La fille de Dracula
Tags: pornographic

Plot synopsis:
Dracula's Daughter begins a few moments after Dracula ends. Count Dracula has just been destroyed by Professor Von Helsing (Edward Van Sloan). Von Helsing is taken by police to Scotland Yard, where he explains that he indeed did destroy Count Dracula, but because he had already been dead for over 500 years, it cannot be considered murder. Instead of hiring a lawyer, he enlists the aid of a psychiatrist, Dr. Jeffrey Garth (Otto Kruger), who was once one of his star students.
Meanwhile, Dracula's daughter, Countess Marya Zaleska (Gloria Holden), with the aid of her manservant, Sandor (Irving Pichel), steals Dracula’s body from Scotland Yard and ritualistically burns it, hoping to break her curse of vampirism. However, Sandor soon begins to discourage her telling her that all that is in her eyes is "death. She soon gives into her thirst for blood. The Countess resumes her hunting, mesmerizing her victims with her exotic jeweled ring. After a chance meeting with Dr. Garth at a society party, the Countess asks him to help her overcome the influence she feels from beyond the grave. The doctor advises her to defeat her cravings by confronting them and the Countess becomes hopeful that her will plus Dr. Garth's science will be strong enough to overcome Dracula's malevolence.
The Countess sends Sandor to fetch her a model to paint; he returns with Lili (Nan Grey). Countess Zaleska initially resists her urges but succumbs and attacks Lili. Although the girl survives the attack, when Dr. Garth tries to hypnotize her to learn what happened, she suffers heart failure and dies. As the Countess totally gives up fighting her urges and that that a cure is not possible and the doctor discovers the truth about her condition she lures him to Transylvania by kidnapping Janet (Marguerite Churchill), the woman he loves. She intends to transform him into a vampire to be her eternal companion. Dr. Garth agrees to exchange his life for Janet's. Before he can be transformed, Countess Zaleska is destroyed when Sandor shoots her through the heart with an arrow as revenge for her breaking her promise to make him immortal. He takes aim at Dr. Garth but is shot dead by a policeman.

Review: 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.
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.
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.
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)!.
Jess Franco's Dracula's Daughter is a bit of a combination of genre styles that were popular in 1972.
You can't help but think that there's the basis of a decent film here but it ultimately doesn't add up to a great deal.The vampire part of the story is never developed very clearly and there aren't any actual scary horror moments.
In fact poor Howard Vernon plays Count Dracula but never even gets to get out of his coffin.
Sometimes Franco really needs a great leading lady like Soledad Miranda to make this kind of stuff work but he doesn't have anyone of that high calibre here unfortunately.It's not a complete wash out though.
When Luisa arrives, her grandmother tells her of the curse that has haunted the family for generations, revealing that the first Baron Karlstein was a vampire, and gives her the key to the chapel.
Howard Vernon, as a sort of count Dracula, is only here to justify the title of the film.
Fun in a way...Britt Nichols is very beautiful as always, and her lesbian scenes with Anne Libert are the best you can get from LA FILLE DE Dracula.
But, as always with most of Jess Franco films, you must be a bit of a masochist to enjoy these piece of...cinema!.
A very good vampire horror film....
I watched Dracula's Daughter somtime ago and i found it to be a very good film.
The granddaughter decidses to move into the house with her cousin and her uncle.Not long after moving in some of the local village people fall victims to her, the film includes quite a bit of female nudity, lesbianisam, and lesbian sex.
I think that it is a very good made film that also features some good actors including (Howard Vernon) who plays Count Karstien.
Also Jess Franco plays a part in the film.
Daughter of Dracula (1972)** 1/2 (out of 4)Luisa Karlstein (Britt Nichols) is called to the home of her dying mother who finally reveals the family secret.
Soon Luisa is bitten by Count Karlstein (Howard Vernon) and before long more bodies begin to pile up.Jess Franco's LA FILLE DE Dracula (aka Dracula'S DAUGHTER or DAUGHTER OF Dracula among others) isn't the best vampire film that the Spanish director did but there are enough interesting moments to make it worth watching if you're a fan of his.
You either get them or you don't but there are a few that can be enjoyed by the more mainstream crowd but this here isn't one of them.As is the case with a lot of the director's work, LA FILLE DE Dracula contains very little plot.
Another plus is the beautiful Nichols who is very good in her role and we all know that the director knows how to film women.
I also thought Vernon was fun in his part and Franco himself plays a small role.There are several problems with this film including the pacing, which is certainly hit and miss.
Finally, and perhaps most shockingly, the film really isn't as erotic as you'd hope and especially when you consider what VAMPYROS LESBOS was like.
It's honestly a good looking movie and especially all of the sex sequences are filmed very well.
Yes, it's a Jesus Franco movie, so it of course features quite a lot of nudity and sex in it.
I'm actually getting real tired of these lesbian undertones in vampire movies but it's done quite well in this movie, so I have simply nothing to complain about, in this case.The story is being somewhat pleasant and easy to follow, which is not something you could say for every Jesus Franco movie.
But this at least isn't anything too distracting and I don't know, it sort of adds to the charm of these sort of movies a well.I'm not sure about it though that there is plenty for the horror/vampire lovers to enjoy.
Personally, I happen to be a great fan of the prolific Spanish Horror/Exploitation deity Jess Franco.
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.
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.
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.
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.
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.
Nonetheless, "La Fille de Dracula" is an overall enjoyable and atmospheric wholesome which is especially recommendable for its gorgeous female cast-members.
Some actresses are able to somewhat save some bad movies with their mesmerizing beauty, but this lesbian soft-porn, clumsily masked as horror about Dracula, is so bad that it couldn't be saved even by sex scene between Jessica Alba and Charlize Theron.
I could get over the fact that vampires in the movie don't have any issues with daylight, but if somebody told me that a scene in which camera slides down the naked body of a beautiful woman could be boring I would think he's crazy.
If you are a fan of horror, Dracula or good soft-porn, avoid this misery in a wide arc, but if you want to watch five minutes of to blur zoomed tongue and a nipple this is the right movie for you.3/10.
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.
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.
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 I gathered up movies to watch by writer/director/actor Jess Franco for an upcoming 'Horror Challenge' being held on IMDb's Horror board,I found myself feeling disappointed that I would be unable to include a Giallo title in my Franco viewings.Catching me completely by surprise,a very kind IMDber revealed to me a Franco film which combined Gothic Horror with Giallo elements,which led to me shaking hands with a black glove wearing Dracula.The plot:Laying on her death bed, Baroness Karlstein decides that this is the perfect time to reveal to Luisa Karlstein that her dad is a vampire called Count Karlstein,and that Luisa is the rightful heir to a hidden family secret.Taken aback by the revelation that her mum delivers with her final breath,Luisa decides to visit a small village,where Count Karlstein appears to be a residence.As Luisa heads to the village, Inspector Ptsuschko begins to investigate a series of murders being committed by a stranger wearing black gloves and walking around with a cane.Holding a firm view that the killer must be within his sights,Ptsuschko dismisses mutterings from locals that the killings have a noticeable vampire appearance.Finding the castle that her dad lives in,Luisa discovers to her horror,that along with her dad,she has also found Count Karlstein's friend:Count Dracula.View on the film:Offering a tantalising combo of Gothic Horror and Giallo,the screenplay by writer/director/co-star Jess Franco is disappointingly unable to fully connect both threads,due to Franco taking a very halfhearted approach to the Gothic elements,and stabbing the Giallo elements with a real lack of focus,which leads to it re- appearing/disappearing from the centre of the title.Whilst Franco shows himself to be a bit too zoom-in happy with his stilted directing,the stunning Britt Nichols gives the film a strong mystique atmosphere,as Luisa opens the tomb to her secret family history..
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.
Britt Nichols plays Luisa Karlstein who visits her terminally ill mother.
Nubile young women, often in a state of undress, have been spied upon and are then killed by what is clearly a female vampire.As always for Jesus Franco films, such story-line as there is meanders greatly with protracted scenes of women in jeopardy, and is enlivened by ongoing scenes of soft-core sex - here, Karlstein reveals her lesbian tendencies in a number of scenes which have no bearing on the wafer-thin plot-line.
Such visual conflict often works, but not so much here, for what panoramic views we get of Portugal (where this is filmed) are rare and the footage is often used more than once.Back to whatever passes as a story, and it appears that the undead Count Karlstein (Franco regular Howard Vernon, robbed of dialogue here) is in fact Dracula himself.
In fact, his two scenes involve simply rising from his coffin, watched by a horrified Luisa, shortly before she too becomes a vampire.