Recently I had the amazing opportunity to watch the film Blacula, as part of Eureka Video’s ‘Masters of Cinema’ series. I have been informed about the ‘Masters of Cinema DVD/Blu Ray series for a while and I find the choices of films particularly interesting, exploring films which have merit from a cinematic point of view significantly varies from what we might consider as the popular opinions of the public on cinema.
Blacula was a film that I heard about a few years ago, and I thought just by the name and discovering it was part of the blaxploitation genre, was comedic and not serious. How wrong I was, although there are comedic elements, much of the humour comes from being distant from the 1970s and observing how things have changed. Which leads me to my main consideration of the film.
Blacula is a story of an ‘African Prince’, Mamualde. Mamualde has impressed many of the 18th Century intellects of the time and has gained a deserved modicum of respectability. Mamualde, visiting one ‘Count Dracula’ (many of the tropes and lores of vampires are assumed familiar by the audience) who acknowledges the cultural capital and sophistication (i..e. Eurocentric things of value) but ultimately rebuffs and rejects Mamualde’s calls for an end to the slave trade.
Dracula entirely unconvinced or unwilling to seriously consider this, traps Mamualde in a tomb after transforming the prince into one of his own kind. Mamualde is given the additional indignity of being buried in a sarcophagus with his wife. Skip 200 years and the Prince now Christened ‘Blacula’ is discovered by a pair of gay antique dealers (one white, one black). It is established and much is made upon that these dealers are both homosexual and presumably partners.
Perhaps watching this film in 2014, in an age where we ‘call out’ microaggressions, injustices and the way that our culture of yesteryear was less sensitive to our own time, is the blatant and ubiquitous homophobia of the Blacula world. I am convinced that the homophobia is purposeful as a metaphor to the way that racism against the Black American was ubiquitous in the decades leading to the 1970s.
In one scene, a police officer seeking out the antiquities dealers asserted that ‘they all look alike’, making a generalisation about homosexuals that would be familiar to any person of colour who grew up in a white majority and unfavourable society. The way in which many black characters were in varied professions is quite progressive as a part of the story, such as the female cab driver (who refers to Blacula as ‘boy!’) and the coroner/funeral director who described the police pathologist (Thalmus Rusala/Dr. Gordon Thomas) looking into Blacula’s killings as ‘…the rudest nigger I’ve ever seen in my life!’. These are notable black-on-black racial slurs while conversely the white police chief while suspicious of the pathologist’s pet theory does ultimately trust Dr. Thomas professionally as competent at his job.
There’s something that I dare say aspirational about Blacula, in the way that the world depicted gives a sense of distinction to many of the black characters who are all doing a job who happen to get drawn into the Vampiric killings. The real thing to make an audience of today think is the homophobia rampant and even presented as comedic. If we can see one form of oppression, we can surely be sympathetic to another. That, I think, is one of the salient messages of Blacula.
Blacula: The Complete Collection is released in the UK from the 27th October 2014 as part of Eureka Classics: Masters of Cinema.