As young women’s youth is sucked from their bodies by a black-hooded vampire, a vigilante swordfighter (Horst Janson) and his hunch-backed assistant (John Cater) are summoned by their doctor-friend (John Carson) to solve the mystery, which seems to involve a local nobleman (Shane Briant), his sister (Lois Dane), and their aged mother (Wanda Ventham).
Genres, Themes, Actors, and Directors:
Response to Peary’s Review:
Peary argues that this “cult film” — written and directed by Brian Clemens, the “driving force behind television’s The Avengers” — has an “interesting assortment of characters, some spooky vampire-attack scenes, and splendid atmosphere”, but “never quite reaches its potential”. He notes that “Kronos is a strange warrior”, “capable of slicing up three bullies before they can draw their swords (in a Sergio Leone-type scene), but he mostly bides his time” as he “makes love to a peasant girl” (Caroline Munro), “covers his body with leeches to drain his blood, and patiently plans his course of action”. Actually, Kronos himself — at least as played by Janson — is the film’s primary problem: he cuts a dashing figure but is ultimately not very charismatic; nearly all the supporting players have more juice and nuance to them. It may have been a deliberate choice to frame Kronos as stoic and mysterious — but a film focused on an unusual superhero should (arguably) make that character intrinsically compelling. With that said, the final swordfight is creatively filmed, and I’ll admit I was kept in suspense about the identity of the killer-vampire.
Note: Modern film fanatics will likely sense a Tarantino-esque air to the movie; I was particularly reminded of Django Unchained (2012).
Redeeming Qualities and Moments:
- Fine cinematography and direction
- Creative, colorful sets
No, but I think most film fanatics would be curious to see it given its cult status.
3 thoughts on “Captain Kronos: Vampire Hunter (1974)”
First viewing. Not must-see.
Reasonably well-produced but, goodness, much of it is a slog. Its earnestness is ultimately tiresome…especially during the lulls of its various set-ups between dramatic incidents.
Surprisingly, Ian Hendry – apparently slumming for a paycheck – turns up midway as a forceful ne’er-do-well, giving his character more subtext than is called for. But you can’t blame an actor when what he wants to do is…act.
Sadly, this is mostly a dull film.
Cracking little sleeper that sat on the shelf for two full years before a befuddled Hammer released it. Quite rightly highly regarded these days, but it was barely seen back in ’74. I first saw this on the BBC in a (then) very rare screening; at the time it was one of the most mysterious, least seen Hammer Horrors at a time when UK Terrestrial TV regularly screened the company’s output late on Fridays and Saturdays and during the holidays.
Despite being quite the cult item, it’s still relatively minor and not must see by FFs. Apparently a big influence on David S. Goyer when he write the screenplay for Blade (1998) and much appreciated by Quentin Tarantino amongst many others.
Admin: The copyright on this is 1972 despite being held back for two full years before getting a wide release. It almost certainly saw play at genre festivals and at MIFED in ’72.
My rating is out of ⭐️⭐️⭐️⭐️.