Dracula's Daughter is a 1936 horror film, a sequel to the 1931 film Dracula.
This sequel begins a few moments after the previous film ends: Count Dracula has just been killed by Professor Van Helsing (Edward Van Sloan). Van Helsing is taken by police to Scotland Yard where he explains that he indeed did kill Count Dracula, but because he was already dead for over 500 years, it can't be considered murder. Van Helsing, instead of hiring a lawyer, enlists the aid of a psychiatrist who was once one of his star students. The doctor agrees to help Van Helsing anyway he can. Meanwhile, Dracula's daughter, Countess Marya Zaleska (Gloria Holden), with the aid of her companion, steals Dracula’s body from Scotland Yard and burns it so she can be a normal mortal. However, her eternal thirst for human blood can't be quenched; the Countess continues to kill and sleep in her coffin during daylight hours. After a chance meeting with the same doctor who is defending Van Helsing, the Countess asks the psychiatrist to help cure her vampirism, without telling the man that she is actually a vampire.
Universal had always been keen to develop a proper sequel to their monster hit Dracula (one of the earliest scripts was based upon Dracula's Guest, a deleted chapter from Bram Stoker's novel), but it would take many years before it would eventually emerge from development hell. In 1936 With the success of Bride of Frankenstein Universal were convinced that a sequel to the original Dracula should follow in a similar vein and centre around another female monster. James Whale was hired to write the screenplay, but the executives became worried by the extravagance of Whale's ideas, especially as it would feature all the original cast, including Bela Lugosi. Faced with directing a low-budget sequel Whale left, as did everyone else, expect for Edward Van Sloan.
More on [ Dracula's Daughter ]

Apollo Movie Guide: Dracula's Daughter - Synopsis, review by Ryan Cracknell, and related links.
Bright Lights Film Journal - Capsule review: The intoxicating essence of transgressive lesbian power.
Meta Description: [ The all-pervasive, barely disguised, downright queerness of classics like Dracula, Frankenstein, The Invisible Man, and The Black Cat. ]
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