Released 11 May 1936, Dracula’s Daughter was the last of Universal’s classic horror films until the franchise restarted in 1939. It was very loosely based upon Bram Stoker’s 1897 short story “Dracula’s Guest,” originally intended as the first chapter of Dracula. Some scholars also believe it was loosely based upon Sheridan Le Fanu’s 1872 Gothic novella Carmilla.

Béla Lugosi, Boris Karloff, Jane Wyatt, Colin Clive, and Cesar Romero were slated to star in this film, but the only one who ended up appearing in any capacity was Lugosi, in the form of a wax dummy seen near the beginning. Of the Dracula cast, the only one to reappear was Edward Van Sloan as Prof. Von Helsing (yes, his name was changed from Van Helsing).

Prof. Von Helsing is arrested for the murder of Count Dracula, which he admits he did and passionately defends. At Scotland Yard, he further explains his reasoning, and adds that since Dracula has been dead for over 500 years, it’s not real murder. He also decides to enlist the services of psychiatrist Dr. Jeffrey Garth (Otto Kruger) instead of getting a lawyer. Jeffrey was one of his best students, and Von Helsing feels a kinship with him.

There was another body discovered near Dracula’s, a murder Von Helsing says was committed by Dracula. Both of these bodies are moved to the police station for overnight watch, but one of the cops is called away on official business. The remaining officer is hypnotized by the ring of a femme fatale (Gloria Holden). The next day, he’s found dead and in a trance.

The strange woman, meanwhile, made off with Dracula’s corpse and ritualistically burnt it in the woods, throwing salt on the fire. She’s desperate to be cured of Vampyrism, an unusual theme we also find in the dreadful House of Dracula. Since when do Vampyres feel unhappy or conflicted about their integral nature?!

Of course, there wouldn’t be much of a story if she immediately got her wish. Sandor (Irving Pichel), a servant who assisted her in the corpse theft, tells her Death is in her eyes, and that she shouldn’t try to resist who she was created to be. She soon succumbs to temptation and goes on the hunt for fresh victims.

Dracula’s daughter introduces herself to society as Countess Marya Zaleska. Jeffrey attends one of her parties, and is quite taken with her. His fiancée and secretary Janet Blake (Marguerite Churchill), however, isn’t very happy to see the obvious mutual attraction, and begins scheming to try to nip this affair in the bud.

Jeffrey pays no heed to Janet’s objections, and goes to meet the Countess at her home at night. She claims she needs his expert psychological help for a terrible influence being exerted over her from beyond the grave.

While in the house, Jeffrey notices in surprise that there are no mirrors. He’s used to ladies having mirrors all over, and makes a joke about Vampyres not seeing their own reflection. Jeffrey also tells her about how people with addictions can overcome them by being close to the source of their weakness and summoning up the willpower to ignore it. We must confront our demons and become masters of ourselves.

Towards that end, the Countess dispatches Sandor to find a would-be victim. He spots a young woman, Lili (Nan Gray), about to take her own life by jumping into the river, and tells her to come with him for some money, a warm house, and food. At first, Lili thinks he wants to take her into white slavery, but Sandor convinces her this is on the level, that his mistress wants a model to paint.

The scene that follows is famous for its quite overt lesbian overtones, so much so it was among the films featured in the 1995 documentary The Celluloid Closet. While it’s shocking this slipped past the strict Hays Code, it also portrays the Countess’s lesbian desires as predatory and perverse, and Lili as a sweet little victim who bravely resists. Sadly, this was par for the course in mainstream films with gay or lesbian characters or overtones for decades.

The Countess hypnotizes Lili with her ring and sucks blood from her neck. Lili ends up in hospital, unable to remember anything about the attack. To try to get to the bottom of this, Jeffrey puts her into a trance and takes her back to the night of the incident. Lili gives enough testimony for him to figure out the Countess did it.

Then the Countess hypnotizes Janet, absconding with her to Transylvania. There are more lesbian overtones in a scene of Janet lying dazed on a bed as the Countess hovers over her, described as “the longest kiss never filmed.”

By now, Jeffrey’s skepticism at Von Helsing’s claims has completely melted away, and he believes Vampyres do indeed exist. Towards that end, he sets out for Transylvania to confront the Countess and bring an end to her reign of terror.

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