Dracula Film Analysis – Besson’s Romantic Revamp of the Gothic Classic is Absurd but Engaging
Maybe audiences aren’t clamoring for an updated adaptation of Dracula from Luc Besson, the celebrated French director for polished extravagance. And yet, one must admit: his lavishly upholstered vampire romance boasts bold vision and flair – and in all its Hammer-y cheesiness, I might just favor over the recent, stately interpretation by Robert Eggers of Nosferatu. There are some very bizarre touches, including one shot that appears to show a geographic divide between France and Romania.
The Veteran Actor as a Clever but Weary Priest Tracking the Undead
Christoph Waltz portrays a clever but beleaguered vampire-hunting priest – it’s surprising he never took on this character previously – who finds himself in Paris in 1889 to mark the 100th anniversary of the French Revolution. The same goes for the malevolent vampire count, brought to life by the body-horror veteran Caleb Landry Jones using a distorted Eastern European tone reminiscent of Steve Carell’s Gru in the Despicable Me films. It’s a role that he too was born to take on.
The Story: A Tale of Love and Loss
The plot unfolds as follows: the vampire lord has wandered endlessly the globe in sorrow for 400 years since he became undead, a penalty for his irreligious grief over the death of his wife, Elisabeta (an inaugural screen appearance for Zoë Bleu, daughter of Rosanna Arquette). The count has sought relentlessly for some woman who could be the reincarnation of his departed beloved. As ill fortune would have it, the fortunate female proves to be Mina (portrayed once more by Bleu), the reserved future wife of the count’s timid estate manager, Jonathan Harker (enacted by Ewens Abid), who lately visited to Dracula’s fortress to discuss his real estate holdings and the small picture of the lovely Mina attracted Dracula’s gaze.
Besson’s Handling and Humorous Style
Besson structures Dracula’s middle-section history of international journeys sporting extravagant attire skillfully, and he willingly includes offering funny bits in the style of Mel Brooks – like the vampire’s constant unsuccessful tries to commit suicide following Elisabeta’s passing, as well as farcical scenes that result after Dracula applies to himself using a particular scent in historic Florence, which causes him to be unavoidably attractive to females. Ridiculous and watchable.
Dracula is available digitally starting December 1st and on DVD and Blu-ray starting the twenty-second of December. It will be shown in Australian cinemas beginning on the fifth of February, 2026.
