In a field of many contenders, this Dracula, ably directed by John Badham, stands out in several categories. The Hamilton Deane adaptation of Bram Stoker’s novel holds true to both the spirit and much of the detail of the original with the exceptions being carefully orchestrated ones that carry forth an elegant interpretive feature original in their own right. Superb casting borrows only from actors familiar to these roles in support, reserving the role of Dracula for the very fulfilling performance of Frank Langella and that of Lucy Seward, for the talented and beautiful one of Kate Nelligan. With Sir Laurence Olivier as, Van Helsing and Donald Pleasence as Dr. Jack Seward, an air of tradition is imparted but not at the expense of seeming redundant.
The interesting choice of black and white film carries, with some creative camera work, reflection back on Nosferatu, the original Dracula film. When Lucy first visits the ghastly home of Count Dracula, her entry is filmed from the ceiling looking through a Black Widow traversing its web. Close-ups are intentionally exaggerated to again suggest earlier traditions. The break with this device, however, is singular and artistically effective when one color, that of blood red, is imposed as Dracula begins the announced process of preparing Lucy to become his bride with the exchange of each other’s blood. The organic chemistry between these two runs beautifully through both the sinister and romantic strands of consciousness depicted. Seemingly almost alchemical, but yet just one of the features of this film’s success.
Unlike Bram Stoker’s novel, Harker (Trevor Eve) does not come to the vampire’s castle in Romania to help the Count settle his affairs, in fact the action begins with the shipwreck on the coast of America, with the crew dead and the effects needed for Dracula’s relocation, salvaged. From the state of the corpses and the emergence of this strange arrival, it becomes tedious, as with most all horror films, to watch the obvious become so slowly recognized. The art is in how this tedium is reduced. Here it is with and by the strength of the acting. And here is where both Langella and Nelligan excel. Wonderfully.
Suitable for all ages, but not entirely all states of mind. No nudity, not even cleavage, true even to Victorian standards.
In this reviewer’s opinion the best Dracula film made, at least in those categories most suited to personal taste.
I agree with you strongly. I personally prefer Nosferatu as the best vampire flick; most people have come to see vampire through an extremely romanticized light, and Nosferatu is able to portray them as animals, monsters, creatures- opposed to something sexually attractive…
On a further note, I would love to hear of Hearst’s collection of navajo blankets! Quite a rare and intriguing subject.
I believe it was Ms. Rice that took it upon herself to romanticize the
vampire…with every obsession of a novitiate. But the movie, I think,
merely takes an artistic license to somewhat enter the trance a vampire
is portrayed to employ on their victim. Suggesting in this case, the illustration of creating its own kind in the exchange, with an almost
alchemical alteration sharing in consciousness. Not to be suggested as
desirable but, if thought out, even more repugnant. An almost absorption
of one will into another.
So I’m guess you didn’t enjoy Interview with a vampire? Me personally I love Bram Stoker’s Dracula 1992. It had an all star cast. Gary Oldman’s performance was incredible.
Very good review
The treatment of what Bram Stoker started has set almost it’s own separate
genre among horror enthusiasts. I like certain elements to adhere to Stoker’s telling and then to adopt creative differences of their own for
the benefit of audiences. Some do this exceedingly well, some are merely
redundant, while others are just bizarre. The 92 version is a good one and
Oldman’s performance is exceptional. You should write a review of it.
Stoker knew the legends and traditions of the Rumanian mountains well. At
the start of his novel Harker is on the way to the castle in Dracula’s coach. Out upon the night air of the lowlands he can see in the distance
a lone figure going from what appears to be one blue flame shooting out of
the ground to another. None of the moviemakers has focused on this aspect
and it is a wonderful “history” they have missed.
Thank you for the compliment.