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Daughters of Darkness More at IMDbPro »Les lèvres rouges (original title)

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41 reviews in total

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15 out of 15 people found the following review useful:
Slowly paced but gorgeous supernatural tale, just don't expect an orthodox horror flick going in, 26 September 2007

Author: TimothyFarrell from Worcester, MA

Many of the European sleaze flicks of the 70s had high art pretensions, particularly those by the likes of Jess Franco and Jean Rollin. However, "Daughters of Darkness" is one of the few to succeed as actual art and trashy exploitation. Its beautifully filmed with constantly gorgeous sets and actually well-developed characters (the later being a true rarity for the genre). On the other hand, it has plenty of nudity and a few cheap thrills to keep the drive-in fan entertained.

As I said above, this is a quality production all around. The direction by Harry Kümel is simply exquisite. The film is very slowly paced and will probably be considered dull by those expecting an actual horror film. There's few shocks to be had here, nor are there any seemingly conscience attempts to scare the audience. Kumel obviously had something else on his mind. The sets are also gorgeous and the cinematography constantly impresses. The film is certainly not for all tastes, but those who enjoy films that cross the line between cult and art will be fascinated.

Most of all, the story is very strong. Unlike many other lesbian vampire flicks, the character development is very strong. Countess Bathory is never portrayed as actually being the villain, and a superb performance from Delphine Seyrig ensures a memorable character. The couple is slightly less impressive but still fine in their own right. Its interesting how the true antagonist of the story shifts from Bathory to Stefen, the husband, midway through. All in all, "Daughters of Darkness" is one of the most beautiful supernatural films I've seen in a while. (8/10)

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20 out of 25 people found the following review useful:
psychosexual fever dream, 1 October 2006

Author: oOgiandujaOo from United Kingdom

I was fortunate enough to unwind last night with Harry Kumel's erotic and Stygian "Daughters of Darkness" (Les Lèvres Rouges). It is a tasteful vampire movie (an oxymoron?).

Let me start by saying that the art direction is astonishing. If ever a building was elevated to the status of a character, it would be the off-season and deserted Grand Hotel des Thermes in Ostend where the majority of the film is set. Its de Chirico-esqe arcades and columns shot in their full crepuscular splendour separate the action from the real world, enveloping the players in a metaphysical demi-monde. One senses from the beginning the film's perversity, everything is set in Melvillean twilights and dusks, somewhere ephemeral, between or beyond good and evil. The travelling couple of the vampire movie, the man generally virtuous and upstanding, the woman meek and ingenue, in this case are replaced by a fractured and sensual pair. He announces on the night-train to Ostend, "I don't love you", which she parrots back, and they decide that this means that they are perfectly matched.

The soundtrack is perfectly atmospheric sub-Nyman, and the sense of colour is almost unmatched in film history. Twilight exterior shots, in the mode of Whistler are interposed with glowing yellow interiors. The exquisite monochrome costumes perfectly match the psychosexual themes. Particularly memorable is Delphine Seyrig in a flowing scarlet dress sipping a turquoise cocktail from a martini glass.

Whilst this is a perfectly cast movie, one would have to say that Delphine Seyrig as the countess Elizabeth Bathory runs away with the show in a screen-stealing performance. The sensuality of her voice is reminiscent of fever dreams, and the subtlety of her expression turns what could have been, in the wrong hands, a porno flick, into a Schnitzlerian psychosexual drama par excellence.

There were a few false notes, some ludicrous Hammer-inspired shots towards the end plus a less than satisfying codicil whose raison d'etre seems to be a false belief in the relevance of the plot. But all of this can be sorted with judicious editing and doesn't really detract from the general tone of the movie. Watch this, but beware it is a truly adult fairytale and an explicit exploration of sadomasochism.

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14 out of 15 people found the following review useful:
A Landmark in Vampire Erotica, 7 August 2007

Author: Jonny_Numb from Hellfudge, Pennsylvania

While I appreciate vampires as a staple of the horror genre, I have never been a big fan of vampire films. And while I will be the first to laud the merits of Bela Lugosi and Christopher Lee's contributions to the cape, they look rather timid next to Countess Elizabeth Bathory (the luminous and sensual Delphine Seyrig) in "Daughters of Darkness." While Harry Kumel's film is one of the most aesthetically beautiful vampire pictures ever lensed, dripping with subtle sexual tension, it also presses forth with a feminist/lesbian subtext that's as alluring as it is clever. The plot is relatively straightforward, and the film takes its time in establishing mood and atmosphere--Valerie (Danielle Ouiment) and Stefan (John Karlen) are newlyweds who are on the rocks only 3 hours into the marriage, and things are complicated further when Countess Bathory and her assistant, Ilona (Andrea Rau) check into the same deserted seaside hotel. While the atmosphere could be compared to the Universal and Hammer horrors, Kumel's artistry--with well-framed images, emphasis on wardrobe, and a very deliberate color scheme--exists in its own unique league. The topic of lesbianism--and even heterosexuality--is presented in a minimalist, unexploitative manner, yet maintains a pervasive eroticism throughout. Even the vampiric seduction is presented with a minimum of graphic bloodshed, which is all the more effective. "Daughters of Darkness" is the type of moody, character-driven piece that plays like a sensual sister to George Romero's similarly unique "Martin." As my comment title implies, this is an excellent film, required viewing for fans of horror and great art alike.

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18 out of 23 people found the following review useful:
Part masterpiece/part schlock, 10 February 2000
Author: aaron-71 from Long Island City, NY

I first saw this movie when I was 12 and it had a huge impact on my early artistic endeavors as a young man. I've seen it periodically over the years and can see what intrigued me about it so much. It's part Ingmar Bergman film and part bad vampire movie. There are some beautifully filmed scenes along with some awful dialogue. The brilliant Delphine Seyrig is superbly creepy. The other performances are only mediocre. The music is appropriately over the top; sometimes sinister, sometimes goofy- seventies movie. The new director's cut contains more sex and nudity, probably to avoid getting an x-rating at the time of release. It's definitely worth checking out if you've never seen it.

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21 out of 29 people found the following review useful:
DAUGHTERS OF DARKNESS (Harry Kumel, 1971) ***1/2 - SPOILERS, 13 October 2004
Author: MARIO GAUCI (marrod@melita.com) from Naxxar, Malta

*** This review may contain spoilers ***

I had wanted to watch this cult classic for ages and I finally managed to do so via Blue Underground's SE DVD re-issue. Although I had been tempted by the previous SE DVD edition from Anchor Bay, I reasoned that since it was one of their earliest discs, they'd eventually re-issue it somewhere down the line in an improved edition, which they did…in a way! Actually, I had originally planned to get this in August along with that batch of horror film DVDs from MGM and Warner, but I literally couldn't wait until then!

Even though I was expecting to like DAUGHTERS OF DARKNESS, I must say that, by the end of it, I absolutely loved the film. To me, it's a near-perfect masterpiece. I can think of only a handful of films in the horror genre which come anywhere close to its accomplished artistry and sophistication. That may be because the film's director did not treat it as a horror film in the first place (and he still doesn't consider it as one) but instead supplied it with a distinctly personal and uniquely 'arty' look where the color red is predominant.

The film's very opening sequence is an unusual and boldly erotic one, a passionate sexual encounter between our two protagonists, the newly-wed couple Stefan (John Karlen) and Valerie (Danielle Ouimet); the only other film I know of which starts in this way is the Donald Cammell/Nicolas Roeg collaboration PERFORMANCE (1970). Rather than coming off as an exploitative scene, it serves the purpose of illustrating the unity and bliss the couple experience during their love-making, feelings which are immediately seen to be illusory and tenuous at best, shattered by a tangible tension rising out of Stefan's resolute and irrational reluctance to introduce his wife to his aristocratic 'family' in London.

In fact, although he is ostensibly the film's 'hero', as the narrative progresses, the audience is all but alienated by the increasingly disquieting pieces of information which we come to learn about Stefan: his violent mood-swings, his morbid and possibly necrophiliac fascination with death, his ambiguous sexual identity, etc. In an early and disturbing sequence (which prepares us somewhat for the later shocking belting scene), while sight-seeing in the city of Bruges, Stefan becomes so fascinated by the sight of a dead girl (apparently the Countess' victim) that he, unconsciously perhaps, violently hits Valerie (who is trying to hold him back) on the face. Afterwards, on their journey back at night by bus, they try to make up again, but the only way they can communicate is by having Valerie almost unbuttoning his fly! His mind is still on the dead girl, however, and he brushes Valerie's hand aside. It is interesting to note that Kumel had originally wanted Malcolm McDowell for the role of Stefan - after seeing him in Lindsay Anderson's IF….(1968). However, in Kumel's own sarcastic words, 'when he (McDowell) saw the script, he threw it back at me – he thought it was disgusting! Afterwards he went to make CALIGULA (1979)!' Despite this, as it turned out, John Karlen (star of the DARK SHADOWS TV series and subsequent movies) was a very adequate replacement.

As for Valerie, Kumel was looking for something of a Sarah Bernhardt figure, 'like a lily on the verge of exhaustion'. However, he complained that 'she (Ouimet) was far too healthy for the part.' Although she is certainly a beautiful woman and at times captures the wounded frailty and vulnerability of her character admirably, on the whole she comes out as rather stiff, resulting in a wooden performance, especially towards the end when her submission to the Countess' will is complete. In this regard, the coda of the film where she is seen wearing a cape and seducing two new (I daresay unattractive) victims (suggesting that the story will repeat itself) is unconvincing and seems tacked-on; in fact, I found it to be the one undeniable false note struck by the film during its entire running-time (although, as Kumel explains in the Commentary, the epilogue was needed so as to show that evil was not destroyed with the Countess' death but was to live on through her lover).

The film's sparse, austere settings, particularly the Hotel Astoria, is reminiscent of Alain Resnais' impenetrable art-house classic LAST YEAR AT MARIENBAD (1961) and fit the dream-like mood and deliberate pace of the film perfectly. Perhaps that is why Kumel wanted Delphine Seyrig (star of MARIENBAD) from the outset for the role of the infamous Hungarian Countess Elizabeth Bathory. Her iconic performance, complete with an intoxicating smile which would melt ice, is simply magnificent and she looks stunning in those gorgeous outfits she is made to wear throughout the film. A prude may have misgivings about the depiction of the sexual attraction existing between Bathory and Valerie, but given the undeniable sensuality and the unexpected sensitivity (which puts contemporary lesbian vampire pictures to shame) with which it is portrayed, it is inevitable (and utterly credible) that Valerie would eventually leave Stefan for Bathory. Since the film was shot at the start of the Seventies and the character of the Countess is said to have stayed at that same hotel some forty years before (i.e. the early Thirties), Kumel's modeling of Seyrig's interpretation of Bathory after Marlene Dietrich as she appeared in Josef von Sternberg's films, is no mere homage by a film historian turned director (which Kumel actually was) but also an accurate rendering of the acting styles and social mores of the period. It's gratifying to learn that both Alain Resnais and Delphine Seyrig - who had already appeared in such notable films as Resnais' MURIEL (1963), Joseph Losey's ACCIDENT (1967), Francois Truffaut's STOLEN KISSES (1968; which incidentally I also purchased along with DAUGHTERS OF DARKNESS) and Luis Bunuel's THE MILKY WAY (1969) - considered this to be her best work. It's a pity therefore that her work after DAUGHTERS OF DARKNESS is so hard to track down nowadays, with Bunuel's THE DISCREET CHARM OF THE BOURGEOISIE (1972) and Fred Zinnemann's THE DAY OF THE JACKAL (1973) being the best-known, although one would think that she was always worth watching.

If Delphine Seyrig referenced Marlene Dietrich, the short-cropped hairdo sported by Andrea Rau (playing Bathory's long-suffering secretary/lover Ilona) makes one think, intentionally so, of Louise Brooks as she appeared in G.W. Pabst's PANDORA'S BOX (1928) and DIARY OF A LOST GIRL (1929). Whilst not an actress in Seyrig's class, Rau possesses an intensely captivating and physical presence, or as Harry Kumel himself puts it, 'Andrea was a natural …she had no inhibitions, maybe because she had done porno.' Kumel downplays all vampiric lore in his film, so that the fleeting moments in which they appear (like Bathory casting no reflection in the mirror) take you by surprise. This is most evident when Stefan entreats and then playfully, if a little too forcibly, pulls Ilona into the shower with him. Her horror at being splashed with running water causes her to slip, fall and impale herself on an upright razor-blade! Far-fetched perhaps but undeniably effective. Two other actors appearing in the film worth mentioning are Georges Jamin and Fons Rademakers. Jamin, playing the hapless and enigmatic retired Detective with his long overcoat (and apparently on the Countess' trail), reminds me of Jacques Tati's Monsieur Hulot character; his unexpected and blackly comedic 'death' scene at the hands of the Countess, is reminiscent of a similar scene in that which I consider to be Jean-Luc Godard's masterpiece, WEEK-END (1967) – and which I, unconsciously, paid homage to in my first (and still unproduced) screenplay! The idea of having Fons Rademakers playing Stefan's 'mother' was an ingenious one, adding just the right touch of eccentricity and ambiguity to the proceedings, revealing a hitherto unknown side to Stefan's sexual identity and going some way in explaining his reticence towards discussing his 'mother' with Valerie and his eventual violent outbursts towards her when the latter keeps forcing the issue. This could have easily been a ludicrous and unintentionally hilarious revelation but Rademakers' understated performance, devoid of clichéd camp attributes, makes it work. Of course, I knew about this 'twist' before watching the movie but I can imagine how this must have baffled the clueless contemporary audiences – rather akin to finding out that Isabelle Adjani had been humping a tentacled alien in a dilapidated apartment in Andrzej Zulawski's delirious POSSESSION (1981)! Fons Rademakers, who had been a former assistant to Jean Renoir, Vittorio De Sica and Charles Crichton, was a notable film director himself, with the Oscar-Winning THE ASSAULT (1986) being his most famous work.

While the film is usually pigeon-holed with the other lesbian vampire movies prevalent at the time - THE VAMPIRE LOVERS (1970), COUNTESS Dracula (1972), VAMPYRES (1974), etc. – DAUGHTERS OF DARKNESS is so much more than that. Frankly, it may very well end up disappointing both horror and adult film buffs due to the artistic (as opposed to exploitative) deployment of blood-letting and nudity in the film. As a matter of fact, the film also has three very improbable but remarkable death scenes which, in Ilona's case, include an homage to the shower scene from Alfred Hitchcock's PSYCHO (1960), a blasphemous allusion to Christ on the Cross in Stefan's, and possibly Joan Of Arc in Elizabeth's! Even so, I have all the three movies I mentioned earlier on pre-order at the moment and am looking forward to watching the last two for the first time, particularly COUNTESS Dracula which is a cruder retelling of Elizabeth Bathory's exploits, with Ingrid Pitt and Lesley-Ann Down stepping in for Delphine Seyrig and Andrea Rau.

Three aspects of the film I haven't tackled yet are Eduard Van Der Enden's fabulous cinematography, Francois De Roubaix's wonderful music score and the screenplay. Even though the film is an international co-production, the latter, co-written by Kumel, Jean Ferry and associate producer Pierre Drouot, has some beautifully lyrical English dialogue. Ferry was a notable screenwriter who had previously worked with Henri-Georges Clouzot on QUAI DES ORFEVRES (1947) (whose recent Criterion DVD I also purchased with DAUGHTERS OF DARKNESS), Luis Bunuel, Louis Malle and Georges Franju. Cinematographer Eduard Van Der Enden bathes the film in shades of black, white and red – signifying the tyranny of the Nazi regime (pretentious, no?) while the recurring red fade-outs precede Ingmar Bergman's in CRIES AND WHISPERS (1972). Composer Francois De Roubaix provides an eerie, hypnotic accompaniment which totally suits the proceedings. It's strange to learn in the Audio Commentary that Kumel was dissatisfied with both and would have preferred giving these chores to Gerry Fisher and Bernard Herrmann respectively! It all goes to show that the greatest movies do come together by accident most of the time.

The film has been known with a multitude of titles along the years throughout the world: the original Belgian title was LE ROUGE AUX LEVRES (literally meaning 'Lipstick On The Lips') but it was also known as LES LEVRES ROUGES ('The Red Lips'). In other countries, then, besides DAUGHTERS OF DARKNESS, it was also known as BLOOD ON THE LIPS, CHILDREN OF THE NIGHT, ERZEBETH, THE PROMISE OF RED LIPS, THE REDNESS OF THE LIPS and, most ludicrously perhaps, LA VESTALE DI SATANA ('The Vestal Of Satan') in Italy!

Initially, I was slightly disappointed by the video quality on the Blue Underground DVD since it occasionally suffers from print damage (apparently it was transferred from the same source print utilized for the old Anchor Bay disc), but having now sat through it three times (including the Commentaries), I'm getting used to that. I would have liked to have seen the 87-minute version which played originally in US theaters included on the disc, as well as some much needed biographical information on the elusive Harry Kumel, but I'm nitpicking now. I still think this is an essential purchase for all true lovers of cinema but especially those with an affinity for art-house and horror.

The John Karlen/David Del Valle Audio Commentary is the same one which was included on Anchor Bay's 1998 DVD and it is a reasonably informative, easy-going affair and with a couple of genuine laughs as well. Here it is also revealed that Harry Kumel and John Karlen had had a falling out in mid-production and have probably never talked to each other since. However, while a more sober and technical one, the Harry Kumel/David Gregory Audio Commentary is the better of the two, wherein Kumel discusses his stylistic influences and artistic intentions in making this film. Although this is his best-known work by far, he does not flinch from pointing out its deficiencies in his eyes and is rather dismissive of it as a whole, referring to some of its most striking images (Ilona's weird pose at the window when she attacks Valerie; Elizabeth's bat-like envelopment of Valerie in her cloak on the sand dunes in long-shot, etc.) as insignificant. He also puts down directors like Roman Polanski and Martin Scorsese, while extolling the virtues of several others including Jacques Tourneur and Robert Wise (which he counts as a personal friend) during the course of the discussion! He seems to have made DAUGHTERS OF DARKNESS in order to attract the necessary financial resources to make his dream project, MALPERTUIS (1972) starring Orson Welles, but this does not diminish any of the undeniable qualities of this extraordinary film.

I would really like to see more of Kumel's admittedly small output, especially the two films which immediately preceded and followed this one: MONSIEUR HAWARDEN (1968) and MALPERTUIS.

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16 out of 22 people found the following review useful:
The most beautiful vampire film ever made, 14 July 1999

Author: Casey-52 from DVD Drive-In

Technically not a vampire movie, DAUGHTERS OF DARKNESS is really a blood drinkers' movie. But the acting is superb, the cinematography is so careful and precious, and the whole movie is so beautiful that the deceiving "vampire" theme won't stop you from loving it. Many people believe that Hammer's female vampires are the most beautiful in the business. Delphine Seyrig and her supporting actresses prove those people wrong.

This film reminds me of the equally classic MARY, MARY BLOODY MARY, another movie about vampires that aren't really vampires. The legendary Elisabeth Bathory was not a vampire, she simply drank and bathed in blood to remain eternally young. Vampires drink blood (and don't bath in it) to survive, so the women in this movie aren't vampires.

The sensuality of this film drips off the screen, it so strong and thick. While not full of sex scenes, the erotic overtones of lesbianism and sexual tension between the competing Elisabeth and Stefan feels so real. Even the presence of blood is done so tastefully it seems perversely sexy. No matter how you hate the sight of blood, in this movie, it doesn't turn you off, it turns you on...literally! Highly recommended, do not miss this movie!

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7 out of 8 people found the following review useful:
Weird and Stylish Vampire Film, 4 September 2011

Author: Claudio Carvalho from Rio de Janeiro, Brazil

Two days after getting married in Switzerland, Valerie (Danielle Ouimet) and Stefan Chilton (John Karlen) travel by train to take a boat to England to visit Stefan's mother at the Chilton Manor. However, the train has to stop in Ostend and the couple lodges in the royal suite at a seaside hotel. The concierge Pierre advises that the place is empty since it is out of season and they become aware of three murders in Bruges.

In the same night, the Hungarian Countess Elizabeth Báthory (Delphine Seyrig) arrives in the hotel with her secretary Ilona Harczy (Andrea Rau) and Pierre swears that she had been in the hotel forty years ago with the same appearance. When Valerie and Stefan cross the path with the mysterious countess, their lives are affected by the woman. Meanwhile a retired detective (Georges Jamin) snoops at the hotel suspecting that the countess may be the serial-killer that drains the blood of the victims to use as elixir of youth.

"Les Lèvres Rouges", a.k.a. "Daughters of Darkness", is a weird and stylish vampire film. The story is very erotic and keeps the sexual tension along 100 minutes running time. Stefan is a sadistic homosexual weirdo and his "mother" is actually an effeminate man. The Countess is a lesbian vampire that wants Valerie as her protégé and mate. The film was shot only during the night and has a beautiful cinematography. My vote is six.

Title (Brazil): Not Available

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7 out of 8 people found the following review useful:
Mesmerizing Lesbian Vampire Classic, 19 January 2008

Author: Benjamin Gauss from Salzburg, Austria

Lesbian Vampire films had their heyday in the early 70s, and Belgian cult director Harry Kümmel's "Les Lèvres Rouges" aka. "Daughters Of Darkness" of 1971 is the most artistically made, mesmerizing and atmospheric film this particular sub-genre has put forth. The film maintains an exceptionally eerie and surreal atmosphere throughout its 100 minutes, the score is one of the most beautiful and ingenious horror film soundtracks I've ever heard, and Delphine Seyring is wonderfully eerie and seductive at the same time in the role of Countess Bathory. The film, of course, has nothing to do with the real Elisabeth Bathory, who terrorized medieval Hungary by murdering countless innocent girls. The real, terrible story of this sadistic countess, who is often referred to as the "Bloody Lady", however, is an immensely popular topic in Horror literature and film, and the Erzsébet Bathory story also provided a basis (as well as a villain) for this particular film.

Newlyweds Stefan (John Karlen) and Valerie (Danielle Ouimet) are staying at a Belgian hotel in the middle of nowhere, when two more guests arrive - A mysterious and tempting countess (Delphine Seyring) who is accompanied by a pretty young girl (Andrea Rau)...

"Les Lèvres Rouges" is a film as beautiful as it is eerie, mysterious and surreal. The greatest performance is delivered by Delphine Seyring, who is brilliant as the countess. Sexy Danielle Ourimet and Andrea Rau deliver enough female eye-candy to make this a classic of the erotic Horror film. I couldn't say I liked John Karlen's performance particularly, but he sure isn't bad either. Great supporting performances are delivered by Paul Esser as a hotel clerk and Georges Jamin as a retired police officer. The greatest quality of the movie, however is the mesmerizing atmosphere which is even fortified by the beautiful and hypnotic score.

All said, "Les Lèvres Rouges" is an excellent, immensely eerie, beautiful and atmospheric Horror film, and THE classic of the Lesbian Vampire sub-genre that Horror lovers can not afford to miss! 9/10

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7 out of 8 people found the following review useful:
Succeeds at what Vampyros Lesbos attempted to be., 2 September 2005
Author: Golgo-13 from The IMDb Horror Board!

A contained, haunting tale of vampirism, with ties to the infamous Elizabeth Bathory, this film drips with artistic merit. From the picturesque shots to the red fades to the stinger notes, it's easy to appreciate this production. The delicate, deliberate pace may turn off some viewers but the dream-like atmosphere easily held my attention, not to mention the three beautiful female leads. The bizarre ending (before the epilogue) was unexpected and indeed provided a wonderfully macabre and memorable image. Daughters of Darkness succeeds at what Vampyros Lesbos attempted to be. Just make sure to watch the full version.

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9 out of 13 people found the following review useful:
Horror as Art, 9 April 2005

Author: bensonmum2 from Tennessee

*** This review may contain spoilers ***

- A newlywed couple arrive at an ocean front motel to begin their honeymoon. As it's the off-season, they are the only guests. That is until a mysterious Hungarian Countess and her equally mysterious companion arrive and take rooms just next door. It soon becomes apparent that the Countess has designs on the young bride that could lead to her death. Is the Countess responsible for a string of deaths in the area of similar young women who have been drained of their blood?

- If a horror movie could be considered art, Daughters of Darkness would certainly qualify. Almost every scene is like a painting - surreal, lovely, and haunting at the same time. Even the people, especially the mesmerizing Delphine Seyrig as the Countess, look and seem like they've just stepped out of a painting. Seldom do you see a character like the one played by Seyrig that seems so at home in her surroundings. She is amazing to watch.

- The movie is very slow moving. I could see many fans of modern cinema being put off by the pace. Don't expect any of the modern MTV style editing or explosions every five minutes. This movie takes its sweet time moving the plot along. But for those who stick with it, you'll be rewarded by one of the most intriguing vampire films ever produced. The slow pace and isolated locations only add to what is surely one of the most atmospheric films I've seen.

- While watching the movie, I couldn't help but be reminded of George Romero's Martin. Like Martin, there is a certain ambiguity to the vampires in Daughters of Darkness. There's no doubt they drink blood, but does this make them vampires? They are certainly not the fanged, super-humans as portrayed in most Hollywood films. Like Martin, they need external assistance to get the blood that they need (or at least think they need).

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