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Printer Friendly The Movie: Francis Ford Coppola used to be one of the shining lights of film. Between the classic Godfather movies and the Vietnam epic Apocalypse Now, Coppola was seen as being at the forefront of a new generation of American filmmakers, along with friends Steven Spielberg and George Lucas.
But Apocalypse Now was such a staggeringly momentous production that it drained him emotionally.
And he then released the prohibitively expensive One From The Heart, which tanked at the box office and with the critics despite being a fun filmturning Coppola from one of the most powerful men in Hollywood to a director for hire. Churning out crap like Peggy Sue Got Married, Coppola needed something to make him financially solvent again.
Now, Dracula is certainly a well-known character in film. From the classic Bela Lugosi pictures through to Udo Kier's imaginative take on the character in Blood For Dracula, the character had very little mystique left.
Coppola faced the challenge of making the character feel new again. To that end, he made the brilliant move of casting Gary Oldman, one of the pre-eminent actors of his generation.
He also made the decision to have the film be a visual tour de force, with all the effects done in-camera. Looking at it now, it's amazing that Dracula actually brought Coppola back from the brink of bankruptcy.
Almost every single set was built on soundstages one of the very things that made One From The Heart such a costly failure. The costumes are lavish. And the creature effects are incredibly detailed. However, it's clear where the money went, as the film is pure visual spectacle. Coppola's imagination ran wild in the best way possible, creating indelible and unforgettable imagery that has become part of film culture.
Who can forget the various guises of Dracula, from old man to wolf to bat? The film's success lies in the collaboration between Coppola and Oldman. Coppola creates the world for Dracula to inhabit, but it's Oldman who gives the character life or unlife, as it were.
He gives a remarkable performance that is subtle when possible, appropriately over the top when necessary, and always definable as Oldman.
He's excellent at acting through the makeup, which he's wearing more often than not. In some cases there's almost nothing recognizable as human in him, but Oldman still shines through. It's masterful work and still one of his most enduring portraits.
If only the same could be said for the rest of the cast. For some unknown reason, Coppola thought casting Keanu Reeves as Jonathan Harker would be a good idea. Reeves has grown into a better actor as time has gone by, but in these early days he's as wooden and forced as his longtime critics made him out to be.
Winona Ryder is actually the best of the supporting cast, playing the conflicted Mina with a strong mix of innocence and regret. Perhaps the most disappointing of all the cast is Anthony Hopkins. He's loud, abrasive, and rude, without any of the style, panache, or discipline Hopkins usually brings to his roles.
The film is also too long.Film Versions of Dracula. Although not exhaustive, this seems like a nearly complete list of all filmed versions of Bram Stoker's novel, i.e. attempts to tell that story one way or another. How many have you seen? Dracula: Pages From a Virgin's Diary () Rotten Tomatoes® 87%.
Interestingly, although sexual desire plays a role in this Dracula, as it does in most versions, a greater analogy is drawn with drug addiction, with Van Helsing himself making a direct comparison briefly in .
After you’ve seen both versions, be sure to rank and discuss Dracula vs. Drácula here on Flickchart! Sources: The Road to “Dracula” documentary, David Skal’s audio commentary for Dracula, and Wikipedia pages for Bram Stoker, Dracula, and Drácula.
Nov 04, · Dracula Book Analysis Bram Stoker’s Dracula is a Gothic novel it was first published in Bram Stoker’s Dracula consists of pages, made into 27 chapters. Dracula is based in approximately late ’s and early ’s.
Sexuality in Dracula Bram Stoker’s Dracula is set in the Victorian Era, a time where a woman’s body and the rights to it were not her own, they were either her husband’s or father’s, or the government’s. Hammer’s Horror of Dracula Memorable films are aplenty, but few films have changed the course of legend as did Universal Studios gave the world an unforgettable face to ascribe to Bram Stoker’s legendary character when it released Tod Browning’s, Dracula in