Text © Richard
Gary / Indie Horror Films, 2023
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Blood Daughter
Directed by Bryan Enk
Third Lows Productions
112 minutes, 2022
www.facebook.com/bryan.enk
The director, Bryan Enk, seemingly is obsessed with the Dracula legend by Bram Stoker. A few of his previous films have this lineage, including two college productions: Dracula (1992) and Dracula Returns (1993), which may appear in some form as an extra on the disc, or should be, anyway. Note that some clips of those films also appear in a flashback form as a few of the actors appear in the same roles here. In more than one way this is a sequel to the sequel, but you do not have to have seen the earlier ones to watch this, as it can also be a stand-alone release.
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| Alexandria Johnson |
Taking place in the here and now, rather than the gothic period of the novel, we are instantly informed that this is a beautifully arty work, with varying degrees of color (e.g., some muted colors, some black and white, some sharp clarity). The dialogue has nearly a modern Shakespearean tone of information and opaqueness, mirroring Stoker’s 1987 novel (e.g., “Let me be accurate in everything. For, though, you and I have seen some strange things together. You may think that I then, Helsing, am mad; that the many horrors and the so long strain on nerves has at the last turned my brain.”). They even use the infamous “children of the night” line. I was amused that someone states, “Something wicked this way comes,” as Enk also directed a film version of MacBeth (2003). There are generous uses of Shakespearean quotes thrown in for good measure, from Hamlet and Romeo and Juliet, for example. There is also a nice nod to the Stoker-inspired German 1922 film, Nosferatu: A Symphony of Horror (aka Nosferatu: Eine Symphonie des Grauens), as well as Francis Ford Coppola’s Bram Stoker’s Dracula (1992).
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| Johnson, Jeff Miller |
The Blood Sisters is a group of both women and men who, it is pretty easy to figure out right off, an almost cult of vampires, under the tutelage of Rasputin-looking Sandor (Steve Bishop; not to be confused with the singer, though they both share facial hair), who works for the mysterious “Master” (Jeff Miller). Intent on joining the group, located in what is known as The Tower, is Lili (Arielle Hope), both “auditioned” and warned by June the Veil (Anna Stefanic). A focus of the opening is also introducing Inspector Claudius (Andy Hunsaker), who is searching for his daughter, Emilia (Emi Curia), who he fears has joined those in the Tower. .
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| Anna Stefanic, Bob Laine |
Eventually, we meet the central character, Abby (Alexandria Johnson, real-life daughter of Van Helsing’s Chuck Johnson, who was playing the same part 30 years earlier in 1992 when she was born) and her almost split personality disorder consciousness discussing her inner conflicts (“the false company she keeps”), all played by Alexandria. By the blood around her mouth, it is evident what kind of creature is the real Abby.
The film, shot before Covid and just now released, is broken up into a series of set pieces, pieced together like a jigsaw puzzle, sometimes introducing characters that are never, or rarely seen again. This makes, again, some opaqueness to the story, keeping the viewer off-guard for both what has happened, and what is to come. Even the editing by Chris Martinez is as sharp as the dialogue, and often cuts dramatically. It is a wonder to see. My one quibble, however, is that at nearly two hours, it is a bit long to be hit with so much texture and deep diving dialogue (the film was also written by Enk).
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| Emi Curia, Andy Hunsacker |
My description, at times, may seem heavy handed, but this was truly enjoyable to watch. It is also a brave posit, to assume the audience has an intelligence, rather than a mindlessly rabid fan of blood and gore. This is not a get drunk (well, perhaps high…I do not imbibe in either) with a point-and-mock attitude. It is erudite and intelligent, and yet quite playful at times, with moments of humor, and a strong breaking the fourth wall, to the point of Alexandria playing herself for a moment. Also, the camera becomes a character as a persona may turn and either acknowledge or talk directly to the lens.
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| Johnson |
The film is precious
more than pretentious: the reading of the lines is stilted by the language and
over-emoting, much as with hearing most versions of Shakespeare, or live
theater in general. Actually, this aids the dialogue, which may resound false
if it were presented straight. It is loyal to the ideal more than the idea
brought forth. Oh my god, now they have me doing it!
IMBD listing HERE
Trailer is HERE
