John Chard

Possibly there are more things in heaven and Earth than are dreamed of in your psychiatry, Mr. Garth. Five years after Universal launched a Bela Lugosi inspired Dracula upon the film loving world, the sequel arrived - only not with Lugosi's Count Dracula in it. Pic picks up at the end of the 31 film and finds Von Helsing (yes Von, not Van) under arrest for the slaying of the toothy vampire. Enter Contessa Marya Zeleska, who sets in motion the wheels of vampiric legends and torrid passions about to be exposed. There's an ethereal low-key mood to Dracula's Daughter, exuding the sort of atmosphere that Val Lewton would hone and trademark within six years. It's a beautifully photographed movie (George Robinson), while there's some neat touches in the screenplay - such as lesbian overtones and the fact our vampire lady is very sympathetic due to her searching for a cure to her ills. However. The play is over talky and very bloodless, it's like the makers forgot to actually put some horror aspects into the piece. There's also an odd blend of humour and drama which never sits right, while the ending is abrupt and disappointing. It's a nice film, a nice production, but nice is a word that really shouldn't be on your lips given the history of the source materials. 6/10