In the Seventeenth Century, while Hungary is fighting the Turks, the population of a small village in the Carpathian Mountains faces the evil Countess Elizabeth Bathory, accused of drinking... See full summary »
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Michael Bailey Smith,
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In the Seventeenth Century, while Hungary is fighting the Turks, the population of a small village in the Carpathian Mountains faces the evil Countess Elizabeth Bathory, accused of drinking and bathing in blood of virgin women. Count Thurzo imprisons the Countess in the tower of a monastery and brings her daughter to live with him. In the present days, Keith is writing a book about Countess Elizabeth Bathory and traveling through Hungary with his friends J.J. and Kim researching her life. While trying to find the monastery, he meets the gorgeous and seductive Elizabeth, who guides the trio to the place. Keith and Elizabeth fall in love for each other, and after a car accident, they have a supernatural journey with revelations and fatalities. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Although this film departs from the standard vampire flick cannons, it somehow gives the impression of having been made in a hurry (time shortage due to low budget?!). It contains good ideas, though insufficiently exploited by the script and rather poorly rendered by the technical team: time freezing in one dimension and going on in another, souled vampires vs. villain ones, love infringing the condition of the doomed, just to mention a few. The film is also too explicit at times: instead of having the characters (J.J. for instance) verbalize situations, the filmmaker should have let the audience discover them themselves, by using close-ups and dramatic music tones. The love scene between Elisabeth and Keith occurs way too soon. Besides, I would have skipped her "I love you " line at the end. Some of the intentionally repeated scenes might fail the popcorn audience, whilst the music (except the piano part) sometimes fails the dramatic moments. Otherwise, most of the vampire film ingredients have been used: the historical background, the portrait, the Gothic atmosphere, castles and candles, wolves and owls, some blood and torture, some combat. The film is worth watching because it's different from the Buffy style and the usual midnight sloppy blood sucking.
Lambert is great as usual playing the role of Constantine Thurzo, a charismatic, witty and sarcastic vampire that is not hampered either by crosses or the Bible. Young Elisabeth is perhaps the most credible character in the whole film, and I impatiently waited for the scenes where she'd appear, feeling bored by the other three youngsters (undoubtedly some casting mistakes). Irena A. Hoffman managed to free her character of any demoniac traits.Young Elisabeth is addicted to killing by default, being herself one of her mother's victims. Extremely beautiful, slender and long-legged, wearing a diaphanous white dress, she seems to have stepped out of chivalry times of exquisite ladies. Her seduction does not necessarily spring from her sex appeal (though she has the sexiest worked out back I've ever seen) but from her elegance and especially her deep voice, deliciously contrasting her princess-like frailty. All in all I liked this film for its romantic intentions, original open ending, and Irena A. Hoffman's presence in it. I give the film an eight on a one to ten scale.
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