暗夜之女

I have never watched any lesbian vampire films before, and it is surprising that the lesbian vampire films were so popular in the early 1970s. In Bonnie Zimmerman’s Daughters of Darkness: Lesbia Vampires, he mentioned that the popularity of the lesbian vampire films at that time may be related to the historical developments: feminism and public awareness of lesbianism. However, in 1980s’ male-dominated society, men did not enjoy “watching themselves the victims”, they enjoyed watching “woman subdued and violated by men, not other women”. In Daughters of Darkness, the young husband Stefan is exactly that kind of man, I remember that he says to the countess, “She is mine and I am a man.” He really made me uncomfortable, such as his violent mood-swings, obsession with the dead girls and blood, arrogant attitude to his wife Valerie. After he accidentally killed the countess’s protege Ilona, I felt that he would have a bad ending soon, and the result was the same as I expected, he died very miserably. Except for the disgusting husband, I liked Daughters of Darkness in many ways, especially “it suggests that women have good reasons for turning away from sadistic men to other women and even justifies.” The ending is much more complete, and unlike the other vampire films we have watched before, the vampire countess in Daughters of Darkness is the last winner, she killed the hero and got his wife’s body.
I also noticed that in Daughters of Darkness, it used a large amount of bright red as the transition, which is a very rare trick compare to black transition. Obviously, red plays an important role in this film. It can be showed from many other aspects, such as the red clothes of Stefan, the red cover of the dead body, the red nails and red scarf of the countess, etc. I think those red props work well in the film, but the red transition seems a little bit stiff due to the technical issues. And the fake red blood, just added more humor instead of horror.

月光之下，男人史代凡徒手挖土，为意外而死的女孩掘墓，她们必须在天亮之前处理完一切… 在开往英国的一辆火车上，一男一女正在享受她们的新婚蜜月。男的史代凡，属于大家族的纨绔子弟，对现在的女友，虽然说还比较疼爱，但是总是不能一心一意。女孩瓦莱丽则是出身平凡人家，没有太多的心眼，一心只想催促男友回家拜见父母。 为了拖延时间，史代凡在中途订了一间豪华酒店，带着女友在此逗留游玩。酒店地处偏僻的海边，这时节无人光顾。这一天，酒店来了一位名叫巴托丽的美艳少妇，以及她的随从，一位短发的美丽女孩。 出来迎接的酒店伺从，一见到那少妇，顿时就惊呆了。年过半百的伺从声称，在他小时候就为巴托丽女士服务过，但是现在巴托丽女士还是如此美丽动人，丝毫看不见岁月流过的痕迹。 既然酒店里再无其他旅客，巴托丽女士也非常热情，她邀请小夫妻共进晚餐，尤其对女孩关爱有加。 随着了解的深入，女孩竟然被巴托丽的巨大魅力所吸引，她和男朋友之间也产生了不小的摩擦。同时，不少怪异的事情发生了，附近的镇上发生了凶杀事件，死者通体雪白，面无血色；女孩洗澡时，发现窗外有人在偷窥… 这一切，让小夫妻意识到他们身边的巴托丽女士并非常人，而且极度邪恶而危险，于是他们准备提前离开酒店，但他们会成功吗？ 《暗夜之女》（Daughter of Darkness），由哈里·库默执导的法国恐怖片，约翰·卡伦和德菲因·塞里格等出演，1971年上映。 该片讲述了一个300岁的女t性恋吸血鬼和她的情人在一个豪华酒店遇见一对小夫妻，她们试图勾引、分裂这对夫妻，以达到自己吸血生存的目的。 作为一部吸血鬼题材的恐怖片，本片绝对是异类，全片 没有太多的恐怖血腥画面，却通过色彩强烈的镜头和法国著名女星德菲因·塞里格的表演，呈现出一种妖艳诡异的气息，令人欲罢不能。 吸血鬼引诱小夫妻的过程曲折，结局狗血，其中的意义却耐人寻味。男的本身就是有虐待和变态的心理，女的傻白甜却经不起吸血鬼的诱惑，最终沦为吸血鬼的傀儡，整个主题则表现出导演的女性解放倾向。