Home > Erzsebet Bathory: A Life in Two Films
Countess Erzsebet Bathory (1560-1614) is remembered by popular culture as the female version of Vlad the Impaler–a feminine Dracula. She’s thought to have tortured and bled servant girls and maidens from her lands in order to bathe in their blood in order to remain young and beautiful. Apparently it’s not as straightforward as all that.
In 2008 and 2009 there were films made about the Countess that take slightly different views on the matter.
Bathory was the first of the two films–released in 2008 and starred Anna Friel. The Countess was released in 2009 and starred Julie Delphy (who also directed), as well as William Hurt.
Both are narrated by men. Bathory is narrated by someone who titles himself a ‘fool’ and The Countess by her lover, Istvan Thurzo, and the son of her greatest enemy, Gygory Thurzo (Hurt). They both admit that history is written by the winners, in this case, the people who sealed Erzsebet’s fate.
Bathory begins with Erzsebet’s betrothal to Ferenc Nadasdy, the son of another family for political reasons at 8 or 9 [Wikipedia says this happened when she was 12] . She is portrayed as knowing nothing about sex–asking her new husband how it was supposed to work.
Likewise, The Countess begins at the very start of Erzsebet’s life and betrothal to Ferenc, but it is at her christening, when Nadasdy is a young boy that this is shown as happening. In this film she is knowledgeable about sex–sleeping with a peasant and bearing a child before her marriage at 15, which is taken away from her.
In Bathory, Erzsebet takes a lover–an artist–while she’s still married. In The Countess, she doesn’t take a lover (the aforementioned Istvan Thurzo, played by Daniel Bruhl) until after her husband has died. Thurzo is much younger than she is and this is when she begins to obsess about her looks.
In Bathory, after Erzsebet is accidentally poisoned she is saved by a woman who is said to be a witch, Darvulia (Deana Horváthová). In The Countess the character is portrayed as much younger and as a much dearer friend and companion, where she’s played by Anamaria Marinca. In the former film the character doesn’t come into Erzsebet’s life until later on, but in the latter film, she’s been in her life from very early on. They also meet drastically different ends.
Both films agree that there was a great deal of political motivation behind the accusations levelled at Erzsebet–the King owed her a great deal of money for one–but we’ll probably never know just how many peasant girls were tortured and killed.
Bathory painted Erzsebet in a much more sympathetic light. It felt like more of a historical drama than anything else. There wasn’t much blood shown but our woman was certainly not portrayed as a kind and loving saint either. It was a bit slow-moving. I’d recommend it for people interested in Erzsebet Bathory or Hungary during the 17th century, but it would probably bore people who were looking for something titillating. There is a rape scene near the beginning of the film, as a trigger warning. It’s brief and not graphic, but it’s there.
The Countess was closer to what most people have heard about Countess Bathory. There is definitely more blood and torture shown (but not even up to standard horror film levels though there is one bit that’s wince-worthy). Delphy’s interpretation is interesting because though this version is much more sadistic she still has a human side. She could have played the character as a two-dimensional, cold-blooded lunatic, but she didn’t. This one I would recommend for people interested in non-stereotypical psychopaths, along with those who like period dramas, Bathory herself, etc.