Blood Bath


Action / Horror

Rotten Tomatoes Audience - Spilled 36%
IMDb Rating 5.1 10 510


Uploaded By: FREEMAN
Downloaded 501 times
June 29, 2016 at 02:03 PM



Sid Haig as Abdul the Arab
Roger Corman as Antonio Sordi
William Campbell as Antonio Sordi
Patrick Magee as Linda's Husband
720p 1080p
445.46 MB
23.976 fps
1hr 2 min
P/S 0 / 1
955.23 MB
23.976 fps
1hr 2 min
P/S 3 / 1

Movie Reviews

Reviewed by kevin olzak ([email protected]) 5 / 10

TRACK OF THE VAMPIRE 78 minutes, BLOOD BATH 62 minutes

1966's "Track of the Vampire" was first released theatrically at 62 minutes, under the title "Blood Bath," but this review will be of the full 78 minute version issued to television. William Campbell stars as Antonio Sordi, an artist lauded for his paintings of dead nudes, who believes himself to be the reincarnation of an artist ancestor burned at the stake for sorcery after being exposed by his latest model, Miliza, who believed her soul had been captured on canvas. Sordi keeps a portrait of Miliza in his studio, and cannot make love to his newest muse Dorean (Lori Saunders) because of her close resemblance to it. All the new scenes with Campbell were filmed by director Jack Hill, maintaining the name he used in "Portrait in Terror," but whenever the character becomes a blonde haired vampire sporting tiny fangs (!), a different actor was cast by new director Stephanie Rothman, resulting in sporadic chase sequences and a ballet lasting more than 3 minutes. Just over 9 (out of 81) minutes of footage from "Portrait in Terror" were used, recasting an unbilled Patrick Magee as a jealous husband (the exotic dancer now becoming his wife) who winds up covered in wax, like all of Sordi's female victims (the shared sequence between Campbell and Magee has completely new dialogue badly overdubbed). Apparently, he kills them first, paints their nude likenesses, then covers each corpse in wax. Campbell himself doesn't make his first appearance until 22 minutes in, the vampire having already worn out its welcome with a 6 1/2 minute pursuit of a young lass who ends up in the ocean minus most of her clothes, while a middleweight Tor Johnson lookalike acts as temporary lifeguard. The ending didn't make any sense, but probably made the film. Stephanie Rothman did all the vampire stuff, including the subplot featuring Sandra Knight, all of which is self contained (only a single dissolve fuses the artist and the vampire, pretty lame). Jack Hill did all the beatnik scenes, plus the bizarre climax, filming in Venice California. I'd say each director was split fairly even, sharing writing and directing credits, but never working in tandem (the uncredited Roger Corman replaced Hill with Rothman).

Reviewed by lartronic 10 / 10

Very well done.

I know I've commented on this film before, but my first review made it seem like this was just another movie that I like. Actually, it is so much more than that. The fact that it is actually a couple of films edited together is enough for you to try and find this (it is very rare.) I have the version under the title "Track of the Vampire", which apparently has more footage than the original release in 1966, which was under the title "Blood Bath", and although people say it's confusing, it's rather easy to understand, although the foreign footage is sometimes obvious. This is one of my favorite movies, to say the least. There is something about this certain vampire film that I like more than the others, maybe it's just how it's put together, or how it is sometimes bizarre. The credits were a little strange, or at least how they are listed in movie guides: certain actors are listed as main stars although they have lesser roles. The acting wasn't bad, nothing oscar winning of course, but it wasn't horribly wretched or anything like that. Roger Corman was involved in this, and he did a fine job. When the film was originally released, it was double-billed with "Queen of Blood", which also used footage from a foreign film (a Russian sci-fi.) Now, to say that the film is very scary or exciting would be a lie, but it is entertaining. In fact, it is so entertaining that you should try and find it on video (although I don't think it has been legally released on laser disc or DVD.) The one thing that I really don't understand is why Marissa Mathes was credited before Lori Saunders even though Saunders was the only one to survive in the end and was in it more than Mathes. Another thing about the credits, why isn't Karl Shanzer listed in some movie guides, he seems to be the hero in the film, although there is no particular real hero. Like I said, my print was the one with more footage, so it might seem a little strange. But despite that, you should go out and find this film, because it is somewhat forgotten today, which is un-fair, because it is very well done.

Reviewed by ofumalow 4 / 10

A mad killer is stalking Bobbie Jo Bradley!

No wonder this lacks the cult following of Hill and Rothmann's other films--its myriad clashing elements suggest this movie's conception and shooting might have occurred at widely spaced times, whenever money or locations were available. Apparent female leads come and go. Sometimes the focus seems on satirizing pretentious "beatnik" art a la "Bucket of Blood." Then the film will stop dead for lengthy minutes of laughable "modern dance" by alleged dancers of highly varied ability. (Even the best seem in desperate need of an actual choreographer.)

Beautiful young women are being killed by an alleged "vampire" painter allegedly descended from a line of vampires/artists stretching back to the 11th century. It's anyone's guess why most of the characters seem to be early 60s hipster-parody Los Angeleans, complete with wanderings on beach and in balmy surf. Meanwhile, we're told a particular castle and bell tower date back to (again) an ancestral 11th century? It's all supposed to be one city. Apparently "Vampire" aka "Blood Bath" was shot in both Venice, CA and Belgrade, Serbia-- ah, the mysteries of international funding! Trust me, the locations do not become seamless in the editing.

This movie is bizarre and erratically well-crafted enough to hold interest, but it's still a disconnected mess that falls far short of the drive-in classics by Hill (Spider Baby, Switchblade Sisters) or Rothman (The Student Nurses, Terminal Island). It's a curiosity.

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