In 1981, Steven Bochco and Michael Kozoll created the classic television series, Hill Street Blues. Throughout the 1980s, Bochco was an Emmy-winning golden child, creating Doogie Howser, M.D. and L.A. Law. Would fate have treated him differently if the 1979 pilot, Vampire, had been sold instead of ending without a resolution to the story? In subsequent years, would Vampire have been treated as a revolutionary horror series?
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It's possible, because, although it doesn’t change vampire lore, if changes the focus of what we expect in vampire lore. For example, there are no fangs and there are no gory depictions of bloody attacks. Vampire assumes all that is common knowledge and respects its audience by shifting the emphasis to the human hunt for the monster. At the same time, it makes the story no less exciting or entertaining.
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John Rawlins (Jason Miller) and his wife, Leslie (Kathryn Harrold) are the successful architects behind the construction of St. Sebastian Church in San Francisco, where the shadow of its giant cross scorches the earth below. After dark, the ground pulses, smoke emerges, and two hands plunge into the surface. Soon, Prince Anton Voytek arrives in town hiring the Rawlins to excavate the home of his wealthy European family which disappeared 30 years ago.
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Enter Harry Kilcoyne (E.G. Marshall) who coincidentally hung a cross around the neck of a vampire 30 years ago. It’s not a spoiler to share that Voytek is the same vampire. It is an interesting twist, though, to share that Voytek is arrested for conspiracy of grand theft when over $25 million worth of lost art is discovered among the ruins. Feeling that the Rawlins have betrayed him, he swears that they will be repaid in kind.
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When his first victim (off-screen) becomes Leslie, John, having previously declared to her, “I love you more than life,” spirals into near madness until Harry reigns him in and they develop a methodical plan to locate and destroy the vampire. As they get closer, it’s Kilcoyne’s neighbor, Andrea Parker (Barrie Youngfellow) and her young son, Tommy (Adam Farrar), who become the targets for the revenge-driven creature.
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The situations of the characters offer drama that’s rare in a more straightforward horror film. John’s loss never dissipates and his continuing love for his deceased life partner is challenged during an unexpected moment. If not for Harry, single mother Andrea could not provide for her son by working at a disco at night so she can spend the daylight hours with him. Faith is formed when a former policeman become a priest after his original experience with Voytek.
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Vampire is smart. Sure, it has the trope of our heroes facing the vampire after dark. (Rhetorical question: Why do they always do this after dark?) However, it provides an explanation. Harry and John have only one day to save Andrea and the five locations they must search are geographically distant. Four unlucky guesses and they arrive at the right place at the wrong time. “It’s 4:00,” Harry reminds John on the way to Mendocino. “Sundown is at 5:33.”
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We don’t see much “alone time” with Voytek and his women; however, his Renfield, Nicole DeCamp (Jessica Walter) explains to Harry and John that she can’t help anyone, not even herself. “He makes me beg… crawl to him.” Further, when the men arrive to save Andrea, she tells them she won’t go with them, “I want him!” His hold on her is nothing that a little splash of holy water won’t break, though.
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Again, these are familiar tropes in vampire films. Instead of rehashing them, Vampire lets us experience them in a space more terrifying than can be demonstrated, the imagination. I don’t mind that it didn’t become a series. It would have been difficult to maintain the style, and a weekly pursuit with narrow escapes would quickly become redundant. Then again, if anyone could have done it successfully, it would have been Steven Bochco.
Visit the TV Terror Guide: 70's TV Movies playlist at ClassicHorrors.Club TV on YouTube to watch Vampire as well as all the great movies from this series.
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