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No Slave to Man: Delphine Seyrig and Daughters of Darkness

Delphine Seyrig as The Countess in Daughters of Darkness
Delphine Seyrig as The Countess in Daughters of Darkness

Harry Kümel’s Daughters of Darkness (1971) — starring Lebanese-born French actress, director and feminist Delphine Seyrig — is arguably the best of several early nineteen seventies’ revisionist vampire films that either subtly suggest or outwardly depict unabashed lesbianisn. Along with films like Roy Ward Baker’s Vampire Lovers (a 1970 Hammer film with the amazing Ingrid Pitt) and José Ramón Larraz’s Vampyres (a joint Fox / Rank production from 1974), Daughters of Darkness has been dissected by critics and scholars alike that see in the vampire myth evidence of both misogyny and female empowerment. But the strength of this particular film is, without question, the magnetism of its star.


Growing up in an intellectual environment (her father was director of Beirut’s Archaeological Institute and later became France’s cultural attaché in New York during WWII), Delphine Seyrig was an actress of some reknown in Europe. After attending the famed Actor’s Studio in 1958, she went on to work with directors like François Truffaut and Luis Buñuel in the 1960’s. In her late thirties when she appeared in Daughters of Darkness, Seyrig was ideal for the part of the Countess — a character requiring beauty, mystery, culture, and maturity. But Seyrig brought to the role one additional, essential element: her political attitudes toward’s women and what it means to be feminine. “I think when my happiness depends on a man, I am a slave and I am not not free,” Seyrig said in an interview with the Institut National de l’Audiovisuel in 1972 (my translation). Such a view was necessary to successfully embody the strong, independent character of Daughter’s Elizabeth Bathory.

Delphine Seyrig as Countess Elizabeth Bathory in glorious silver lamé
Delphine Seyrig as Countess Elizabeth Bathory in glorious silver lamé

An aristocrat in furs and silver lamé gowns, Seyrig’s Elizabeth Báthory (based, at least in name, on the historical late 16th century countess of whom I have written about before) is a mysterious Hungarian countess who — as we learn early in the film — has lived a long life and traveled extensively (leaving bodies in her wake!).  She arrives at a seaside resort, the hotel Ostend in Belgium, accompanied by her “secretary” Ilona (Andrea Rau). There, she immediately becomes enamoured with newlyweds who themselves have just checked into the hotel. The Countess is instantly taken with buxom blonde Valerie (Danielle Ouimet); much of the film builds to the seduction, ruin and ultimately, the empowerment, of this all too innocent bride.

Daughters of Darkness (Belgian poster)
Daughters of Darkness (Belgian poster)

“One must never be afraid to look deep down into the darkest depths of oneself. Where the light never reaches,” Bathory tells Valerie as the girl begins to free herself from her abusive husband and form a bond with the Countess. Their journey together into the darkness of vampirism is at the very heart of the movie. (SPOILER ALERT!) By film’s end, Valerie becomes a substitue for Ilona, and ultimately, an heiress to the metaphorical throne of the Countess herself. A husband is not needed. And no man, ultimately, is a threat. It is the hand of fate, and not a vampire killer, that does the Countess in.

Its story and feminist overtones aside, Daughters of Darkness is just a beautiful movie to watch. Its sets and character design are a mix of old world and new — very European, yet oddly enough old Hollywood at the same time. Kumel, interviewed for the BBC documentary Horror Europa has said that he intentionally styled Delphine Seyrig’s character after Marlene Dietrich, and Andrea Rau’s after Louise Brooks. The two are gorgeously “made up,” and a sense of yesteryear in their characters plays brilliantly to their mysterious (and deadly) intentions.

Lady Gaga as The Countess in American Horror Story: Hotel
Lady Gaga as The Countess in American Horror Story: Hotel

Both cult classic and artistic achievement, the film is one of the few of its kind to eschew exploitation in favor of atmosphere and style. It has been praised by Camille Paglia in her landmark work of scholarship Sexual Personaeand has influenced many vampires on screen since — most recently (and notably) Lady Gaga’s turn as “The Countess” in television’s American Horror Story: Hotel (2015).

In the end, it is Seyrig’s performance that pulls everything together — style and substance. Often overlooked among those films that should be considered the best of the vampire genre, Daughters of Darkness is well worth seeking out.

Leaving a Marc (1977)

Marc Bolan, on tour in 1977 with The Damned

In early 1977, Marc Bolan — enigmatic English singer, songwriter, and charismatic leader of one of glam rock’s seminal bands, T. Rex — was past his prime. The success that came with UK #1 hits like “Bang a Gong (Get it On),” from 1971’s Electric Warrior and “Telegram Sam” from 1972’s The Slider, was largely behind him. Tax problems found him in exile for a while in the early seventies, T. Rex’s lineup of musicians kept changing, and his marriage had fallen apart due to his infidelity. But with a new band and a new tour supported by popular young punks, The Damned, Bolan was making a comeback in 1977. He had gotten a new band together, and, later that year, Granada Television gave him his very own show — a daytime variety hour simply titled Marc.

Marc ran in the late summer / early autumn of 1977, and gave Bolan the opportunity to showcase his music for a new audience. Daytime television was primarily aimed at teens and tweens — an audience for whom glam rock meant little. But new music — punk and new wave — was starting to chart, and Bolan (or his producers) smartly took advantage of mixing up his hits (often oddly lip-synced with guitars rarely even plugged in) with exciting new acts like Generation X, Radio Stars, and The Jam.

Other than Bolan performing “Show Me a Song” to start things off, The Jam were the first band to perform on Marc. Call them punks or mods revivalist, The Jam were a far cry from glam rock — a band born of the early seventies, but unlike anything else from the pop scene of the period. Bolan seemed somewhat uncomfortable, or at least unorganized, as he sat against the stage in a leopard jump suit reading the band’s name from a tiny promotional badge. It is as if the past of pop music was confronting its future in a way only possible in the turbulent nineteen seventies. But, instead of conflict, there was confusion. Bolan seemed lost in front of the camera. Drugs and alcohol were reputedly not to blame (Bolan had kicked his addictions by 1977). No, this confusion seemed more like a man trying to find his place in a music landscape that had changed on him. Immediately after The Jam, out came a cadre of female dancers awkwardly choreographed to Bolan lip-syncing “I Love to Boogie.”

Many believed that Bolan truly embraced the new music. Captain Sensible, guitarist for The Damned, spoke highly of him. But others thought he was an opportunist.  “Marc would’ve embraced any movement as long as it reflected well among the gullible,” said Steve Harley of Cockney Rebel. “I say this with no criticism and no malice,” he added. “Marc was a fully paid-up member of the Fantasy Island Club.” (for more on this and more, read this great article by noted music journalist Geoff Barton).

In denial, or simply an opportunist, Bolan was still a full-fledged rock star — in every sense of the word. Bigger than life. Flashy. Always entertaining, and forever “other” — no matter how silly the costumes or the posturing became.

He would inspire countless musicians. Early on it was The New York Dolls and The Ramones. Then came the post-punks: Joy Division, Siouxsie and the Banshees, and Bauhaus (the latter whose cover of Telegram Sam is arguably better than the original). Later in the nineteen eighties came The Power Station. Their “Get It On (Bang a Gong)” would chart even higher in the US than the original. Oasis‘s guitarist, Noel Gallagher and Joey Santiago of The Pixies both cite Bolan as an influence on their style. Both Morrissey and Nick Cave have covered “Cosmic Dancer.” The list goes on and on.

But the artist whose work is most associated with Bolan is not one who covered him, but a contemporary. A friend. Even a competitor. It was David Bowie.

Faces on the Mt. Rushmore of Glam Rock, Bowie and Bolan met in 1964, when David was still David Jones. Their careers developed in parallel ways throughout the early seventies, and by the time of Bowie’s massive “Ziggy Stardust and the Spiders from Mars” album, there was conjecture that Bowie’s “Lady Stardust,” was even a tribute to Bolan. After retiring Ziggy, Bowie would abandon glam, and embrace first American R&B, then later, influences like Kraftwerk and Brian Eno. Bolan, however, remained the quintessential guitar-based glam rock star. It arguable hurt his career— with television’s Marc as his last hurrah.

David Bowie performed “Heroes” on the final episode of Marc Bolan’s show

Fitting then that David Bowie was the last performer on the show. Singing “Heroes,” Bowie seems somewhat cold and distant — both from his past, and from Bolan. Bowie reputedly directed and orchestrated his own performance, not involving Bolan’s input at all. This didn’t sit well with Bolan, whose sole and final interaction with Bowie would be a jam session at the end of the last Marc show — one than ended with a humorous, and almost prophetic fall from the stage. Bowie smiles, and that’s the end of the show (for more details, see Roger Griffin’s day by day Bowie biography).

Curiously, Bowie would go on the following month to record his now famous Christmas duet with Bing Crosby. Ever the chameleon, Bowie learned to adapt to changing times; and Bolan, unable to shed the leopard tights and feather boas, was the equivalent of a green peacock — flashy and nearly extinct.

A little over a week after filming the Marc show with Bowie, Bolan would be dead. With his girlfriend Gloria Jones at the wheel, driving the couple home early in the morning of 16 September, Bolan’s purple Mini Cooper slammed into a tree. Bolan died on impact. The final episode of Marc (with Bowie) ran posthumously. The show had ended after only six episodes.

Leaving a definitive mark on rock and roll, Bolan has become a rare thing in pop music: part iconoclast, and part icon. He left behind over a decade’s worth of material.  Songs like the infectious “20th Century Boy” continue to get used in all manner of movies and television commercials, and, this year, he will be inducted into the Rock and Roll Hall of Fame (as a member of T. Rex).

The recognition is long overdue.