reworkings of Bram Stoker's novel. 1970 alone includes two Dracula sequels from Hammer Films, a Jesús Franco Dracula and a Dracula-esque picture called "Jonathan." "Count Yorga" doesn't distinguish itself in any interesting ways from this pack. A low-budget production, it updates its bare-bones reworking of Stoker's story to the then-present of about 1970 and resets the action in Southern California. That's preferable compared to Franco's pitiful attempt to remain faithful to the source despite a lack of funds.

Although made and set during the Sexual Revolution, the film is more misogynistic than Stoker's Victorian-age novel, as the film treats women as victims, and men perform the action and do most of the talking. One of the women goes on for a while about how much she likes the Count and is defensive about the size of her posterior. Another one becomes hysterical during a séance, and then she's hypnotized by the Count into submission. The producers also submitted the film to several cuts to receive a more favorable MPAA rating, and the result is a film that is tame in blood and sex compared to its contemporaries, including the Hammer series and Franco's films, especially, as for sex, his tellingly-titled "Vapyros Lesbos" (1971).

The dead cat scene, however, has been restored, and it may be the best part here. Erica is essentially the Lucy character from Stoker's novel, in which Lucy, after turning into a vampire, feasted on children. A cat gets the same point across, and it's one of the more disturbing depictions of Lucy's vampiric behavior ever filmed. The lesbian scene while the Count watches and the implied rape by Yorga's servant are cut too short to be as shocking.

A blood transfusion, like in the novel, is also performed. The doctor here plays both Stoker's Seward and Van Helsing types. Roger Perry's performance is off-putting. He plays with Erica's hair in her medical appointment with him, but he's not otherwise presented as creepy or perverted in the way, say, Anthony Hopkins's Van Helsing is in the 1992 Dracula movie. And, he's otherwise conceited and stupid. When arguing for the possibility of the existence of vampires, he haughtily shouts, "But can you prove that vampires don't exist?" I don't care if he smokes a lot and has some naked, randomly-introduced and quickly-forgotten clingy chick in his bed, he's not cool. Meanwhile, Robert Quarry's Count is almost too suave in the tradition of Bela Lugosi (as opposed to the more anti-social Dracula from Stoker's book); his disdain for rudeness nearly prevents him from avoiding the sunrise in one scene.

Instead of any wolves, there's Rin Tin Tin, although it's not laughable as with the use of German Shepherds in the more faithful adaptations of Franco's 1970 film and the 1974 TV movie by Dan Curtis. The audio includes some bad ADR, including an extensive sequence of long shots where two of the guys walk the streets talking. Worst of all is the candle-lit, non-explicit erotica in a van. It's even worse than the love scene in the 1979 dime-romance-novel "Dracula." The ending isn't bad, though. Although the Count isn't as smart as he pretends, and he's weak for a vampire, at least crosses are less effective here than in the Hammer series; the Count laughs maniacally when the Doctor tries to hold him off with one.

Different take on the legendary Dracula story

[The_Void · 7/10 · 19 October 2005]

Count Yorga was something of a departure for vampire films in the seventies due to the fact that it's star isn't a bloodthirsty maniac, but rather a dapper and respectable rich bachelor, who happens to be a vampire. Really, the film is an update of the classic Dracula story, only with more of a seventies horror swing to it. Most of the clichés of the vampire sub-genre are here, and it's only really the setting that has been changed. Seeing Dracula in seventies Los Angeles makes for a rather different atmosphere surrounding the tale, but it's definitely a welcome one and one that has influenced many films since the release of this one. The film is very talky at the start, which can be a little bit annoying as the pace is very slow - but what Yorga is saying is interesting, and it really isn't long before the film starts properly. The story is classic vampire stuff, and basically we follow Count Yorga as he involves himself with various other members of high-class society. The story starts properly once he has bitten one of the young women, who is later found with massive blood loss...and feasting on the family cat...

Robert Quarry stars as the enigmatic count, and does an excellent job of it. This is the role that made him and the fact that he hasn't had another role in this kind of volume since shows that fact quite clearly. His voice and his mannerisms aptly reflect the character he is portraying, and it's really easy to believe that this man is a vampire. The actual horror of the film takes something of a backseat to Yorga's account of being a vampire; but the way that the film does this differently from other vampire movies helps it to retain it's element of originality. The film looks lovely throughout, and while the colour scheme isn't as robust as some of Hammer's vampire films; the style isn't out of place, and it helps to reflect the title character himself. I loved the way that the film placed the vampire in with the top class of Los Angeles' people. The film isn't too far away from being one of Woody Allen's films, with a vampire in it! On the whole, while I don't rate count Yorga as one of the out and out must see vampire movies, it's a very good one and fans of vampire films - especially Dracula and the like - will like this.

No garlic in this one

[AAdaSC · 5/10 · 13 April 2017]

Some friends gather at the mansion of Robert Quarry (Count Yorga) so that they can hold a séance and Donna Anders (Donna) can contact her recently deceased mother Marsha Jordan. Marsha and Quarry had been lovers. What follows is a vampire film with the women predictably the victims/aggressors and the men predictably running around trying to solve things. In the meantime, Quarry is the bad guy with a clichéd side-kick who resembles a monster and has super strength. Good versus evil – can you guess which side wins…..?

The film is OK but I find films in this genre quite limited in emotional connection for me. There are a couple of rare exceptions but on the whole, you know what you're going to get. The film does have one memorably scary part that is well done - check out the stuck-in-the-van sequence. We know what is coming, but it's still scary and gets you. This happens on another occasion as well as at the end. This predictability, unfortunately, lets the film down - as well as the comically bad narration, especially at the end. Aside from that, the film is a little dull and just plods along. The bloody images start to appear at the end of the film and there is a pretty grotesque moment with a kitten. Personally, I don't approve of gratuitous gore so these things lose points for me. I want to like these vampire films but they are ultimately boring and predictable. This one scores on the OK-ometer.

Excellent "Modern Day" Vampire Tale

[BrandtSponseller · 10/10 · 22 January 2005]

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. On top of this, we hear narration telling us a bit about vampire legends. Soon after, we meet Count Yorga (Robert Quarry), as he conducts a séance to try to contact Donna's (Donna Anders) deceased mother. The séance turns slightly chaotic, and Donna's friends begin to suspect that there's something odd about the Count, especially when they learn that he had been dating Donna's mother, requested that she not be cremated, as her earlier wishes had it, but didn't turn up at the funeral. The film consists of Donna's friends trying to learn more about, and subsequently finding themselves further and further into trouble with, Count Yorga. It is no mystery, due to the title of the film, that he is a vampire.

Although Count Yorga, Vampire is a bit talky in the beginning, the dialogue is good, and it gets even better as the film progresses. For viewers eager for more action than dialogue, they do not have to wait long. By the end of the séance scene, which comes maybe 10 minutes into the film, they should be interested, and by the end of the van scene, maybe 15 minutes in, they should be satisfied. The rest of the film is a very effective mixture of action and clever, dialogue-heavy scenes.

Count Yorga, Vampire is one of the earlier attempts to place a Dracula-like figure in a modern setting. We certainly couldn't say that the film has no flaws, but for many viewers, including me, there are qualities to this film that enable it to rise above the flaws, and it ends up as a 10 out of 10 for me.

One of the most effective elements of the film is the extensive hand-held camera work, which in combination with early 1970s film stocks and processing techniques gives Count Yorga, Vampire an atmosphere akin to the original Texas Chainsaw Massacre (1974). The difference is that the focus here is a suave, debonair vampire living in a beautiful mansion, surrounded by beautiful vampire-women.

For my money, Quarry is as good a "Dracula" as anyone who has played the role, including Bela Lugosi and Christopher Lee. There is also a Renfield-like character here in Brudah (Edward Walsh). Although I love Dwight Frye (Renfield in the 1931 Dracula) as much as anyone else, Brudah may be the creepiest henchman in any vampire film.

Writer/director Bob Kelljan seemed to be aware that there was a campy element to the film, and it is acknowledged, but it remains very understated. For most of the film, Kelljan is going for creepiness and shocks, and he gets them.

A 10 out of 10 from me.

Disco Vampires! Yes!

[Smells_Like_Cheese · 7/10 · 15 November 2003]

Count Yorga, Vampire, I remember seeing this movie as a kid and it scared the heck out of me. But I loved it so much, this was just such a scary film to me, well, I'd say I grew up since then, so just giving a review from a new perspective. Count Yorga is one of those films that came from the 70's, in my opinion, a very sexy vampire film, sort of soft core in some ways. It's a classic vampire feel with a typical plot and silly actors, but that is what makes a fun horror movie. In the dark, this is still a pretty intense film. I have to admit though that I have a bit of fun with it now, like the guys who are being fed to the girl vampires, you have several hot chicks who are scantly clad and want to suck the blood out of you? Yeah, it sucks that you're dead, but still, what a way to go, right? LOL, at least I thought it was pretty funny.

A group of young adults hold a séance for Donna, a girl who has lost her mother mysteriously. Count Yorga, her mother's boyfriend, is a mysterious man who never shows up during the day time and is a bit suspicious ever since all the girls keep disappearing when he came into the group's lives. But the guys are on a journey to get their women back, but it's gonna be hard when they find out that they are dealing with vampires.

Count Yorga is a fun horror flick to watch at midnight, I have to admit it still sometimes sends a little chill down my spine. The acting is cheesy and some moments are a bit much, but this is a classic and sexy vampire story that I'm sure if you love a good vamp flick, you're sure to enjoy this one. It's a classic in some ways I think and is a bit over looked for horror films, but it's all good. It has good scares and a charismatic vampire, Robert Quarry did an awesome job, he's very chilling.

7/10

HOW MANY turned up?

[ptb-8 · 3/10 · 25 February 2004]

In 1970 this film opened in Sydney's 2600 seat luxury State picture palace. It was in the days when a film opened in one theatre and stayed there for a few weeks before rippling into the suburbs.

However, such was the demand caused by the TV ads that TWENTY THOUSAND feverish wannabe customers clogged Market Street Sydney on the opening Saturday night....it was a riot...an unprecedented scene, completely unplanned and un policed...it re wrote the rule book on TV effectiveness in Australia and caused the distributor to raise the film hire to all sub runs.

YORGA was a stupendous box office winner for about 4 months in Sydney alone and the sequels including The Vampire Lovers started the mass releasing of films across Australia in dozens of screens at once. One session I went to was so crowded and the sessions so frequent that there wasn't time to clean up. I literally sat ankle deep in trash whilst frenzied customers literally hung from the State chandeliers screaming. Hilarious good fun. Craziness.

Vampire Magic

[BaronBl00d · 7 July 1999]

When we think of great vampire portrayals, normally the names of Lugosi and Christopher Lee immediately pop into our heads. Robert Quarry, however, is as convincing a vampire as both of those great actors. His performance and demeanor as a Bulgarian Count in this film is truly outstanding. He lives in a large house somewhere in California and terrorizes young women and their boyfriends. What makes this picture a better than average vampire film is that it has a very tense and atmospheric plot structure. We basically know what fate will befall our innocent(just) protagonists, but we become riveted to their actions and those of the Count. Quarry plays the Count with a charm that is both amiable and yet caustic. He makes one of the wittiest vampires in film. The rest of the cast is adequate, and I think Roger Perry does a wonderful job as a blood specialist who goads Count Yorga one evening into talking about the supernatural. A must see for the classic horror fan.

a not-so campy vampire flick

[ksf-2 · 7/10 · 3 June 2019]

This is listed as Count Yorga, Vampire, but the opening title thinks it's going to be called "The Loves of Count Iorga"; the explanation in the Trivia section gives us the full story on why that is. it started out life being one thing, and ended up as another. a Bob Kelljan production, it's written and directed by him. Starting as an actor in the 1960s, he turned to writing and directing. A couple has "The Count" (Robert Quarry) over to conduct a seance to try to contact Donna's mother. Donna screams, which brings it to a halt. after giving the count a ride home, Paul and Erica get stuck and camp in their VW bus, and get attacked. Erica gets bite marks on her neck, but she can't remember what happened. and apparently eats the family cat, but that scene seems to have been removed from the version I saw on Comet channel. it's a your typical horror film. with some remnants of the original plot left in. the guys spend most of the film running around, looking for the girls. and even when the bodies start piling up, the police don't seem to be interested. very average vampire plot, but it's not campy enough for Vincent Price, so you won't see him in here. this one is played quite seriously. the only other name i recognize is the narrator, George Macready; he was the nightclub owner in the awesome film Gilda, from 1946. pretty good. Kelljan died quite young at 52 from cancer.

Good low-budget film. Quarry makes for an excellent vampire.

[capkronos · 7/10 · 7 September 2014]

Bulgarian vampire Count Yorga (Robert Quarry) arrives via ship in Los Angeles harbor in a coffin-shaped crate, moves into a quaint country mansion, finds himself a facially-scarred, back-snapping henchman named Brudah (Edward Walsh) and immediately gets to work collecting brides for his cellar harem of bloodsucking babes. Getting caught up in all of this are two couples; Paul (Michael Murphy) and Erica (Judith Lang) & Mike (producer Michael Macready) and Donna (Donna Anders), who first make the Count's acquaintance during a séance meant to call up with the spirit of Donna's recently-deceased mother (Marsha Jordan), who mysteriously died after a three-week courtship with Yorga. Little does anyone realize, but ma didn't quite die; she was just transformed into a vamp who now resides in the vampire's home, and the Count has similar designs on both Donna and her female friend.

The Count starts out by putting the bite to the flirtatious Erica, who suddenly takes a turn for the weird. After she grows ill, distant and listless, starts looking a little pale and is finally caught feasting on a dead kitten, Paul and Mike consult blood specialist Dr. James Hayes (Roger Perry) for help. Blood tests reveal she's low a few pints and is in desperate need of a transfusion. That, combined with the fact she now has two small puncture wounds on her neck, means the diagnosis is pretty obvious. After both Erica and Donna vanish, and the police prove to be of no help, the guys are forced to confront Yorga all on their own. Though this plot sounds rather simplistic, there aren't many surprises along the way and parts are a bit awkward, the film itself is fairly well done using the most modest of resources. A clever scene where the heroes attempt to keep the vampire up until sunrise utilizing casual conversation as a form of entrapment highlights just why this film manages to be successful despite budgetary limitations. This scene relies only on the dialogue and the actors to carry it and manages to be both humorous and suspenseful.

The best thing this film has going it though is certainly Quarry. He's extremely charismatic and magnetic as the count, brings an air of class and sophistication to the film and holds his own with many more famous actors who've played vampires over the years. After years of toiling away in Hollywood, often playing bit roles and parts on TV, this part finally elevated him to star status in the horror genre. Alas, it would be short-lived as the days of the marquee 'horror star' were on their way out. Quarry's career also suffered several setbacks due to an accident where he was hit and seriously injured by a drunk a driver, and another where he was beaten and mugged. It wouldn't be until the late 80s that he staged a comeback by appearing in films for director Fred Olen Ray, which seldom made full use of his talents though he was always a welcome presence in whatever film he appeared in.

Originally conceived as a soft porn vampire film to be titled "The Loves of Count Iorga, Vampire" (a title some prints still retain), this production underwent numerous changes along the way. Quarry stated in later interviews that he only agreed to play the vampire if the sex scenes were removed and it was made as a straight horror film, which is exactly what ended up happening. Distributor AIP went even further by pushing for a GP rating (which was the only alternative to an R or X back then), so numerous scenes had to be trimmed to secure that. I'm not quite sure what exactly WAS filmed, but what remains are some bloody moments (the one involving the cat being the most graphic) and major cleavage from most of the females in the cast. The film was later re- rated PG-13, which is appropriate.

All of the alterations to the original concept (plus the fact this was one of the first films to transplant a vampire into a modern day, non- Gothic setting) turned out to be wise from a lucrative standpoint as the film became a huge and unexpected hit and was immediately followed by the higher-budgeted sequel THE RETURN OF THE COUNT YORGA (1971), which brought back Quarry, Perry, Walsh and familiar character actor George Macready (who is the father of co-star / producer Michael and narrates this beginning and ending of this original).

Hammer Horror in modern clothes

[JoeytheBrit · 5/10 · 5 May 2002]

Possible SPOILER (if you've never seen a vampire flick before!)

The fact that this movie was made by semi-professionals on a shoestring budget is apparent from the start, but don't let that put you off: let the poor acting and by-the-numbers plot do that.

Actually, I'm probably being a little unfair. While I was watching this movie, I was trying to name earlier vampire flicks based in a contemporary setting, and came up blank. I'm probably wrong, but if I'm not, COUNT YORGA can at least be credited with inventing a sub-genre.

It has to be said that, apart from Robert Quarry as the urbane, sophisticated Count, the acting is pedestrian throughout, and the story is merely a hoary old Hammer Horror dressed up in modern clothes (although torches still burn on the walls of the Count's mansion), with a touch of DC comic's visuals thrown into the pot. While subsequent contemporary vampire movies (NEAR DARK, THE LOST BOYS, etc) have gone for the jugular with a pop-culture style and vicious, visceral bloodletting, here the concentration on the sexual/sensual blooding of the vampire's female victims is another indicator that COUNT YORGA is more a rebellious grandchild of horror movies of old than the great-grandfather of the modern-vampire movies that would eventually follow in its wake.

The climax to this movie is all wrong. Yorga's fate, while predictable, is poorly executed – vampire's shouldn't die so easily; this guy, after boasting of all the centuries of wisdom that have made him so superior to mortals, practically runs into the hapless hero's stake.

Excellent !

[mikelcat · 6/10 · 1 August 2009]

Excellent vampire film because of the acting presence of Robert Quarry , who although an American can portray that old world style sophistication that I had not scene since Bela Lugosi's unforgettable interpretation of Dracula .Quarry is magnetic as Count Yorga , his twisted sense of superiority and confidence in the face of Roger Perry's character is fascinating as they spar with each other verbally and then Perry's character finally succumbs to Yorga's minions . 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 ! anyone who can make a vampire role his own is a great actor , Lugosi's footsteps are huge but Mr. Quarry holds his own !!

More like Count Bore-ga, yes!

[jessegehrig · 2/10 · 19 March 2014]

A bucket of turds or perhaps a bouquet of turds. Some of the scenes have the camera placed a parking lot away from the actors delivering dialog. I presume the actors are also emoting in these across the parking lot scenes but I can't be certain because they are very far away. The horror scenes never materialize, at best they are murky thanks to bad lighting. The love scenes tease but never pay out, like nudity would be considered tasteless but the acting and direction during these love scenes is so bad, gratuitous nudity would be a real step up. I guess my real problem with this movie is that even by 70's film standards, its shot like a made-for-TV movie. Every choice from casting to editing to make up so on and so forth, predetermined by a trusted formula. Nothing ever appears real, not people, words, or place.

A fun vampire romp.

[BA_Harrison · 7/10 · 27 October 2019]

Bloodsuckers were rife in the 1970s, from gothic Hammer horror to European arthouse sleaze (Rollin and Franco) to kung-fu vampires to more contemporary takes on the genre, such as Romero's Martin, and this film from writer/director Bob Kelljan. Count Yorga, Vampire doesn't distinguish itself by being particularly innovative, stylish or even excessively gory, but it is a lot of fun, Kelljan employing the genre's most recognised tropes to create a consistently entertaining flick - often witty, sometimes scary, occasionally camp, frequently sexy (the film was originally intended to be a soft-core movie, before being severely edited), and always enjoyable.

The film opens with Yorga, played by Robert Quarry, conducting a seance, the Count using such occasions to hypnotize sexy young women into joining his harem of female vampires. During the seance, Yorga uses his mind to control Donna (Donna Anders), although it is her friend Erica (Judy Lang) who is first to be bitten by the vampire after she drives the Count back to his home. Physician Dr. James Hayes (Roger Perry) examines Erica and realises that she has been attacked by a vampire, but will he be able to convince her friends?

Quarry makes for a very effective vampire, suave and distinguished, but packing a nasty set of serrated gnashers when he vamps out (although how these jagged teeth make only two neat puncture marks is never explained). Perry as womanising Doctor Hayes is a hoot, happily puffing on a cigarette and flirting with his hot secretary whilst seeing his patients. Lang makes for a very sexy vampette (and gives us the film's most amusing moment when she eats her cat!). And there's a cool vampire familiar in the brutish form of Brudah (Edward Walsh), complete with scarred face, scraggly hair and manky hillbilly teeth.

A bloody climax rounds off the film, as Hayes and Donna's boyfriend Michael (Michael Macready) kit themselves out with crucifixes and stakes to tackle the growing vampire clan (making me think of the film as a precursor to Salem's Lot and Fright Night).

No Love For This Count.

[AaronCapenBanner · 3/10 · 3 October 2013]

Robert Quarry stars as Count Yorga, a ruthless vampire who meets two couples at a séance where he is trying to contact his old love, who is the mother of one of the women. After one of the couples takes the Count home, the woman is attacked, and becomes a vampire herself. The other two men later decide to confront Yorga in his castle, and if necessary, destroy him, though they seem unprepared for his many brides...

Mean-spirited and excessively violent film generates some suspense, but has a nasty air of nihilism about it, leading to a downbeat(and dead end) conclusion that makes this a futile & joyless viewing experience.

a cut above the vampire norm

[dr_foreman · 8/10 · 2 February 2005]

You have to know what you're in for when you sit down to watch a movie like "Count Yorga." Leave your expectations of lavish special effects, intricate plotting, and deep character development at the door. This movie is about what most vampire movies are about – cool confrontations with the undead, spiced with some lightweight eroticism. If that's your bag, you should like this.

But I'm already sounding too critical. I honestly think that "Yorga" has several strong points which elevate it above the standard bloodsucker flick. Chief among them is actor Robert Quarry, who cuts a striking figure as the Count. His performance walks a very fine line between camp and credibility, and somehow he pulls it off. He plays the best kind of vampire – suave and smart and friendly, until of course he decides to dispatch his opponents with almost animal savagery.

There are some memorably horrifying moments, including the infamous cat scene and Roger Perry's final confrontation with Yorga in the crypt. I also enjoy the séance - a funny way to set the scene and introduce the characters (such as they are). On the downside, Perry is a faintly annoying actor (I much prefer the secondary hero, Michael Murphy, who later played the thankless role of the mayor in "Batman Returns"), and there are some strange cuts in the action where sex scenes were apparently excised.

On the whole, though, I have little to complain about. It seems that vampires are always up to the same tricks – putting the bite on women and fighting off their vengeful boyfriends – but as long as the vampires are cool and the women are pretty, I'll tune in.

A Bulgarian Vampire in Los Angeles.

[Coventry · 6/10 · 7 October 2006]

"Count Yorga, Vampire" comes across as a rather standard and ordinary horror movie now, but I reckon it must have been quite innovating in the early 70's, since it was one of the very first films (at least, to my knowledge) to transfer the subject matter of vampirism to a modern-day setting. And that's not just any setting but California, with its wanton ladies and open-minded spirit. Robert Quarry is very convincing as the distinguished Bulgarian bloodsucker, arriving into the States in a cargo ship whilst an eerie voice-over intro enlightens us that vampires are of all times. The eloquent count soon infiltrates into a group of friends and enlists the girls as his own immortal vampire brides. Their boyfriends do whatever they can to save the girls, but Yorga is an intelligent and slick opponent that easily counters every attack. The first half hour of the film is painfully slow and overly talkative, yet you can sense that the atmosphere is heralding creepy and sinister events to come, so you patiently keep watching. And, indeed, the movie becomes much more horrific soon, with some really disgusting sequences (a girl eating a cat!) as well as some crafty suspense moments (a remarkable attempt to keep the vampire out of his coffin till sundown). The effects and overall production values often look very primitive, but the film does benefit from a solid directing job by Bob Kelljan ("Rape Squad") and a very enthusiast cast led by Quarry. Personally, I expected a little more sleaze and goofy humor, but "Count Yorga, Vampire" is a surprisingly tasteful and respectable variation on vampire films.

Count Yorga, Vampire

[d_m_s · 5/10 · 26 August 2020]

It's alright. It's distinctly lacking in character development as I kept forgetting/getting confused over who was who and what the relationships were.

Some elements of the film were a bit naff and not very well done whereas other elements were quite sophisticated so it is quite a mixed bad. Same with the acting, which ranges from good to poor.

It was alright. It had its moments here and there but nothing really special or noteworthy about this one. I went into this one hoping for some great atmosphere after watching Sole Survivor (1984) and Messiah of Evil as this film came up on a website somewhere as in a similar category but it wasn't anywhere near as good as either.