list http://www.spout.com/ Recent community activity around Daughters of Darkness on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Daughters_of_Darkness/8109/default.aspx Title: Daughters of Darkness
Year: 1971
Director: Harry Kümel
Plot: Le Rouge aux Levres is a stylish, fascinating, very erotic vampire film based on Sheridan le Fanu's Camilla, the classic tale of a lesbian vampire. A young married couple, Stefan (John Karlen) and Valerie (Daniele Ouimet), honeymoon at a deserted oceanside resort where they meet Countess Elisabeth Bathory (Delphine Seyrig) and her companion Ilona (Andrea Rau). Valerie has discovered that Stefan is a brutal sexual sadist and is drawn to the Countess because of her warmth and sensuality. Ilona attempts to seduce Stefan but is accidentally killed, and the Countess takes her revenge on his wife. Director Harry Kumel directs with stunning visual style and maintains the erotic intensity and tension between the characters with skill, getting a particularly good performance from the magnificent Delphine Seyrig, who resembles in both mood and looks the young Marlene Dietrich. Erotic, unusual and extremely violent, Le Rouge aux Levres, also released as Daughters of Darkness is one of the finest vampire films ever produced, making up with style and class what it might have lacked in budget. ~ Linda Rasmussen, All Movie Guide
Number of Lists: 5
Number of blog posts: 1
SpoutRating: 3
]]>Mon, 06 Jul 2009 22:01:17 GMTDaughters of Darkness1971Harry KümelLe Rouge aux Levres is a stylish, fascinating, very erotic vampire film based on Sheridan le Fanu's <a href=/films/90101/default.aspx style='text-decoration:underline'>Camilla</a>, the classic tale of a lesbian vampire. A young married couple, Stefan (<a href="/players/P____36938/default.aspx" style='text-decoration:underline'>John Karlen</a>) and Valerie (Daniele Ouimet), honeymoon at a deserted oceanside resort where they meet Countess Elisabeth Bathory (<a href="/players/P____64679/default.aspx" style='text-decoration:underline'>Delphine Seyrig</a>) and her companion Ilona (Andrea Rau). Valerie has discovered that Stefan is a brutal sexual sadist and is drawn to the Countess because of her warmth and sensuality. Ilona attempts to seduce Stefan but is accidentally killed, and the Countess takes her revenge on his wife. Director Harry Kumel directs with stunning visual style and maintains the erotic intensity and tension between the characters with skill, getting a particularly good performance from the magnificent <a href="/players/P____64679/default.aspx" style='text-decoration:underline'>Delphine Seyrig</a>, who resembles in both mood and looks the young <a href="/players/P____19148/default.aspx" style='text-decoration:underline'>Marlene Dietrich</a>. Erotic, unusual and extremely violent, Le Rouge aux Levres, also released as Daughters of Darkness is one of the finest vampire films ever produced, making up with style and class what it might have lacked in budget. ~ Linda Rasmussen, All Movie Guide513http://www.spout.com/ProductImages/t87086cocte.jpghttp://www.spout.com/films/Daughters_of_Darkness/8109/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2008/10/29/36767.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 10/29/2008 2:01:14 PM
Body: Most vampire movies suck like most porn, the pleasures of the flesh drained of all life. Fortunately there’s Daughters of Darkness, starring the intoxicating Delphine Seyrig as the blonde, femme fatale Countess Elizabeth Bathory. Harry Kümel’s very-70s flick is a sexy roundelay akin to Radley Metzger’s 1973 soft-core Score, only in this case the hungry horny couple are the blood lusty Countess and her secretary/lover/protégé Ilona Harczy played by Andrea Rau (with lips to rival Angelina Jolie’s – someone get Brangelina a vampire movie already!), looking like a knockoff Lulu with her flapper haircut. The objects of their carnal obsession, newlyweds Stefan (John Karlen, resembling a cross between Michael J. Fox and Andrew McCarthy but, alas, born a decade too early for a John Hughes film) and Valerie (Danielle Ouimet — think Elke Sommer with a French accent) may be unwitting, but Stefan especially is far from innocent. Which gives the standard vampire set up of Daughters of Darkness a compelling mystery twist. And also like Metzger’s Score, Kümel’s film is a sumptuous melodrama with a thumping sexual vibe through and through. The tone is set right from the start: an appropriately blue-hued sex scene, jump cuts from Valerie’s ecstatically grasping hand back to naked entwined torsos, Stefan virtually devouring his young bride, burrowing his head into the heaving flesh of her chest, going for the jugular without drawing blood. The entire atmosphere of the film is steamy, as visceral as the Florida summer of Body Heat. From the rising and falling suspense string score to the lush, sensuous colors and velvet fabrics of the European resort, as cavernous and creepy as the Overlook Hotel; from the fluid camerawork, the grand high angle and long shots, the noir shadows, the close ups on Seyrig’s flawless face, a playful pixie vixen, nails and lips forever painted blood red. And boy does Seyrig work those feline fingernails. Even as Stefan dodges introducing Valerie to his disapproving and mysteriously elusive mother, the Oedipal layers run deep. Countess Bathory, placing herself behind Stefan seated in a plush armchair in the front parlor, practically seduces the young man with her hands, fingers dancing along his sweater-clad chest, intimately rubbing his arms, as she and the rich playboy wax rhapsodically about the historical torture and ritual murder of virgins for blood, eyes closed in ecstasy (and both ignoring Valerie as she begs, “Stop! No! Stop!,” attempting in vain to break the hypnosis). The few actual sex scenes pale in comparison to this hot-blooded, erotic encounter. Yet even golden ingénue Valerie is a bit of a pervert at heart. “You actually enjoyed seeing that dead girl’s body,” she accuses Stefan, explaining why she suddenly fears him as they ride the bus back from Bruges where they just happened to witness the coroners removing the corpse of the latest throat slashing victim. “Just like you enjoy telling me,” Stefan snaps back. “We’re getting to know each other,” he adds before brushing away her hand – that is now reaching for his crotch! Daughters of Darkness seems to say that even the most innocent among us are less than saints, thus ripe for evil’s picking. “I’m just an outmoded character,” the Countess sighs as her silver sequin, mirror ball dress catches the light, defiantly shooting rays at the camera. Though the sly smile on her lips suggests otherwise, that inside every virgin lurks an insatiable slut – and, of course, that vamps never go out of style. Watch the first 8 minutes of Darkness above. There are more clips from the film on YouTube. Images via Cat Party and Taliesin Meets the Vampires Originally posted on:SpoutBlog
]]>Wed, 29 Oct 2008 18:01:14 GMTSpoutBlogSpoutBlog on spout.com10/29/2008 2:01:14 PMMost vampire movies suck like most porn, the pleasures of the flesh drained of all life. Fortunately there’s Daughters of Darkness, starring the intoxicating Delphine Seyrig as the blonde, femme fatale Countess Elizabeth Bathory. Harry Kümel’s very-70s flick is a sexy roundelay akin to Radley Metzger’s 1973 soft-core Score, only in this case the hungry horny couple are the blood lusty Countess and her secretary/lover/protégé Ilona Harczy played by Andrea Rau (with lips to rival Angelina Jolie’s – someone get Brangelina a vampire movie already!), looking like a knockoff Lulu with her flapper haircut. The objects of their carnal obsession, newlyweds Stefan (John Karlen, resembling a cross between Michael J. Fox and Andrew McCarthy but, alas, born a decade too early for a John Hughes film) and Valerie (Danielle Ouimet — think Elke Sommer with a French accent) may be unwitting, but Stefan especially is far from innocent. Which gives the standard vampire set up of Daughters of Darkness a compelling mystery twist. And also like Metzger’s Score, Kümel’s film is a sumptuous melodrama with a thumping sexual vibe through and through. The tone is set right from the start: an appropriately blue-hued sex scene, jump cuts from Valerie’s ecstatically grasping hand back to naked entwined torsos, Stefan virtually devouring his young bride, burrowing his head into the heaving flesh of her chest, going for the jugular without drawing blood. The entire atmosphere of the film is steamy, as visceral as the Florida summer of Body Heat. From the rising and falling suspense string score to the lush, sensuous colors and velvet fabrics of the European resort, as cavernous and creepy as the Overlook Hotel; from the fluid camerawork, the grand high angle and long shots, the noir shadows, the close ups on Seyrig’s flawless face, a playful pixie vixen, nails and lips forever painted blood red. And boy does Seyrig work those feline fingernails. Even as Stefan dodges introducing Valerie to his disapproving and mysteriously elusive mother, the Oedipal layers run deep. Countess Bathory, placing herself behind Stefan seated in a plush armchair in the front parlor, practically seduces the young man with her hands, fingers dancing along his sweater-clad chest, intimately rubbing his arms, as she and the rich playboy wax rhapsodically about the historical torture and ritual murder of virgins for blood, eyes closed in ecstasy (and both ignoring Valerie as she begs, “Stop! No! Stop!,” attempting in vain to break the hypnosis). The few actual sex scenes pale in comparison to this hot-blooded, erotic encounter. Yet even golden ingénue Valerie is a bit of a pervert at heart. “You actually enjoyed seeing that dead girl’s body,” she accuses Stefan, explaining why she suddenly fears him as they ride the bus back from Bruges where they just happened to witness the coroners removing the corpse of the latest throat slashing victim. “Just like you enjoy telling me,” Stefan snaps back. “We’re getting to know each other,” he adds before brushing away her hand – that is now reaching for his crotch! Daughters of Darkness seems to say that even the most innocent among us are less than saints, thus ripe for evil’s picking. “I’m just an outmoded character,” the Countess sighs as her silver sequin, mirror ball dress catches the light, defiantly shooting rays at the camera. Though the sly smile on her lips suggests otherwise, that inside every virgin lurks an insatiable slut – and, of course, that vamps never go out of style. Watch the first 8 minutes of Darkness above. There are more clips from the film on YouTube. Images via Cat Party and Taliesin Meets the Vampires Originally posted on:SpoutBlog http://www.spout.com/members/0/tags/murder/MemberTagFilms.aspxmurder
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