An occasional series where I write about works inspired by Bram Stoker’s 1897 novel Dracula…
These reviews reveal plot twists.
Setting: This film picks up directly from the end of Dracula (1931), so we start in Whitby. The bulk of the story is then set in London, with a diversion to the Scottish countryside and a climax set in Transylvania. From people’s outfits and the presence of both airline travel and automobiles, it seems to be the 1930s, which is more modern than the first film.
Faithful to the novel? This direct sequel to Dracula is nominally an adaptation of the Bram Stoker short story Dracula’s Guest, though the similarities are vanishingly few. (Published posthumously, Dracula’s Guest was actually a chapter cut from the original book before its release.) As the story starts, we see the corpse of Count Dracula (played by a wax model of Bela Lugosi), and Professor Von Helsing (Edward Van Sloan) has been arrested for murder. Yes, that’s right: *Von* Helsing. They’ve changed his name for some reason. He admits to killing Dracula but is determined to tell the truth about vampirism at his trial, so hires an old psychologist friend to defend him in court. Dr Jeffrey Garth (Otto Kruger) is soon on the case with the help of his American assistant, Janet Blake (Marguerite Churchill). Meanwhile, a strange, mysterious, dark-haired woman (Gloria Holden) hypnotises the police guarding Dracula’s remains. You see, she’s the count’s daughter and thinks that by burning his corpse she will finally be free of the vampire curse. It doesn’t work, though, so she must continue to feed in London while posing as a Hungarian artist called Countess Marya Zaleska. With the help of manservant Sandor (Irving Pichel), she drains the blood of both men and women. She then meets Garth at a soirée (hosted by a lady played by infamous right-wing gossip columnist Hedda Hopper) and sees her chance for redemption. Without spilling that she’s a vamp, she asks Garth to help her through her psychological issues. Later, however, Garth attends to one of Marya’s victims and recognises the signs of vampirism, so asks Von Helsing for his opinion. When Marya then recoils at the sight of a hypnosis machine (because it uses a mirror), Garth’s suspicions are sealed and he knows she’s the vampire they’re looking for. So Marya kidnaps Janet and flees home to Transylvania. Garth, Von Helsing and the very laissez-faire boss of Scotland Yard, Sir Basil Humphrey (Gilbert Emery), give chase. Marya is at Castle Dracula and says she’ll release Janet if Garth agrees to stay, but then Sandor kills his mistress because he’s grown jealous of her wandering loyalties…
Best performance: Marguerite Churchill is fun, flirty, cute and sarcastic as Janet, who’s kinda in love with Garth and he’s kinda in love with her but they act like they’re not.
Best bit: As has been noted by many people – and indeed, as was hinted at in some of the film’s release publicity – there’s a definite lesbian vibe about Marya. She wants to rid herself of her vampire impulses, and has heard that alcoholics are sometimes told to sit with a bottle and simply use freewill to stop taking a drink. So she gets Sandor to procure a beautiful – I mean, really quite remarkably beautiful – young woman to act as an artist’s model. The subtext of the scene where Marya asks Lili (Nan Grey) to undress, all the while trying to resist biting her, is not so sub.
Review: Helpfully, an early scene has a quick verbal recap of the first film and an explanation of what vampires are. Well, it had been five years since the Bela Lugosi classic. And you know what? Whisper it quietly, but this sequel is the better movie. Free of the shackles of the original’s stageplay plot, Dracula’s Daughter is able to tell a fun and very watchable story. It has more life and energy to it than the first film, still has plenty of spooky fog-bound scenes and Universal Monsters lighting, but also adds some likeable humour (bumbling coppers, a running gag about a bowtie). It’s quick too – just 68 minutes. And in Marya, it has cinema’s first great female vampire. Holden reportedly didn’t think much of the project and only did it because she was under contract. If anything this seems to have helped, because her frustration drove a detached and dangerous performance. There’s a great sense of Marya being a victim too. She’s trapped by her vampiric curse and longs to be ‘normal’. You can’t help but feel for her during the scene where she happily plays a piano and recites flowery poetry – only for the more cynical Sandor to chip in with comments about darkness and death.
Eight vacillating women out of 10