Bram Stoker's Dracula (1992)

Directed by Francis Ford Coppola

Produced by Francis Ford Coppola, Fred Fuchs & Charles Mulvehill

Starring Gary Oldman, Winona Ryder, Anthony Hopkins, Sadie Frost, Keanu Reeves, Richard E. Grant, Cary Elwes, Bill Campbell, Tom Waits

Bram Stoker's Dracula (1992)

This is the one film that my editor and I are at loggerheads over, as our views on it are about as polar opposite as one can get without coming to blows. Without intending on inciting an onsite dust-up, my take on Coppola's film is this…I feel that "Bram Stoker's Dracula" is one of THE great stabs at theatrical modern gothic, if not one of the most perfectly realised horror films of the nineties. Barring of course, some truly woeful performances, and the simple fact that it is NOT the most faithful version of Stoker's 1897 novel undertaken for the screen. Just exactly what it is faithful to is anybody's guess, as James V. Hart's screenplay borrows ideas from just about every "Dracula" source known to man. The core of the film is undoubtedly Stoker's novel, however there are also elements of the historical with reference to Vlad Tepes, heavy cinematic nods to Murnau's "Nosferatu" (1922), and whole passages snipped from Hamilton Deane's stage treatment. In theory this then makes Coppola's version the truest to ALL major retellings & versions of Stoker's interminably wordy literary work

Opening in 1462, a time where Muslim Turks were invading Europe and encroaching on Romania, we are introduced to Prince Vlad Dracula (Oldman), a knight of the order of the Dragon, and his bride Elisabeta (Ryder). Whilst away at war, enemy camps post news of his death, prompting his bride's suicide. Returning triumphant in his defeat of the Turk armies, Dracula learns of Elisabeta's passing and the damnation of her soul through her act of suicide. Renouncing God, and the church he so valiantly fought for, he swears to arise from death, bringing with him all the powers of darkness to avenge her.

Four hundred year later in London of 1897, young real estate broker Jonathan Harker (Reeves) is handed the Dracula account on the back of previous agent R.M. Renfield's (Waits) mysterious slip into insanity. Parting with his fiancée Mina (Ryder), he embarks to Transylvania to complete the property deal initiated by his predecessor. Once within the crumbling walls of the eccentric, and elderly, Count's castle, Harker completes the transaction but is requested to stay on for a month so that the Count may learn better English customs. Soon becoming a prisoner of the Count, and near victim of his vampiric trio of brides, Harker is mortified to learn that he may be trapped, never to see his bride-to-be again.

Dracula sets about his journey to London with designs of claiming Mina for his own (she being the image of Elisabeta), while she shares her time with friend Lucy (Frost), blissfully unaware of her fiancée's fate. A chance meeting with the prince on the cobblestone streets of the city leaves Mina captivated by the supernatural foreigner's charms. Elsewhere, Lucy becomes Dracula's first victim. Physician Dr. Seward is called upon to treat Lucy's faltering health as fiancée Lord Arthur Holmwood (Elwes) and friend Quincey Morris (Campbell) look on helplessly. Turning to mentor Abraham Van Helsing (Hopkins) all are shocked to learn that Lucy bears the mark of the vampire, a pestilence Van Helsing determines to cut out at its very root. The scene is set to trail Dracula to his lair, before he seduces Mina to be his unholy bride.

By proclaiming itself the definitive version of Stoker's novel, Coppola's Dracula set itself offside with many of the literary source's ardent supporters, as it clearly is not. Although faithful to the core of the original novel, element's of Hamilton Deane's stage version (previously adapted in the 1931 Bela Lugosi version and 1979 Frank Langella epic) crept into James V. Hart's screenplay. Also posited into the proceedings is a romantic back-story, as well as tenuous links to Romania's Vlad Tepes (the historical inspiration for Stoker's character). In essence though, this is minor quibbling as Coppola's film is a visual and aural feast for the senses. Partially let down by a dire performance from lead Ryder, and Reeves at his most wooden yet, the remainder of the cast compensate for two such poor casting choices. Visually, Oldman is the virtual embodiment of Stoker's character, yet I have my doubts that his portrayal will stand the test of time that Christopher Lee's gothic romantic interpretation has. Although, Anthony Hopkins' Van Helsing is a bold, bohemian reinvention of the character that definitely holds a candle to Cushing's definitive realisation. Surprising too that Sadie Frost, resplendent in striking red wig, effortlessly shifts the audience's attention away from the female lead within her limited screen time.

By electing to achieve many of the film's effects sequences "in-camera" and on-set, Coppola infuses the production with an old world charm that works with the story, rather than against. In doing so, he recalls as much Murnau's "Nosfertau" (1922), as creating a heightened reality dream-like gothic fantasy. Polish composer Wojciech Kilar's sumptuous score is easily one of the finest afforded an American film, elevating some passages into haunting, giddily hedonistic delirium. His rich, powerful themes are instantly unforgettable. Although filled with luscious imagery and an erotic-charge that generates a sweaty, obsessive atmosphere to its seductive undercurrent, the film's concessions to nineties audiences often jar the viewer by their inclusion. In particular, the wolf-creature rape sequence, and Dracula's bat-form seem unnecessary and excessive by their presence. They come off a shock-tactic pandering against a backdrop of old school exuberance and cinema-history referencing revelries. Without wishing to gloss over them, Eiko Ishioka's costume design is magnificent, and Michael Ballhaus' cinematography is gorgeous. It's the "little" things that count…

Columbia's disc is quite the splendid creature, preserving "Dracula's" sweeping gothic melodrama is all of its splendour. Letterboxed at an approximate aspect ratio of 1.78 and anamorphically enhanced, the DVD transfer serves its source materials beautifully. The colours are rich, the clarity exceptional, and the detail levels all wonderfully realised. Individual camera techniques are shown up by the medium, but this in turn simply enhances the film's largely overplayed visuals. Image wise, it's quite an impressive transfer. Audio is available in Dolby 2.0 surround and Dolby 5.1, but obviously the 5.1 track is the format of choice as it enhances the viewing experience by making effectively creepy use of the available sound-field. A perfectly ambient aural experience that renders Kilar's lush, lyrical score flawlessly. In short, an extremely nice marriage of audio & video.

Although flawed by the exclusion of an Audio commentary by Coppola, the Extra Features on the R4 (and R2) disc go a long way towards compensating that one small error. Half hour documentary "Bloodlines - Dracula: The Man, The Myth, The Movies" tracks the Count's cinematic evolution, and well as operating as a promotional piece for Coppola's version. Also present is a full-frame version of the theatrical trailer, and a Gallery of Ishioka's stunning Costume design. Rounding things out are Cast & Crew filmographies for all the principal players.

For fans of the literary, as well as the visual, Coppola's version of the classic gothic drama may not be the most faithful, but it is certainly the truest in tone to Stoker's original work. Barring two of the leads, performances are uniformly excellent, and the romantic visuals are largely quite breathtaking. Most definitely not a gore-fans ideal vision of a perfect night in, wider audiences may find much to lose themselves amongst in this tale of love beyond the corridors of death, and an evil beyond the boundaries of the ages. Hollywood horrors don't really come any more feverish, obsessive, or steeped in romanticism as this. A beautiful recreation of a classic tale for the modern age.

International specifications: PAL format disc; Language options in English Dolby 5.1, English, French, German, Italian & Spanish Dolby 2.0 surround; Subtitle options in English, French, Greek, Italian, Spanish, German, Polish, Czech, Hungarian, Hindi, Turkish, Arabic, Danish, Swedish, Finnish, Icelandic, Dutch, Norwegian, Portuguese & Hebrew

*Also available in R1 through Columbia Tristar Home Entertainment minus ALL extra features, but with the addition of a Pan & Scan version on the reverse side of the disc.

Review by Mike Thomason


 
Released by Columbia Tristar Home Entertainment
Classified M (15+) - Region 4 (PAL)
Running time - 127m
Ratio - Widescreen 1.85 (Anamorphic)
Audio - Dolby digital 5.1, Dolby digital 2.0 surround
Extras :
"Bloodlines - Dracula: The Man, The Myth, The Movies" documentary, Theatrical trailer, Costume design Gallery, Cast & Crew filmographies

© 2001, Icon In Black Media

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