Dracula's Daughter (1936)
Dracula's Daughter (1936)
3/10
Dracula’s Daughter is a sequel to Dracula made by Universal. It is also the last horror film that the studio released with Carl Laemmle as production head and the last Universal horror film to be made until 3 years later. Laemmle had borrowed money to make up for the cost overruns on certain films which caught up to him forcing him to lose control of the studio. Charles R. Rogers took control and, not liking horror films, refused to let the studio which had become known for the genre to continue the tradition it started. This first run of horror films from the studio ends with a bit of a whimper with Dracula’s Daughter. Its most notable aspect is the lesbian overtones which make the film the first lesbian vampire film which would become a subgenre in the 60’s and 70’s.
The film picks up moments after Tod Browning’s adaptation of Bram Stoker’s novel Dracula ends. Van Helsing (Edward von Sloan, the only actor to from the original to return) has been arrested by Scotland Yard for the murder of Count Dracula. His only defense is that killing Count Dracula should not be considered murder. He enlists the help of Dr. Jeffrey Garth (Otto Kruger) a former student of his to help with his case. He has an ongoing banter with his secretary Janet (Marguerite Churchill). In the meantime, Countess Zaleska (Gloria Holden), the Count’s daughter steals the body using hypnotic abilities with the help of a ring. She burns the body in the hope that she can now be free from her impulses and lead a normal life. Her manservant Sandor (Irving Pichel) remains unconvinced.
The film is mostly bogged down a number of flaws. The film gets off to a very rough start spending far too much time on two bumbling officers and hearing Van Helsing spout out exposition. The dialogue throughout is stilted and Dr. Garth makes an unremarkable protagonist. He only comes to life when Janet appears on screen. While she is annoying and bothersome and he is dull, they at least manage to rummage up some decent chemistry through their banter.
The star of the film is Gloria Holden as the Countess. It was nice to see that she is portrayed as a victim and not simply the villain. She plays the part stilted with emotion underneath and it suits her. The film portraying her as a victim is problematic when the lesbian overtones are taken into consideration. A book I recently finished reading about lesbians in film spends an entire chapter on the vampire and how it either portrays them as victims to succumb to ‘impulses’ that can’t be ‘cured’ or as sexually objectified erotica for male viewers to feast their eyes upon. Both are obviously problematic ; the Countess’ murderous ‘impulses’ can certainly be taken as her desire for females which is interesting in relation to the medical theories based around homosexuality at the time. There is evidence that these overtones were the intention. Through the script revisions from the Production Code, heterosexual plot elements are introduced to jumble up any original meaning. However, one scene remains that is easily the best scene in the film and hold up as being genuinely erotic. The manservant brings home a woman named Lilli (Nan Grey) who is willing to pose for Zaleska while she paints. Lilli bears her shoulders and the Countess stares at her longingly throughout their conversation. Lilli warms up by the fire baring her back to us and the Countess, aligning her desires to the audience. The scene has a certain amount of status today and deservedly so.
Despite the film looking nice with its production values, a fine performance from Holden and the intrigue to be found in overtones of lesbianism in 30’s Hollywood fare, Dracula’s Daughter is interesting as history but unremarkable otherwise.
3/10
Dracula’s Daughter is a sequel to Dracula made by Universal. It is also the last horror film that the studio released with Carl Laemmle as production head and the last Universal horror film to be made until 3 years later. Laemmle had borrowed money to make up for the cost overruns on certain films which caught up to him forcing him to lose control of the studio. Charles R. Rogers took control and, not liking horror films, refused to let the studio which had become known for the genre to continue the tradition it started. This first run of horror films from the studio ends with a bit of a whimper with Dracula’s Daughter. Its most notable aspect is the lesbian overtones which make the film the first lesbian vampire film which would become a subgenre in the 60’s and 70’s.
The film picks up moments after Tod Browning’s adaptation of Bram Stoker’s novel Dracula ends. Van Helsing (Edward von Sloan, the only actor to from the original to return) has been arrested by Scotland Yard for the murder of Count Dracula. His only defense is that killing Count Dracula should not be considered murder. He enlists the help of Dr. Jeffrey Garth (Otto Kruger) a former student of his to help with his case. He has an ongoing banter with his secretary Janet (Marguerite Churchill). In the meantime, Countess Zaleska (Gloria Holden), the Count’s daughter steals the body using hypnotic abilities with the help of a ring. She burns the body in the hope that she can now be free from her impulses and lead a normal life. Her manservant Sandor (Irving Pichel) remains unconvinced.
The film is mostly bogged down a number of flaws. The film gets off to a very rough start spending far too much time on two bumbling officers and hearing Van Helsing spout out exposition. The dialogue throughout is stilted and Dr. Garth makes an unremarkable protagonist. He only comes to life when Janet appears on screen. While she is annoying and bothersome and he is dull, they at least manage to rummage up some decent chemistry through their banter.
The star of the film is Gloria Holden as the Countess. It was nice to see that she is portrayed as a victim and not simply the villain. She plays the part stilted with emotion underneath and it suits her. The film portraying her as a victim is problematic when the lesbian overtones are taken into consideration. A book I recently finished reading about lesbians in film spends an entire chapter on the vampire and how it either portrays them as victims to succumb to ‘impulses’ that can’t be ‘cured’ or as sexually objectified erotica for male viewers to feast their eyes upon. Both are obviously problematic ; the Countess’ murderous ‘impulses’ can certainly be taken as her desire for females which is interesting in relation to the medical theories based around homosexuality at the time. There is evidence that these overtones were the intention. Through the script revisions from the Production Code, heterosexual plot elements are introduced to jumble up any original meaning. However, one scene remains that is easily the best scene in the film and hold up as being genuinely erotic. The manservant brings home a woman named Lilli (Nan Grey) who is willing to pose for Zaleska while she paints. Lilli bears her shoulders and the Countess stares at her longingly throughout their conversation. Lilli warms up by the fire baring her back to us and the Countess, aligning her desires to the audience. The scene has a certain amount of status today and deservedly so.
Despite the film looking nice with its production values, a fine performance from Holden and the intrigue to be found in overtones of lesbianism in 30’s Hollywood fare, Dracula’s Daughter is interesting as history but unremarkable otherwise.
Horrorphile
Always Eighteen
Cinema Enthusiast
Thoughts from a Cinephile
Thoughts from a TV Watcher
Always Eighteen - I hope you can too! Despite it not being good, it is very interesting for other reasons.
Horrorphile
Film & TV on DVD
Nice little slice of horror history with this one. Haven't seen it, but from your review it doesn't sound like I must rush out and grab a copy.
Horrorphile
I like the way so much is available now that never was before.
Cinema Enthusiast
Thoughts from a Cinephile
Thoughts from a TV Watcher