Review of Drum

1976'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.