by Victoria Potenza, Staff Writer

When one thinks of Hammer horror films, two faces usually spring to mind: Christopher Lee and Peter Cushing. The two starred in many of the studio’s films, most notably their Dracula and Frankenstein features. However, Hammer has a whole plethora of horror films that do not feature the dynamic duo. I had my reservations about these films, but some of the lesser-known Hammer actors are just as enjoyable in these features, including Ingrid Pitt. Not only did she star in the Carmilla adaptation, The Vampire Lovers, she also starred in Countess Dracula which turns 50 this year.

The film opens at the funeral of Count Nádasdy with his family and friends gathered together to pay their respects, including his wife Countess Elisabeth. Captain Dobi (Nigel Green) hopes this means he will now get to marry Elisabeth whom he has been having an affair with for years. But unfortunately for him, the handsome–and much younger–Imre Toth (Sandor Elès) arrives at the castle. At the same time, Elisabeth realizes she can have her youth restored with the blood of young women. She concocts a scheme to make Toth fall for her as she pretends to be her own daughter. However, the youthful effects do not last long and Elisabeth must find more victims if she wants to stay young forever.

While the film uses the name Dracula to lure potential watchers, the film is clearly an ode to Countess Báthory de Ecsed. The legendary Hungarian noblewoman from the 16th century was rumored to have bathed in the blood of young virgins to keep her youthful appearance. Although much has been written about the countess it is unclear if she actually participated in this unusual habit or if she was even responsible for the many deaths attributed to her name. What is true, however, is that Báthory is credited with much of our modern-day vampire lore, especially in the realm of female vampires. While Carmilla is usually credited as being the inspiration for the lesbian vampire archetype, Báthory is more attributed to vanity and the quest for eternal youth. This is what Countess Dracula plays up in its central story. Given the death of her late husband, Elisabeth could choose to marry her lover and enjoy the rest of her years in peace. Instead, she chooses to chase after her lost youth which was wasted in a loveless marriage.

The plot and background of this film make it a memorable story 50 years later. While the name Dracula typically evokes the thoughts of the male lead vampire story, these female-centric vampire narratives typically seem to have many more interesting elements to them. Whether feeding off their gorgeous victims for love, hunger, or to maintain their appearance, there is something deeply interesting about the female vampire. While Elisabeth never grows fangs or turns into a bat, she is almost scarier because she is not supernatural. She is a powerful woman with means and can feast on the young and poor with little consequences. Both the vanity and class dynamics of this film stand out especially today. With the number of expensive beauty products out there that promise to vanish wrinkles and restore plump cheeks, it is no wonder why Elisabeth is fueled by this need for beauty, one that makes her cold to even her young daughter.

Ingrid Pitt is such an incredible presence on screen. She plays both the aged and bitter Elisabeth and the glowing youthful Elisabeth. She manages to go between the two different characters effortlessly. It is unfortunate that her voice was dubbed for the film, apparently due to her thick Polish accent (something that rightfully upset the actress), especially when she proved her acting chops in The Vampire Lovers a year earlier. While this does put a bit of a damper on the film, she is still a sight to behold. She manages to make everyone in her circle bend to her every whim, to the point where they are helping her in her murderous quest. She is the perfect femme fatale of the Hammer horror world.

Of course, there are also many of the technical aspects of the film that make it memorable. In particular, the quintessential Hammer set designs and costumes. Oftentimes set in historical periods, many of their films are filled with looming gothic castles and lavish outfits for the counts, queens, and ghouls that populate the story. Countess Dracula is no exception. The maze-like hallways, the expansive library, and the lavish bathroom. Of course, Elisabeth is always impeccably dressed even in her widow attire. As are all of the men with their capes and humorously large fuzzy hats. Even the makeup effects are impressive. It is hard to recognize the gorgeous Ingrid Pitt underneath all of her makeup full of wrinkles and worts. And who does not love the unrealistically saturated 70s blood? Oh, and of course one cannot forget the exploitative up-close shots of women’s breasts that always seem to make their appearance in these films.

In the end, this is a film that is genuinely fun and has many comedic moments to it. Nigel Green (who died a year after the film was made) is incredible as the spurned lover of Elisabeth. He seems to be totally helpless at changing Elisabeth’s mind and is reserved to helping her picking victims and playing up the rouge that she is in fact her own daughter. He seems to spend most of his time drinking and scheming and I would watch an array of other films of him doing this exact bit. His relationship with Master Fabio (Maurice Denham) is delightful, even when the two are at odds and sneaking around each other they seem to have a genuine like for one another. Ultimately the scene when Captain Dobi takes Toth to the local pub and gets him drunk is one of the most comedic scenes in the film. The horror and comedy of the film are blended perfectly.

While perhaps not one of the most iconic of the Hammer horror films, this one is worth a horror fan’s time. As someone who has recently come into my love of the female vampire film, this was one that did not disappoint. It is also available and streaming so it is a perfect opportunity to catch up with this bloody fun feature.