After reading all the reviews about this film, I was expecting either a sleaze-fest or a camp-fest (or both), but I was pleasantly (?) surprised. Although there are undeniably exploitational elements here (incest, castrations, torture), the director doesn't really linger over them. Nobody would mistake this for a thoughtful study on the mistreatment of black slaves in early 19th-century America, but it's a surprisingly well-made film, and the recreation of the period is just fine. The major weakness of "Drum" is that the male lead, Ken Norton, simply can't act; thankfully, Warren Oates and Yaphet Kotto certainly can. Pam Grier is wasted, however, and Colicos is positively ludicrous as a gay slave-trader. (**1/2)
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gridoon26 December 2001
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campblood1311 October 2003Overall this is a fair film. Maybe not fair to history or the actors. Ken Norton asking Yaphet Kotto if he had let Sophie touch his snake was very amusing. The use of N word has to be at least a hundred times. I found the film to be in bad taste and not for any purpose other than to exploit. At the end Warren Oates makes a statement that sums up the whole film. He says that slaves are unpredictable sometimes, just like some kind of mad critter. ** out of *****
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Although a mediocre film, it showed the extent of racial discrimination in Louisiana in the past. Drum is a special black invented in the imagination of the film makers. On one hand he identifies discrimination, but on the other he tries to be a "good boy" with whites. When the revolt of slaves start he took the position of conciliation, which turned over when he saw his friend killed by whites. The end of the film is as incoherent as the drum's mother, a prostitute who had sexual relations with a beautiful black man.
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EL BUNCHO17 April 2002For those who don't know: MANDINGO and DRUM are both adaptations of books from the Falconhurst plantation series of novels by Kyle Onstott and, later, Lance Horner. There were several books in the series; thus far I've run across about five or six of them!
DISCLAIMER: let me state right now that I am black and can totally understand how people are easily offended by these films. The thing is these films feature such sheer, unadulterated exploitation and overripe acting/dialogue that hardcore bad movie addicts will have a hard time NOT finding these films majorly entertaining! I flat-out admit that both MANDINGO and DRUM are among my favorite guilty pleasures, and I view them both as what would happen if John Waters could have gotten away with making a really sleazy soap opera set on a plantation. Some of the dialogue is so ridiculous that it's nearly impossible for me to take these films seriously at all, although the rape and torture does bring one back to the wretchedness of the situation.
Anyway, I don't know where those of you who claim that DRUM is not a sequel to MANDINGO got that idea. Warren Oates is playing the same character that Perry King did in the first film, only this story takes place about fifteen years later. He even makes veilled references to what happened at the end of MANDINGO, specifically the fates of Ken Norton and Susan George. In other words, PAY ATTENTION! And if you think this is exploitativve, go back and watch the uncut version of ROOTS again. Sure it's more "legit" than MANDINGO and DRUM, but it is every bit the exploitative soap opera that they are. For the real flavor and excellence of ROOTS, read the book. -
Aussie Stud13 November 2001No wonder this movie is hard to find in BOTH video stores and on your local TV Guide. Never before have I seen such ridiculous and offensive trite that made me reassess my current priorities, such as "Why am I watching this garbage when I could be outside raking the leaves?". Well, I noticed this film was being shown on one of the movie channels at 3:45am in the morning and I figured nothing could be lost by taping it. I was dead wrong.
I remember when I was younger, looking at the cheap paperback novels my mother used to own that usually involved whirlwind romances and steamy love sagas of the South, and "Drum" was one of the books in her collection. I had never seen this movie until now. Perhaps what the book may have intended was to present a story that was racially-charged and highly sexual against a backdrop of Southern influence where Belles still existed and white men were dashing and charming while black men were nothing more than rogues. None of that was to be found in the movie.
From the opening scenes to the closing credits, this film offers nothing else other than scenes of debauchery, sodomy, over-usage of the "N" word that is commonly applied to African-Americans, the words "whore" and "wench" and extremely bad acting given by everyone involved in what could have been the worst film of 1976.
Drum is the name of the titular character, played by Ken Norton (whom you may remember from similarly-themed trash, "MANDINGO"). He is an illegitimate baby, born by the white Madame of a whore-house who herself, has a steamy lesbian relationship with a black maid. To conceal this taboo and controversial secret, the two women move to Louisiana where the child will be born under the guise that the maid will be his mother.
We cut to the chase some 20 years later, although Drum himself looks like a man in his mid-30's. He is a slave who gets sold to Hammond Maxwell, a sensible yet foolish white man who courts a nasty woman and is the father of a slutty 18-year old daughter who spends her whole time during the course of the film either exposing her breasts or trying to have sex with all the black slaves. Drum's best friend is Blaise, a fellow black slave who begin a mutual friendship after being forced to battle it out in a bare-knuckle fist fight as entertainment for the 'white people'.
There really isn't much of a plot in this film. Pam Grier enters the scene as a 'bed wench' for Hammond Maxwell and love interest for Drum. Hammond's daughter stirs up trouble between Drum and Blaise by trying to have sex with both of them and then lying to her father that Blaise tried to rape her. Tension builds, emotions erupt and by the end of the movie, a mansion is on fire, the black slaves have revolted against the 'white man' wielding scythes and knives while the white men battle it out with their muskets and rifles.
I'm not really sure what kind of an audience "DRUM" was intended for. It is a mockery of history and of African-Americans whose ancestry is derived from slavery. People seeking drama won't want to watch this film because it depicts too much racism and unprovoked sex scenes. People seeking action won't find enough sequences throughout the film that will keep them interested. Even laughable one-liners such as "You are a vulgarian!" will make you groan in disbelief. Everyone else will either be too offended by the over-usage of the "N" word, the countless and endless scenes of women exposing their breasts or the offensive nature that gay men are portrayed by a devious revolting French man and his younger lover.
I found nothing in this film to give positive points towards. All the talent (if any) was wasted and Civil War historians would put this film to shame if they tried to prove any of the so-called 'facts' or farces, if you prefer, that this film tried to present. "DRUM" is not a film that we all needed 'at the time', nor is it a film anyone would want to watch today in these politically correct times. If you do happen to catch sight of it, it would be a rare moment to witness the atrocities that this film has to offer and on that note alone, I wouldn't even suggest that that spike your curiosity.
I have no idea what everyone involved was thinking when they made this movie. If giving this film 'no stars' was an option, then that would be my choice. Instead, I give it the next lowest rating... ONE STAR, and even that is being overly generous. -
Leofwine_draca5 July 2016A quiet and sensitive look at the slave trade in southern USA in the 19th century this isn't! Instead, DRUM is a no-frills exploitation movie, a film whose sole purpose is to captivate, shock, titillate and outrage its audience. Conceived as a follow-up to MANDINGO, and featuring a few of the same actors, this is a surprisingly entertaining movie albeit one that isn't for the easily offended. Made back in the 1970s, long before political correctness became the norm, this film throws casual racism around willy-nilly and uses the 'n' word at least once every few minutes. On top of that, it strongly focuses on the sex and violence that were the staples of '70s drive-in cinema, so we get lots and lots of nudity, sexual situations, and violent fight scenes.
Ken Norton is the principal actor, a tough and hulking hero. Many have condemned his restrained turn but I actually found him thoroughly convincing in the role. He's ably supported by some EXCELLENT performances from the other cast members, in particular Warren Oates, veering on the edge of ham as the sex-mad slave owner; Pam Grier, in a minor role as a pretty servant; John Colicos as an absolutely dastardly Frenchman; Fiona Lewis as a titillating bit of skirt and, best of all, Yaphet Kotto as an incendiary slave who eventually leads a result. Kotto steals every scene, just as he did in many other films he appeared in. He really is top-notch when it comes to giving great performances.
This film has a short running time and plenty of action along the way. Norton engages in a couple of brutal battles, including one fantastic bout against a knife-wielding thug which is worth watching the film for alone. Best of all, though, is the film's detailing of all the hypocrisy and simmering violence that went hand in hand with the slave trade. DRUM pulls no punches in depicting mankind's inhumanity to man, and it isn't for the squeamish either. Colicos' eventual comeuppance is a thoroughly nasty moment that nevertheless had me cheering for its downright bravery.
The best part of the film is the fiery climax, for which most of the budget is saved. It's large-scale, riotous and utterly exciting, really bringing to a head all of the tensions that were building up beforehand. I can't fault it. This excellent ending rounds off a film which provides entertainment from beginning to end: a true '70s movie that captures the concerns of that decade. They don't make them like this anymore, and to be honest, I'm glad of it: but there's no denying that DRUM is a film that belies its exploitation roots. It's a very good film indeed. -
doowop96 October 2005This film was supposedly based on the book of the same name by Lance Horner and Kyle Onstott. So much of it is far from the text. For starters, Blaise was never owned by Hammond Maxwell (in the book, he was owned by the mistress, who was Madame Alix, not Marianna). It was Drum's son, Drumson, that was purchased by Hammond Maxwell, not Drum (Drum had died sometime back from an attack by Blaise). Also there was a Chauvet family in the book, but they were the ones who owned Meg and Alph (Augusta's name was not Chauvet, but Devereaux (later mentioned as Delavan)). The book actually starts out in the very early 1800s, quite a bit before the movie. Drumson was killed in the uprising in the book (but not in the movie). This would have been a better movie if the screenwriters had followed the text more closely.
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wsmith625 November 2003I am amazed at the comments from users offended at this films content. What do they think the antebellum period was like? Do those sensitive souls imagine that plantations were run according to modern corporate standards (with human resources departments!). I think debauchery and abuse were daily occurrences. Despite its directing shortcomings, Drum is an important film that illustrates willfully ignored aspects of America's sordid history. More films depictions of this sort are needed, lest we forget.
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preppy-319 February 2002Followup to "Mandingo" (NOT a sequel as many believe) about slaves in the old South. It's better than "Mandingo" but that's not saying much. They upped the sex and violence even more (this movie originally got an X rating--it was heavily cut to get an R) and the story moves very quick. I was never bored but I was sickened. The blacks are whipped, beaten, shot, assaulted (by women), and the "N" word is used constantly. Also there's homophobia in here--there's a gay character who is portrayed as totally evil and meets a very sickening end (although it's staged for the audience to cheer). I almost stopped watching but I was (in a way) fascinated by seeing how disgusting and degrading a major motion picture could get.
The storyline is slight--very--I can't even remember it. Ken Norton returns from "Mandingo". He's still very muscular, very handsome and still can't act. Yaphet Kotto looks very embarrassed to be in this film but he's not bad. Pam Grier (here credited as "Pamela") has a nothing role (she's the mistress of Warren Oates) but she does what she can with it. Warren Oates is actually very good here--he's loud, obnoxious and (occasionally) hilarious. He really brings the movie to life. Everyone else is so-so.
I realize some people think this movie is great because (purportedly) it shows what slavery was like. Good for them--but I find it disturbing that anyone thinks this is a great movie. Subject matter aside, it's badly directed, looks ugly and (as I said before) has little plot. Also what's to be gained watching black men and women being tortured and humiliated? Unless you're into S&M I suggest you avoid this. A very sick movie. -
jaibo19 June 2012A sort-of sequel to the rather splendid antebellum slavery melodrama Mandingo (it's based on the same novel series), Drum is less profound in its depiction of desire becoming catastrophe in a historic nightmare but it certainly contains enough to raise the eyebrows of viewers. As in Mandingo, the old South is a backdrop to transgressive sexual longings and congress, this time adding in homosexual desire (both male and female) to the mix.
Drum's view of lesbianism is relatively enlightened, showing a long-term loving relationship between a fallen Southern belle turned Madame and her maidservant. This being a period of violence and tragedy, the two are soon separated by the black woman's murder. Male homosexuality is less well depicted, with a sadistic old Southern queen of a slaver and his handsome pathic being it's representatives. The old queen DeMarigny's role in the film is contradictory, as although he is the main antagonist to the handsome slave protagonist Drum, he also makes explicit the film's homoerotic glorifying in the body and sexuality of the boxer turned actor Ken Norton. The filmmakers clearly needed to disavow this homoerotic aspect to their drama, as they have Drum settling his scores with DeMarigny by ripping his genitals off with his bare fist.
The film revels in its violence, cross-racial sexuality and spectacle to the extent that it feels less like Mandingo at times than the notorious slavery-Mondo film Addio zio Tom. The dialogue is salty and nasty, with liberal peppering of the "N" word and frank talk about white women's breasts and black men's "blacksnakes". Hearing as fine an actor as Warren Oates drooling "Oh you knows I likes big titties" is either hilarious or tragic, depending on what view you take. The film makes on feel like taking a bath after viewing, so foul is the world depicted therein – but this suggests to me that exploitation is the best way of drenching an audience in as disreputable and irredeemable a period of history as the slave-era. This is subject matter which would only be diluted if drenched in liberal humanism and turned into a redemption drama.
Drum was advertised in the UK with the tagline "Mandingo lit the fuse, now Drum is the explosion" and the filmmakers certainly earn this as the screen does indeed erupt in chaos, riot and violence at the close. The Falconhurst mansion goes up not just in flames but in rather mystifying blasts, as if Oates' character were storing dynamite in most of the rooms. This complete destruction of the setting and most of the cast, as well as an extremely "unsatisfying" ending might be dramatically rather forced but it feels entirely appropriate for the subject matter. -
rosscinema28 April 2003This was the so-called sequel to "Mandingo" and its not really a sequel but another excuse for exploitation which can be fun to watch. Ken Norton is "Drum" and he can't act to save his life but his physique is so impressive and also the fact that he was a famous boxer that had beaten Muhammad Ali gives the viewer some curiosity to watch him. Warren Oates plays Hammond Maxwell and Perry King played him in the first film and its impossible for him to play it but thats only if you use logic. Oates does add some respectable acting to the film and he chews up the scenery with gusto. Oates says lines like, "My bucks got to have intercourse, the saps a risen'". Pam Grier is Regina and she's Oates bed wench. Grier has a topless scene but has very little else to do in this film. Her part is very underwritten. Yaphet Kotto is Blaise and he gives probably the best performance. I'm not sure if Kotto did this film for the money but if he didn't, he should have known better. He does his best to portray an angry slave who talks of freedom in his heart. "B" movie icon Rainbeaux Smith plays Oates daughter Sophie and she has the hots for the bucks and if they don't cooperate then she screams rape. Smith is enjoyably bratty in this role and its the type of role she spent most of her career playing. She always brought that something extra to a role. Film is shameless in its subject matter. It has gays, lesbianism, naked prostitutes, spankings, fights, slave upheaval, and of course all the actress's get undressed. "Drum" was produced by Dino De Laurentiis and its another cheesy production from him. What can you expect from a man who dared to remake "King Kong"? If you loved this on an exploitation level, I couldn't argue with you. Its hilariously bad.
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stevenfallonnyc20 May 2006"Mandingo" was a brutal film, with quite a few over-the-top scenes that would have you laughing today (not "at" it really, but laughs of "I can't believe they said that"), just for the fact that they are so blatantly non-PC and would never fly in today's political climate. "Drum," the sequel to "Mandingo," not only is much more prone to such laughter, but the actors even seem, sometimes, to be in on the goof.
"Drum" is a serious film though - brutal at times, like its predecessor - but with so much of this dialog, it is absolutely amazing the actors say all this stuff with straight faces. It is here where Warren Oates, as Hammond Maxwell (previously played by Perry King), really shines as an actor. He plays his role simply perfect - a lesser actor would have had no choice but to play the role into the realm of total farce. But somehow, amazingly, Oates finds that incredibly fine line where he is definitely part of the fun of the picture, but he still plays it straight, and not as a goof. This is no doubt one of his best roles.
In one of the film's best scenes, Oates as Hammond is outside eating with his bride-to-be, and the dialog exchange between the two just simply has to be seen, and heard, to be believed. This may even be the "funniest" scene in the film, but there is Oates, playing it just perfect.
Ken Norton, who played Mede in Mandingo, plays his son Drum here, and he still cannot act, but he's fun to watch try. Yaphet Kotto is great no matter what he does, and all the other familiar faces, especially Pam Grier, add to the festivities. Hammond gets a little profound at the very end, an ending that pulls no punches.
"Drum" is definitely a film to be seen, it's just up to you how you want to view it. -
I found Drum a much more entertaining movie than Mandingo. It's got tasty nudity, saucy women, and an oversexed spoilt teen girl, where yes we see her.... It is unintentionally funny, where a lot of it, we owe to robotic Ken Norton, where again, casting people, producers, have made the mistake of putting him in the lead. He's a poor performer, surrounded by good ones, no one better than Oates, where I also liked the ruthless homosexual slaver, while Grier was really good, as was Oates's wife. Yes Drum, has sleaze slipping in, as it comes across as a cheap movie, and brief telling tale of the heartlessness of the cold hearted slavers, which on the video cover, it actually says as for selling purposes, it makes no attempt to show what the slavery trade was really like. The slavers are not any less heartless, than the ones depicted in other films. Tarantino really cut the apple to the truth with Django Unchained. Later on in the film we really meet a nasty slaver. And yes, we have two bucks, Norton and Kotto fighting, who become friends until the wicked teen daughter tries to put the hots on Kotto, where soon, yes, another castration is in the waiting. I'll be honest, Drum, is not a good film, but it is bloody entertaining to hell, with a climax I must say, I appreciated, but more so at the fact, that Oates let Drum go. I must say, Oates adds amusement as much as Norton, only the latter can't act. He's better suited in a ring, than in front of camera. Don't let there be a third lead for such a limited Norton, if only to add amusement. But on the other hand....
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Hermit C-217 July 1999A word like "lurid" just doesn't do justice to this low-grade movie. This is a sequel to 'Mandingo' (today's marketing geniuses would have simply called it 'Mandingo 2'), but it's not necessary (or advisable) in the least to have seen that film to understand this one. The makers of 'Drum' shamelessly exploit every racial/sexual myth and taboo they can think of. Any depiction of brutality against slaves is not designed to point out the evils of that institution, but is merely there to add salaciousness. The story takes place mostly on a plantation in New Orleans whose business is slave-breeding. The talk is almost all about fornication, miscegenation, castration, etc. Subtlety is not this movie's forte.
There are some normally good actors here, like Warren Oates, but he doesn't come off too well as the plantation master. Another fine actor, Yaphet Kotto, has a thankless task here as one of the "bucks." As for Ken Norton in the title role; well, as an actor he was a great heavyweight boxer. One might get a little kick out of Fiona Lewis' campy performance; or a fan of '70's drive-in flicks might be interested to note the presence of Rainbeaux Smith. That's not much, but that's all I can strain to think of to recommend this movie.
It's hard for me to understand what kind of audience this movie was intended for. Nowadays fans of trashy films will no doubt have a great howl over it. More sensitive souls may be appalled wondering what kind of amoral, cynical persons are responsible for turning out sleaze like this. The large group of people in the middle will just go on ignoring it. That's good. -
denis-1115 January 1999I got a copy of it from one of those "avant garde" type video shops that pride themselves in having the hard to find stuff.
You can see this movie without having seen the pre-quel,"Mandingo" and not lose much understanding, since they make almost no references to what happened in the first movie. In fact, the plantation owner's white daughter was not in the first movie, so it really doesn't follow at all (she was in the novel "Mandingo"). Those who thought Mandingo was trashy will really be howling when they see this one....Warren Oates and the woman playing his daughter play for laughs in the middle part of the movie...(that actress went on to make X-rated movies and then dropped out of acting altogether by the mid 80s). John Colicos plays an evil homosexual....I like the overdone white trash talk though (" OH PAW! You ain't gonna marry that uppity bitch!) Great camp. Ken Norton acts like a mannequin most of the movie.....(" He might kill Blaize...or even worse, castrate him" - said with a totally expressionless face). And the dinner conversation is hilarious. ("Son I gonna give you Regine. How long you figger it take you to knock her up?). (" Miss Augusta, you jes got to get used to the fack that Falconhurst is all about n****r fornicatin'. If'n my n****rs stop fornicatin', we stops eatin'.)
Regine: You likes big titties, don't you Mistah Maxwell?
Hammond: Oh you knows I likes big titties.
Regine: Well Miss Augusta, she got BIIG titties.
And I repeat - this is supposed to be a serious movie.
The movie is in that "so bad it's good" category. Check it out, if you have a hankerin' for that genre. -
Back in 1976, Americans enjoyed Freedom of Speech, before it was effectively repealed by liberal fascists and their Political Correctness. Since then, the worst crimes a person can commit are (1) using the N-word, or (2) smoking non-marijuana cigarettes. These days, films about slavery -- except Spielberg's silly PC film -- have all but vanished. But in 1975 and 1976 we had MANDINGO and DRUM, films about slavery, which were immensely popular with black as well as white audiences. In my office, with many black female workers, they could hardly wait for DRUM, and several used their annual leave to attend the 11 AM show on opening day.
MANDINGO is easily available in VHS and DVD, but DRUM is harder to find. There was a VHS, and now there's a DVD you can find on Ebay. Very possibly a bootleg, it comes with unwanted Japanese subtitles.
The difference between MANDINGO and DRUM is like day and night. Like it or hate it, MANDINGO was a quality movie with skilled acting, photography, etc that moves right along. DRUM is boring and dull. It might seem hard to believe that a movie about a slave revolt, inter-racial sex, murder, rape, brutality, brothels, et cetera can be dull, but in the hands of an unskilled director it is one big un-amusing mess. Still, after MANDINGO you just gotta see it. 3/10 -
Compare and contrast a film like this to 12 YEARS A SLAVE or even DJANGO UNCHAINED and you'll see the startling shift in cinema over the past 45 years. Back then in the Blaxploitation era, studios were just waking up to the value of catering to African American audiences as well as others curious about other kinds of stories than their own. The 70's also gave us the Mondo genre of fake documentaries including the surprisingly good GOODBYE UNCLE TOM created more as a shock piece. It did however give us an era of renewed interest in the history of American slavery though mainly for exploitation vs. educational purposes. The resulting films would vary widely in quality all the way from the groundbreaking "Roots" miniseries to films such as this which celebrated the grit and sleaze just as much as they shamed it.
Steve Carver certainly graduated from the Roger Corman school of film-making, not letting 5 minutes go by without nudity, violence, or lots of severe uncouth language that would result in the actors being cancelled and de-platformed off of social media today. Just imagine if John Colicos or Warren Oates were alive and on Twitter today? Then we'd get a window into all kinds of their political opinions until someone dug up one of their many hilariously profane and socially unacceptable lines from this film and used it against them.
The modern media landscape makes the fact that films like this even exist even more refreshing in an age where GONE WITH THE WIND comes with a disclaimer at the start. There's absolutely nothing heavy-handed in its message and it tells a simple story about the tough life of a slave who had to cope with the fact that he lived in relative luxury as a house servant vs. many of his peers in the fields. Ken Norton's performance comes off as stilted, awkward, and lacking in range in many scenes but it gives his character a likable everyman quality. Yaphet Kotto of course acts circles around him, as does Warren Oates, and Carver manages to get us to like them as well. This is no easy feat in a film dealing with such dark subject matter. Things move along pretty quickly at the start and finish and ultimately deliver a lot more action and violence than expected.
My main complaints are that DRUM lulls and loses focus through the center portion and there's a lot of obvious goofs in the editing such as the re-use certain shots and several characters who die multiple times. The body doubles used for Kotto and Norton during a punishment scene don't quite match them either, with Kotto suddenly in much better shape and Norton in far worse. Watch for one of the best knife fights of the 70's where we really get a good sense of how sharp the blade is, plus some surprisingly realistic depictions of 1850's fashion and architecture. Sure the sets looks like sets but they allow for some interesting staging and fight choreography.
Overall I'd give this one a strong recommendation for fans of 70's shock cinema, grindhouse, and exploitation up there with something like HELL UP IN HARLEM or THE RISE AND FALL OF IDI AMIN. The ending especially brings us 10 minutes of outrageous insanity up there with the best of Tarantino (who certainly watched this and kept much of it in mind for DJANGO UNCHAINED). -
Bunuel197623 February 2007I shared Michael Elliott's opinion of MANDINGO (1975) but I can't say that I do the same for his take on its sequel, DRUM (1976). While I concede that it's a (slightly) better film - it's not as dull as its predecessor, nor does it take itself so seriously - I feel that the exploitation elements are even more pronounced this time around. There is a lot more nudity in DRUM (its sexual perversions extending to both male and female homosexuality!), for instance, and the plot is even tawdrier: John Colicos is a campy gay French trader who wants to bed black stud Ken Norton - unbeknownst to him, the son of a white woman who just happens to be the madam of the most popular brothel in the area, and where all the various parties converge: including Warren Oates as the elder version of the character played by Perry King in MANDINGO, his puritanical(!) future wife Fiona Lewis and Colicos himself, whose unruly slave Yaphet Kotto is made to fight Norton but subsequently becomes his pal. Besides, there's Cheryl "Rainbeaux" Smith as Oates' horny teenage daughter who's after every colored male in the household! The version I watched (from the R2 DVD) featured a somewhat faded pan-and-scan print: again, being 100 minutes long, the film seems to have suffered some edits - even when taking into consideration the NTSC to PAL conversion factor - from the official length of 110 minutes; in fact, Mike's description of the climax - which I didn't find excessively violent - suggests that it may have been trimmed somewhat.
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StarInspector14 February 2021This one is hard to rate. As a movie it has a lot going for it. It's got plenty of action and is never boring, it's handled well and punctuates the character beats. It's got some great performances especially from Yaphet Kotto, Warren Oates, and Pam Grier (but ALMOST all of the performances are good). It even has romance, some of it healthy and others not. Plus it clearly inspired Django Unchained a bit.
The problem is it exploits its subject material in favor of pure entertainment. I can understand why some people might find that offensive. It does portray some slave owners in a positive light and it ends with our hero saving his owners life from a slave uprising (and while Warren Oates was likable we see him do and say some evil things). The other big problem is Ken Norton, the titular Drum, who's performance is terrible and even laughable at times. I can't imagine why Ken Norton is lead instead of anyone else.
I would say a movies first job is to engage the audience. Drum provides entertainment to keep your attention till the end. Even if there are some questionable things. -
jtpaladin17 April 2005How anyone can watch this awful trash and enjoy any aspect of it amazes me. The acting was bad, the sets were bad, the script was bad, the subject matter was ridiculous, and the plot was absurd.
Other people here who posted their comments saying that the film was "camp" or "good fun" or "one of my favorite films", clearly are so numb to violence against women that they readily accept garbage like this and enjoy it. What is wrong with some of you people? Have you no shame to actually come out and say that you enjoyed this psychotic idiocy? Where is your sense of decency? I think the final scene where the slaves break into the house and rape all the sleeping women is utterly disgusting. How can anyone "enjoy" a film where a whole host of women are violently raped? People actually find this entertaining? My suggestion is that some people need to get therapy as to why they would enjoy a film that ends in innocent women getting beaten and raped. Go to a therapist and tell him or her that you enjoy films were women are beaten and raped then find out the root cause for your disorder. Get help soon before you start acting out what you see on the screen.
Clearly, the film was deplorable. There is something for any decent person to dislike. If a script for this film were to be submitted today, this movie would never get made. Don't even bother to watch this junk because there is not one single redeeming aspect to it. I mean, absolutely nothing. Of course, if you enjoy seeing women violently beaten and raped, this may be the film for you. And if it is, go get professional help. -
poe42621 September 2013The most interesting thing about DRUM are the fight scenes (of course), but there are far too few (and they're far too short) to hold one's attention for long. Once again we have Ken Norton playing, well, Ken Norton. The filmmakers toss in just about every tawdry twist they can conceive, but it doesn't necessarily make the movie any more watchable; it's bottom-of-the-barrel exploitation for the sake of bottom-of-the-barrel exploitation, nothing more. More's the pity: Norton showed some potential as an actor. As a fighter, he made the most of a golden opportunity when he broke Muhammad Ali's jaw in their first fight. Although Norton didn't come close to winning the second or third fights (all 3 are on YouTube; check them out for yourself), he gave a good account of himself. Boxers gave him trouble (Ali, Jimmy Young and Larry Holmes handily out-boxed him), as did real punchers (George Foreman, Earnie Shavers, and Gerry Cooney all but decapitated him en route to easy knockout wins and he passed on a rematch with Foreman and heavy hitters like Ron Lyle and Joe Frazier were never on his list of folks to fight). He's gone, now, but he's in good company. As boxing trainer/commentator Teddy Atlas recently put it: "They've got a heck of a stable Up There."
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dugpa-219 April 2006I personally enjoyed this film quite a bit. It is a rare classic and a gem of all gems. Before you view this, I suggest that you come in expecting pure camp and over the top scenes. None of it should be taken seriously.
I can watch this one over and over. Ken Norton gives a performance only Ken Norton can give. Yappet Kotto is a genius in this one. The fight scenes are better than the original. This film is actually on a completely different level than it's predecessor, Mandingo. Where Mandingo is more serious in tone, this film does not take itself seriously. It's one laugh after another.
It is a shame that we don't have an official release in the US. Guess Hollywood is too PC these days. Bunch of wimps if you ask me. -
kapelusznik1824 December 2015***SPOILERS*** Explosive follow up to the shocking movie about the pre Civil War South "Mandingo" has the son of the Mandingo slave Mede the grown up and fully developed Drum played by the then top heavyweight champion contender Ken Norton get involved in a slave revolt against his white slave masters when they try to castrate as well as murder his good friend fellow slave Blasé,Yaphet Kooto. That's when Blaze was accused of acting improperly by the master or slave owner of the house Hammond Maxwell's, Warren Oates, sex crazed teenage daughter Miss. Sophie, Rainbeaux Smith.
Drum who at first had his outs with Blaze has now become his best friend but is helpless to save him in that "The Master" Mr. Maxwell who subconsciously knew what a liar and uncontrollable sexual predator, toward his bucks or male slaves, his daughter Sophie was but just couldn't admit it to himself. And had to do the poor and innocent Blaze in to uphold his daughter Sophie's honor. It's later that Drum who was the man who served refreshments. among other things , at Maxwell's New Orleans cat or whorehouse saw what was coming-a major slave revolt-and tried to stop it but by then things just got completely out of hand.
****SPOILERS*** Shocking and fiery climax to this really over the top in violence and raw sexuality, as well as the over the top use of the "N" word, film with Blaze against his friend Drum's advice leading a suicidal slave revolt against the slave dealers in New Orleans that lead to disaster for both sides;Slaves and slaves owners. With reinforcements coming to the slave owners and their families rescues the by now very confused Drum is given the chance by his master Mr. Maxwell to escape in the bayou's before the white posse can get to him and is seen at the end of the film running for his life.
P.S Despite it's shock value in depicting the pre Civil War deep south "Drum" was at times very historically accurate in how blacks-or African/Americans as their now called- were abused and treated, like farm animals, by their white masters. Still the movie put slave dealer and all around whore master Maxwell in a fairly good light in realizing how bad his business as a slave dealer was. It was Drum who got Maxwell to realize that blacks were as human as he and his fellow white slave dealers were but kept those feelings under wraps until the very end when with his home burned down and most of his family members massacred, due to his brutal treatment to his slaves, but that by then it was too late. -
Infofreak12 January 2003'Drum' is the kinda sorta sequel to 'Mandingo', a movie that tried to walk a fine line between being a "serious" drama and a silly but fun exploitation movie. The director this time around is Steve Carver who made the trash classics 'Big Bad Mama' and 'The Arena', and he doesn't even attempt to disguise the Drive-In feel of this one. Ken Norton once again stars but plays a different character than in 'Mandingo'. Warren Oates plays Hammond Maxwell who Perry King played in the first movie. The idea that they are the same man is totally ridiculous and unbelievable, but once you can get over that hurdle you are in for a good time. Oates is outrageously amusing but without resorting to the hamminess that James Mason brought to 'Mandingo'. He is simply a joy to watch, as an uncouth but charming slave owner, and is the number one reason to hunt down this movie. Oates terrific performance more than makes up for Norton's dull turn. Also very good is Yaphet Kotto ('Blue Collar') as Drum's friend turned enemy Blaise, also one of Oates' slaves. Kotto is excellent (as usual) and it's a pity he wasn't the star instead of Norton. Fiona King ('The Fury') plays Oates' wife to be and is entertaining, as is Rainbeaux Smith ('Caged Heat') as Oates slutty daughter (a similar role to Susan George's in 'Mandingo' but much more enjoyable). Also noteworthy is John Colicos ('The Postman Always Rings Twice') as a very evil and camp slave owner who vows to kill Drum who spurns his salacious advances. The impressive cast also includes blaxploitation legend Pam Grier ('Black Mama, White Mama') who sadly doesn't have all that much screen time, and Oates 'Bring Me The Head Of Alfredo Garcia' co-star Isela Vega, who doesn't have much more. 'Drum' is pure exploitative trash and proud of it. If you take it in that spirit and not as a serious study of racism in 19th century America you'll enjoy it immensely. Especially when watching Warren Oates in one of his most enjoyable and underrated performances. This movie is essential viewing for all Oates fans.
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kevinolzak26 July 20221976's "Drum" was not only the sequel to the previous year's "Mandingo," it was also the first of many follow ups to Kyle Onstott's literary source, first published in 1962, five years after its incendiary predecessor. Though swiftly disowned by producer Dino De Laurentiis and original studio Paramount (United Artists picked up the reins), director Burt Kennedy replaced by exploitation veteran Steve Carver, the lavish set design and similar budget show that it was little different from "Mandingo," though its only real connection is the return of Falconhurst owner Hammond Maxwell, an older and more spry Warren Oates in place of baby faced Perry King. Interracial couplings are as prevalent as before since Falconhurst is strictly a haven for slave breeding, but the ante on violence is decidedly raised, another bare knuckle brawl for boxer Ken Norton, introduced as Drum, the offspring of privileged white mistress Marianna (Isela Vega) and an African born king who is executed well before the child's birth, raised as her own by Marianna's romantically devoted slave Rachel (Paula Kelly). The opening half hour is set at Marianna's New Orleans brothel, a lifelong favorite haunt for the much married Hammond Maxwell, no longer burdened with a limp and looking for a prostitute to run his house and raise his daughter Sophie (Rainbeaux Smith). He gets more than he bargained for with Augusta Chauvet (Fiona Lewis), every inch a refined woman of manners and not the 'lady of the evening' that he expected, though still insisting on purchasing a new 'bed wench' for himself in pretty Regine (Pam Grier). Drum's victorious match against opponent Blaise (Yaphet Kotto) does not prevent the two from becoming friends, particularly after the latter's owner, lascivious French slave trader Bernard DeMarigny (John Colicos), is rebuffed in his attempts to seduce Drum, murdering Rachel in retaliation, and forcing Marianna to keep her boy safe at Falconhurst. Alas, young Sophie is truly a teen sexpot whose fingers send shivers down the spines of every male slave on the plantation, driving a wedge between Drum and Blaise that finally climaxes with a revolt that reduces everything to a burned out cinder with few survivors. Like "Mandingo," personal preference will decide on one's interpretation, virtually every female cast member performing at least one nude scene, and numerous shocking details epitomized by a casual discussion of castration around the dinner table. Warren Oates is such a consummate professional that his often humorous asides help offset the more sordid aspects on display, but John Colicos proves equally fascinating with his lip smacking rendition of a spurned lover, rewarded by all his talk of castration by Drum himself doing the honors in the picture's most stunning demise (watch Wes Craven's "The Last House on the Left" for something worse). Paula Kelly, Brenda Sykes, and Pam Grier are all sadly wasted in small roles, Rainbeaux Smith a real hoot with her potty mouth, Isela Vega a joyous, eye popping standout (one of Mexico's most bejeweled imports). Critics may harp about bad taste but in pointing the way forward to the elaborate and thought provoking ROOTS, which spent an entire week painting a vivid portrait of the horrors of slavery, these two adaptations got the ball rolling during the only decade where they could be filmed unapologetically.