Daughter of Darkness

Katherine Thatcher (Mia Sara) travels to Romania in search of her father. During her quest, Katherine is haunted by nightmares of a hooded, faceless man. Adding to her problems is the fact that she has arrived in Romania during the reign of Ceausescu, meaning that the country is a police state.

Katherine meets Anton (Anthony Perkins), who appears to have known her father. Running afoul of the government, Katherine attracts the attention of the secret police. At every turn, she finds her search thwarted by forces both earthly and otherwise.

Director Stuart Gordon has created a devilish supernatural thriller, complete with vampirism and other ghoulish goings-on. Ms. Sara is convincing in her harried role, and Perkins is as oddly twitchy as ever.

Though it suffers from a few dead spots and a bit of meandering, there's enough chilly atmosphere to make up for it...

One does not ask a lot of this kind of film, but this film failed to provide even a little for me...

The characters felt (to put it kindly) unreal even for a horror film! I never felt scared at all during the entire movie, and the choice of music made me want to sue for emotional suffering...

Ah, TV movies. There are some surprisingly great ones in the world amid many lackluster brethren, but either way they earned a definite reputation over time thanks to a long, predominant history of mixed bags, to say nothing of regular fare from the likes of the Sci-Fi Channel (now SyFy) and Lifetime. The production values in 'Daughter of darkness' show its roots and its age, and the film also comes off as astoundingly direct, even more than we usually expect of television features. This isn't to say it can't be worthwhile, but the company it keeps is as notable as its primary stars. Recognizing no small measure of ham-handedness accompanying the straightforward slant, I'm still think this is pretty fun - only, perhaps less than essential.

It needs to be said that plot development is almost painfully swift, and constructed with a logic that is pure Movie Magic. Every Romanian that protagonist Katherine meets happens to speak English; the U. S. ambassador is unbelievably accessible; every person Katherine speaks to, even random passers-by, are bewilderingly willing to listen and help. Some of this has meaningful (and predictable) basis in the narrative, and none of it is out of the ordinary for the medium, yet the incidence is never not striking. Given the nature of 'Daughter of darkness' as suggested, the cast have certain limits on what they're able to accomplish, not least as enthusiastic editing joins with the forthright angle of the TV-approved writing and direction to maintain a brisk pace and chop scenes up into relatively minute snippets. Alongside that momentum, the movie oscillates all too quickly between tones as the plot progresses. And to that point, while the flavor of filmmaker Stuart Gordon and his collaborators is seen in the swell effects, dream sequences, the most gnarly character designs, and other active genre elements, it's safe to say this is a far cry from the likes of 'Re-animator' and 'From beyond,' and one wonders how Gordon became involved with the production.

There are plentiful reasonable hang-ups one should have about this picture, to be sure - including the fact that to achieve their goals, all the antagonists would have had to do was bide their time and play nice, and a major aspect of the protagonist's character doesn't come into play until the climax. Just because it's flawed doesn't mean it's not entertaining, though, or (modestly) deserving. While overly curt, and overcooked, on paper the narrative is engaging, and compelling; would that it had more opportunity to manifest, breathe, and resolve of its own accord. The ensemble make the most of what they have to work with: Mia Sara is a fine leading lady, for example, and Dezso Garas is an unlikely highlight as he realizes cab driver Max with delightful personality. Just as Hungary is a fine stand-in for Romania with choice filming locations, the production design and art direction are commendable. The costume design is maybe a little curious, but excellent on the face of it, as well as hair and makeup work. Even though I disagree with some of the choices made, or think they don't come off entirely well, at large 'Daughter of darkness' is well made from a technical standpoint.

This isn't outright bad, not by any means. It is, however, defined by those same problems that we see as common to made-for-TV movies. Plain-faced, gauche, and rushed, 'Daughter of darkness' sometimes rides a line of testing suspension of disbelief just on account of those faults. Even so, it wants only to tell a tale of supernatural horror, and is solid enough as it does so. More mindful care outside the restrictions of small screen production would have gone a long way to change the end result of what this represents, but it's nevertheless enjoyable in its own right. This 1990 feature may not be especially remarkable, and there's no need to go out of your way for it - but if you happen to come across 'Daughter of darkness,' it's not a bad way to spend 90 minutes.

A common storyline: young adult searches for their father in the "Old Country", who is elusive and given to certain noctural habits. Pacing for this made for TV "light" horror film wasn't terrible. Often there was something passably interesting and relevant happening, even if the individual acting skills by support cast were often stilted...honestly, that wasn't unexpected of this US/Hungary production. Creature make-up and effects was light, it was for TV after all, and maybe 6 star is a bit of a stretch but I thought Mia Sara and Anthony Perkins were good enough, though Mia often gives her known wrinkled brow agonized terror look. It's a solid one-watch, and I'm glad I found it for a mid-week time-passer.

I vividly remember the harrowing news bulletins and devastating images of Romania during the late 80's/early 90's, when the controversial reign of Ceausescu slowly came to an end and the nation was consumed with relentless violence and economical recession. It was definitely not the best place to be around that time, especially not if you were a member of a foreign (and thus 'wealthier') film crew. All the time whilst watching "Daughter of Darkness" I was wondering how Stuart Gordon and his crew were able to film amidst the thoroughly dangerous political climate in Bucharest, until of course I realized – and double checked the filming location section on IMDb – the whole movie was shot in Hungary instead. This was probably the wisest, not to mention safest, thing to do and in all honesty Budapest looks and feels just as ominous as Bucharest. That needless bit of information being said, "Daughter of Darkness" is a fairly successful and worthwhile little made-for-TV chiller that offers an okay albeit predictable and cliché-ridden plot and a couple of admirable acting performances. Those who are familiar with director Stuart Gordon's awesome repertoire (and if you're not: move your butt towards the nearest video store and rent "Re-Animator", "From Beyond" and "Castle Freak"!!) will promptly notice this is a rather atypical effort coming from him. His usual work features Grand Guignol make up effects and utterly absurd situations whereas this modestly produced film maintains a serious, almost dramatic tone and very sober decors. Following the death of her mother, cherubic twenty-something Cathy Thatcher travels to Romania all by herself because the only thing she knows about her father is that he and her mother met in Bucharest. With little help from the American ambassador and only a creepy taxi driver to rely on, Cathy quickly gets entangled in a mysterious web hinting at vampirism and political murder. She meets a peculiar glassblower (Anthony "Norman Bates" Perkins) and falls in love with a local hunk, all the while completely unaware of how dangerously close she finds herself to the truth regarding of her family's bloodline. The plot is remotely involving, even though you're always several steps ahead of the script, and Mia Sara's natural charm & innocence make it pretty much impossible not to care for her. The actual vampires are stereotypical characters and behave as such, though with one notable exception, namely they suck the blood of their victims using fangs that only appear when their tongues split open. This is a bizarre little gimmick, and I have no idea where it origins from, but it's hardly special enough to make the film is must-see genre effort. Perkins tries his best, but he obviously struggles with the accent as wells as with the lack of motel rooms and shower kills. There's very little blood and spectacle to find here (TV-movie, remember?) but the atmosphere is moody and the old buildings look uncanny. Hardly priority viewing for horror fans, but worth a peek nonetheless.