“He’s an addict. He’s not a criminal, he’s a victim. He’s addicted to blood.”

Story: Dr. Hess Green is an anthropologist studying the ancient Myrthian tribe of Africa. But when he’s stabbed with a ceremonial dagger by his unhinged assistant? Let’s just say Hess gets a firsthand look at the tribes blood drinking practices. And right now, he’s thirsty.

Scares: Not many. This is more of an art piece than spooky-time.
Splat Factor: Red paint-esqe blood. What’s up, 1970s?

Subgenre: Blaxsploitation As Classic Horror
Year Released: 1973
Remake, Sequel or OG (Original Ghoul)?: OG. Though Spike Lee’s remake, Da Sweet Blood of Jesus, may be more familiar to some.

Trick or Treat?: The whole “vampirism as addiction” cinematic trope isn’t a metaphor in Hess, it’s stated outright, and might be the first full length film to do so. This fever dream is a fascinating look at vampire life through the eyes of recently turned vamps, and a time capsule of black cinema at the height of “Blaxsploitation”.

Recognize Dr. Green? Yep, that’s Duane Jones, THE man from Night of the Living Dead. This is his second film (NOTLD was his first), and one of the few chances to see his talent onscreen, shifting to theater and academics soon after this film. And he’s just as powerful a presence here as he was in black-and-white. Hess feels like driter/director Bill Gunn allows his actors to inhabit their characters, and just rolled film. There’s an unvarnished honesty from and between the characters. And while Jones is awesome, it’s Marlene Clark’s Ganja who’s a complete delight. Her guiless portrayal is absolutely stunning. I loved every second she was onscreen.

Gunn’s style is practically documentarian in its style. A scene with Hess and his son conversing in French has no subtitles, and I dig that; feels like a piece of real life we viewers inadvertently caught, and that was kept in the finished film. It also shows the typically unheard of idea (in the 70s) of wealthy black people. These characters are educated elites, and if you’re like me and…not? Either keep up with the vibe, or don’t. Up to you. Each scene is its own story, with a non sequitur feel as one blends into the other. They ultimately blend together to form a story you can walk away with, but don’t come to this film looking for by-the-numbers plotting.

As far as the vampirism goes? Blood spurts, and people die. (Sadly, their form seem to eshew any blood that’s not straight oft the tap.) There’s the back and forth of survival versus killing, religious life versus their new lives. Watching these two face their lives, and come to their decisions on how to go forward as reality sets in, is fascinating. Especially as this film’s structure isn’t your typical horror story. It’s a vampire story as art piece, crazy and cool in equal measure.

Hess is more of a stylistic slice of vampiric life than a story with a beginning, middle, and end. The hypnotic score and dreamlike quality of the scenes makes Hess more of an emotional ride than pure horror. And that blend of philosophy, black history, religion, and mythology, makes Hess an incredible watch. It’s even – and boy I typically hate to use this pretentious term – important cinema.

Score: 4.5 out of 5 pumpkins. Deducting half a pumpkin because while a classic, this film’s deliberate pacing may not be for everyone.