The late 1960s and early ’70s were the prime era for UK or Euro lesbian vampire films. Most were based, more or less, on Sheridan LeFanu’s Victorian novella, Carmilla. A smaller number use the historical figure Erzsebet Bathory. Daughters of Darkness is one of the latter, and makes “the Blood Countess” an actual vampire instead of an all too real, human monster.
Daughters of Darkness is remarkably international. It was filmed in Belgium by Belgium director Harry Kümel, but funded by six or seven different countries. Its star is famous French actress Delphine Seyrig, but producers in their respective nations also contributed German actress Andrea Rau and French Canadian actress Danielle Ouimet (playing a Swiss). America’s contribution was the lead actor, a Brooklyn boy playing British–I think; the character’s name and his accent sound more Eastern European than Brit to me. Anyway, it’s John Karlen, who has had previous experience dealing with vampires. He’s the reason I wanted to look at this film after seeing the trailer for it on one of the Dark Shadows extra features DVDs.
This film begins on a train, with newlywed couple Stefan and Valerie Chiltern demonstrating how to have sex within the confines of an upper berth. She seems a nice enough young woman, if a tad vapid, but we soon learn that there’s something just a little off about him.
Due to an accident on the line ahead, their train is late arriving at Ostend and they miss that evening’s ferry to England. While they wait for the next ferry, the couple checks in at the massive Hotel des Thermes right on the beach. It’s the middle of winter, so the hotel is empty and seems to be staffed only by one elderly concierge, who gives them the Royal Suite.
Not that Stefan minds the delay. He’s reluctant to get home with his bride. When he asks the concierge to put in a phone call to the UK for him, he slips the man a note as well as a tip. The note asks the concierge to say that he couldn’t get the call through.
Why doesn’t Stefan want to go home? It’s his mother, who he says will not welcome this impulsive marriage, which followed a whirlwind romance during a few weeks’ vacation in Switzerland. “She already hates you and she doesn’t even know you exist,” he tells Valerie.
Mother is going to be the least of their problems. While the couple discusses the matter over dinner, another pair of guests arrives in a stylish, old-fashioned car: the Hungarian Countess Elizabeth Bathory, who is dressed like a glamorous 1930s movie star (Seyrig’s look specifically recalls Marlene Dietrich) and her cherry-lipped companion, Ilona. The concierge is surprised by the Countess; he’s sure he’s seen her before, 40 years ago when he was first working at the hotel as a young bellhop. And yet the lady doesn’t look as if she can be much more than 40 (she admits to 35).
“It must have been my mother,” she responds coolly.
The Countess wants the Royal Suite for herself, until she catches sight of the newlyweds in the dining room. She takes immediate interest in the young couple, and accepts the suite next to theirs. In the privacy of their room that night, the Countess and Ilona discuss their neighbors. The Countess hasn’t stopped talking about Valerie since she first saw her, which makes Ilona jealous.
When Ilona observes that Valerie and her husband will only be staying at the hotel for one night, the Countess replies that many things can change in a night.
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