Director: Paul Maslansky
Writer: Tim Kelly
Producer: Elliott Schick
Music: Dino Fekaris, Nick Zesses
Cinematography: Robert Jessup
American-International Pictures; 83 min; color
Cast:
Marki Bey (Diana "Sugar" Hill), Robert Quarry (Morgan), Don Pedro Colley (Baron Samedi), Richard Lawson (Valentine), Zara Cully (Mama Maitresse), Charles Robinson (Fabulous)
When Diana “Sugar” Hill’s boyfriend is murdered by
racketeers who want to move in on his club, she seeks the help of her aunt, a
voodoo priestess (played by Zara Cully- TV’s Mother Jefferson!) to raise the
dead, and have the zombies carry out her bidding. Sugar Hill is among the horror-themed Blaxploitation
pictures of the 1970s (a la Blacula; Blackenstein; Abby), and as far as
occult-themed revenge films of the era go, it is more creepier than, say,
Jennifer: The Snake Goddess (to name another movie that features a heroine
reaching into her heritage to wreak vengeance), but perhaps has less conviction in the performance.
Writer: Tim Kelly
Producer: Elliott Schick
Music: Dino Fekaris, Nick Zesses
Cinematography: Robert Jessup
American-International Pictures; 83 min; color
Cast:
Marki Bey (Diana "Sugar" Hill), Robert Quarry (Morgan), Don Pedro Colley (Baron Samedi), Richard Lawson (Valentine), Zara Cully (Mama Maitresse), Charles Robinson (Fabulous)
Paul Maslansky’s one film as director (he was largely a
producer, including, of all things, the Police Academy series), however, has an
engaging, otherworldly feel. Within its limited mise en scene of dry ice and
mossy foregrounds, Sugar Hill succeeds in capturing the mysticism of the south in
ways seldom seen on camera, surpassing such bigger films as Midnight in the
Garden of Good and Evil.
The zombies are quite unnerving with their cobweb-covered
grey skin and silver ping-pong eyes: evoking a primitivism that suits a movie
about old practices manifesting in the modern world. The picture opens with
what we perceive as a modern voodoo ritual, scored with one of the great,
unsung themes in all of Blaxploitation: “Supernatural Voodoo Woman”, only
ha-ha, we learn that what we’ve seen is a dance performance at the “Club
Haiti”, owned fittingly enough by Sugar’s boyfriend. This clever touch, I’m
afraid, is about as far as things go for depth, as the rest of the picture is
pure exposition, as the two-dimensional hoodlums get dispatched by the zombies
in bizarre ways. What starts off as an intriguing premise sadly mires itself in
Blaxploitation clichés featuring lots of jive-talking hustlers, a catfight for
good measure, and even a white heavy who masterminds the racket.
As Sugar, Marki Bey is a pleasing screen presence: this
bright-eyed beauty was one of many interesting players whose careers
mysteriously faded away by the end of the 70s. She spends most of the movie
with a knowing half-smirk: either she’s kidding the material, or her character
enjoys the mental games she constantly plays with her ex-boyfriend the
investigating detective, and even the crook who wants to buy the
nightclub she has inherited.
Sure, seeing her man dead in the parking lot is reason
enough for wanting revenge, but still I think this
narrative could have used at least one other scene early on; how does she refer
to her heritage prior to the killing? While Marki Bey's character doesn’t have enough dimension, the actress adds another aura to the movie: her wide face
isn’t the typical matinee idol look- just slightly offbeat enough to add to the
gallery of interesting faces throughout (despite how little these characters have to do).
Perhaps the most telling screen presence is the wild-eyed Don Pedro Colley as the omnipresent
head spirit Baron Samedi, who is in various guises at the scenes of vengefulness. It is
interesting to see Robert Quarry as the main heavy: AIP was grooming him to be
their next great horror star a la Vincent Price, but the transition never quite
took hold. He lends an interesting air of aristocracy to his work- even though
here, he spends most of his time popping Marlboros and wearing Paisleys. Sadly
this less-than-spectacular outing was his swansong with AIP.
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