Karry Best movie of this year hands down!

Moustroll Good movie but grossly overrated

LouHomey From my favorite movies..

Jonah Abbott There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

John Seal Despite a less than glowing review in Lucas Balbo's essential book Obsession: The Films of Jess Franco, I consider Le fille de Dracula one of the director's better efforts. Filmed in widescreen on location in Portugal, Dracula's Daughter looks great, and though Franco can't resist the temptation of zooming in and out on occasion, the overall effect is not nearly as claustrophobic or arty as Obsession suggests. Jose Climent's cinematography is downright handsome at times, and though the story is quite routine--young woman struggles to come to terms with the vampiric legacy she has inherited--a cast of familiar faces, including Daniel White, Britt Nichols, Alberto Dalbes, Howard Vernon, and of course Franco himself render the proceedings good fun. Redemption's PAL DVD is passable, utilizing a lightly-damaged print with a French-language soundtrack and optional English subtitles. a Region 1 disc would go a long way to restoring this film's reputation.

Witchfinder General 666 Personally, I happen to be a great fan of the prolific Spanish Horror/Exploitation deity Jess Franco. The man's impressive repertoire of about 200 film doubtlessly includes masterpieces as well as crap, and everything in-between. Though his very best films ("The Awful Dr. Orlof", "Miss Muerte") range back to the 60s, the early 70s are maybe the most 'typical' period in Franco's oeuvre, as the film he made then were already very sleazy, but still very elegant, and had not yet descended into the cheapness of the majority (but not all) of his 80s offerings. His arguably most famous film, "Vampyros Lesbos" (1971) is from that time, as are other lesbian vampire/erotic Horror gems, such as "Christina, Princesse De L'Erotisme" (1973), or this film, "La Fille de Dracula" (aka. "Dracula's Daughter") of 1972. This is a rather typical example for Erotic Horror by Franco from the early 70s: Supremely elegant, eerie, wonderfully photographed and full of sleaze, lesbianism and gorgeous naked women, very weird, and not exactly focused on a logical plot.The film begins with a beautiful young woman who strips naked in order to take a bath. She is thereby watched, and later attacked by an unseen, but obviously female vampire... Castle Karlstein: On her deathbed, the old Baroness Karlstein tells a morbid family-secret to her beautifully young daughter Luisa (Britt Nichols)... Soon thereafter, Luisa starts doing lesbian stuff with her cousin Karine (Anne Libert), while more dead bodies pile up around the castle...The family name 'Karlstein' is obviously a reference to 'Karnstein', the vampire family name in the Sheridan Le Fanu's pioneering lesbian vampire novel "Carmilla" on which countless European Horror productions are based. I'm not sure why they changed the name; the novel is from 1872, so copyright issues couldn't be the reason. Avoiding a close association with the British Hammer Studio's Karnstein trilogy might be the reason; but then, Jess Franco never was afraid to steal names and titles in order to cash in.The ravishing redhead Britt Nichols is a joy to look at, as are the other female cast members. This wouldn't be a Franco flick if any of the female cast members didn't get naked at some point. There is plenty of lesbianism and sleaze, and the cast includes the best of Franco's typical ensemble cast. Apart from Britt Nichols and Anne Libert, the female cast also includes director Franco's muse and later wife Lina Romay. The male cast includes Franco-regulars Luis Barboo and Alberto Dalbés, and his favorite actor, the great Howard Vernon, who is wasted in a role with hardly any screen time. Franco, who often did cameos in his films, has a bigger role than usual in this film.Franco's photography and settings are almost always elegant, and in this film in particular. The outdoor scenes were beautifully done in Portugal and Spain, especially the coastal village where most of the film was shot is a wonderful location. The score consists of Franco-typical tunes ranging somewhere between jazzy and eerie. The film has its genuinely gloomy and atmospheric sequences. Sadly, one must say that there are several lengthy periods in-between the atmosphere and sleaze. The film is bizarre, but sometimes also very confused and lacking any logic. Nonetheless, "La Fille de Dracula" is an overall enjoyable and atmospheric wholesome which is especially recommendable for its gorgeous female cast-members. 6.5/10

astrum-1 I yesterday finished visionary the film of Frank Jess called ' the Fille De Dráculá. He was peculiar, because the film was in subtitled French and in English. But these things are the normal thing in the case of Jess, in that the important thing is the franquiana atmosphere, and where knowing all the references and symbolic apparatus the coarse film director to understand it everything. This film of 1972 takes the labels of Lesbian Sex, Female Nudity, Lesbianism, Beautiful Woman and Female Vampire, of which we take control an idea of its content. Once again it conjugates several of his significant elements: the woman vampire, the views of the beach, and of course, the essential number of the night club in which she appears a winding sensually at sight interesting dancer, and the kind eyes of watching onlookers. I believe that a film of Jess without this scene of the night club and the onlookers does not exist, because if she does not appear us we can imagine easily. In fact this mitotic scene to the Great Voyeur that all we took inside, at least the followers of Jess, that forces to us to enjoy the naked bodies and erotics rites in the dark. The original argument relates the history of a young person, Luisa Karlstein, that visits its aunt in the deathbed, which between death moans reveals to the young person the curse of the family: the first count was a vampire. Then he appears in scene incredible Count Howar Vernon, in the paper of Count Karlstein, who in the filmografía of Jess is just like to say Count Drácula. In fact he is not appraised or if it is really Howar or a mask of characterized Howar of Drácula, that yes, incredible the characterization... is had to do, and I would bet that he is the best one of all the Dráculas that I have seen, pity that Howar not between in action, surely rolled the planes a weekend in its house so that Jess inserted them in the film. Also its appearance like one of the personages is characteristic of Jess, in this case like Cyril Jefferson, that it represents a species of occultism with the syndrome of Casandra. The feminine protagonists who delight with their lesbians scenes son to us Britt Nichols and Anne Libert, of which good reference in others becomes blogs. As she is natural Jess relates a history to us in which the important thing is not the argument, in fact the personages are immersed in a mystery, but they are not worried in solving it, and Jess either, because what really it wants it is to show a dance to us of erotics images that, without arriving at the soft-porn, they do not wake up our libido and they soil our glance. The permanent tribute that makes Jess to the feminine body, from the respect and the admiration, is one of the characteristics of the cinema of Frank Jess that not yet has been valued sufficiently. Spirit of sexual revolution has not valued itself either in east Jess that woke up in years 70 and 80 of the last century, and that at the moment continues being of the rigorous present time. I do not say any triviality if I describe the work of Frank Jess like an Eternal and Universal being that represents the Junguianos Archetypes of the Humanity.

MARIO GAUCI I came to this film with high expectations and, though I can say that I liked it overall, I also couldn't help feeling that it didn't quite realize its full potential. For starters, it keeps shuffling between several genres (horror, erotica, giallo) but ends up not satisfying the 'requirements' of any of them! The horror elements of the film are, at best, arbitrary – merely a springboard for plot development (or what passes for it) and the overall 'look' of the picture: Howard Vernon, for one, as an amusingly unhealthy-looking Dracula (photographed from odd angles to give some dimension of menace to his part) is horribly misused; just why is he confined to his coffin in the family crypt…especially since he doesn't take advantage of the situation when the door is finally unlocked?! While Britt Nichols (ostensibly the lead but who's kept off-screen for the longest time!) makes a truly fetching vampire lady, unfortunately she doesn't invest her role with the requisite magnetism that Soledad Miranda brought in spades to VAMPYROS LESBOS (1970) – or even a tragic disposition which would have made us care for her fate; Mirek described her performance as 'self-conscious' and 'awkward', and I agree completely. By the way, does Vernon turn her into a vampire, or is she one all along, as the opening sequence seems to suggest, or am I missing something here?!The giallo references, then, feel almost like an afterthought – even if like most other elements in this film, they seem to be direct lifts from the director's own THE SADISTIC BARON VON KLAUS (1962), a film which I'm now more eager than ever to check out, if mainly for the sake of comparison. Still, if handled differently, the figure of the masked assailant might have proven interesting – not to mention serve the purpose of injecting some much-needed suspense into the fray: as it stands, this aspect is considerably dissipated because Franco lingers on his shots for far too long! My friend Francesco Cesari considers the two main lesbian sequences of this film to be his favorites in the entire Franco canon; well, the two actresses obviously looked great without any clothes on but, for the life of me, I didn't find the scenes to be at all erotic – merely very clumsily staged! What's more, this shouldn't be attributed to how far one could go at the time since LES DEMONS, released the same year, is a lot more explicit; in the end, I'd have to say that I now prefer the frank, no-holds-barred footage to be found in, say, LORNA THE EXORCIST (1974): even if this tended to overwhelm the plot somewhat, at least, here it's genuinely titillating and certainly a lot more gratifying to the viewer…since it's clear that this is what Franco wanted to do all along!As for the numerous investigation scenes, while I agree that they break the mood of the often lyrical scenes at Castle Karnstein, I didn't find them to be overly annoying and certainly not unnecessary. They tried to give some weight to a virtually non-existent plot and, in any case, Jess Franco's own characterization as the mysterious solicitor/vampire expert Cyril Jefferson contrasted well with the almost boorish Inspector (never actually mentioned by name, as far as I can recall, but is credited as Ptushko, perhaps a nod to Russian fantasy film-maker Aleksandr Ptushko…which I find very amusing!) played by Alberto Dalbes. Besides, the fact that most of them seem to occur over drinks at the village pub provides a welcome touch of absurdity to the proceedings! Still, the film gets to conclude on a whimper which hurts the overall effort: not only is the climax over in no time (much like the finale of the Browning/Lugosi Dracula [1931], curiously enough) but, to be honest, if I hadn't read on this very board that Britt Nichols was supposed to be occupying that second coffin in the cellar (since we never get to see her in it in the first place), I wouldn't even have noticed that the 'female vampire' had been destroyed too! Basically, it all boils down to the extremely hurried production and that, given more time, it would undoubtedly have turned out a more substantial offering, possibly among the director's greatest work.However the film does have an intermittent sense of style which, even if not quite reaching the haunting, dream-like quality of A VIRGIN AMONG THE LIVING DEAD (1971), at least it emerges as a very acceptable mood-piece. Its main fault, to my eyes, is the sluggish pace: I didn't really mind it during the film's first half but, after an hour had gone by and pretty much nothing had changed (or was likely to), I surrendered myself to the fact that THIS was as good as it was going to get! This trend in Franco's film-making habits, rigorously defended by his supporters as the man's lack-of-respect for cinema conventions, is labeled incompetence by many – but I prefer to call it a certain laziness on his part, as though he was concerned with only a few key scenes in any one film while not giving a damn about the rest…no wonder he finds so little satisfaction in his work and, consequently, tends to dismiss it!!Despite its propensity for the zoom (nothing new here), the film's widescreen camera-work is, in fact, workmanlike – abetted by attractive Portuguese locations and an effective color scheme – especially during the vampire attacks or when prowling the castle interiors. There seems to be some debate over who really composed the music score: while on a first listen, I can't say that it was particularly memorable, it certainly did its job; I listened to only a few snippets of the newly-recorded score included on the Spanish soundtrack, but I'll make it a point that the next time I watch the film I'll choose this version.To get to the rest of the cast, Anne Libert (who I have so far liked best in A VIRGIN AMONG THE LIVING DEAD and LA MALEDICION DE FRANKENSTEIN [1972/3]), as well, didn't have much of a part: she has been described as Nichols' slave, but that's stretching it a bit, I would say – she seems perfectly willing to be 'influenced' by her and, in any case, it's not like she's ordered to do her bidding or anything. For instance, in the scene where the nosy journalist (whom Libert seems to fancy) tries to get an interview with Max Karlstein (Daniel White) – suspected of the vampire killings – and is 'received' by a furious Nichols, whereupon she turns on Libert, I didn't feel that she acted in this way out of jealousy but merely to save her own skin. Daniel White's character is interesting but he, too, is underdeveloped: his relationship with the bartender's wife (well played by Yelena Samarina, whose character grows more important as the story goes along) unfolds in a credible fashion; however, one gets to know next to nothing about his personal feelings regarding the curse that seems to hang over his family!As for the DVD itself, the video quality is far from perfect but not distractingly so. The audio, too, is serviceable, i.e. not much more than could be expected. The numerous trailers and 'alternate' credits sequence were nice to have, if nothing more. The most important extra, clearly, is the 15-minute interview with the director himself, which is pretty good, though I lost him completely near the end due to his thick-accented English! Still, I would have preferred to hear him discuss what LA FILLE DE Dracula meant to him in the context of his massive filmography rather than where it was shot and other production details. Also, I'm baffled by how Franco can say that he finds Dracula to be an interesting character when he gives him absolutely nothing to do in this film – still, I guess I should reserve judgment until after I've seen Dracula, PRISONER OF FRANKENSTEIN (1971)… Finally, a word about the large, book-like DVD cover: it does look beautiful, even if being obviously bulky and thus tends to incongruously stick out amidst my collection (the same goes for the LES DEMONS 2-Disc Set)!