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.