Luc Besson’s “Dracula” Is a Weird Remix of an Age-Old Story
The 1992 masterpiece Bram Stoker’s Dracula is not only a gorgeous and haunting love story, it contains one of the most romantic lines in the history of horror. After locating his reincarnated bride, Count Dracula (Gary Oldman) confesses, “I have crossed oceans of time to find you.” Luc Besson’s action-packed Dracula picks up the threads of this swoon-worthy statement to explain what the centuries-old vampire did to pass all that time.
While not the first to add romance to Stoker’s foundational text, Besson builds heavily upon Frances Ford Coppola’s adaptation, which itself was inspired by historical events. His story begins with extended pillow play in which the Count canoodles with his wife Elisabeta (Zoë Bleu). But a coming war — and eventually death — will tear the devoted couple apart. Other allusions to Coppola’s film are unavoidable. After a lengthy battle scene, Vlad’s soldiers are silhouetted against a blood-red sky similar to Coppola’s shadowy war. With his elaborate robe, ancient skin, and elaborately-styled, stark white hair, Vlad’s old-age costuming almost feels like a parody of Oldman’s memorable look. Celebrated composer Danny Elfman leans into this comparison, directly referencing Wojciech Kilar’s aggressively ominous themes.
From here, Besson’s adaptation spirals into bizarre territory. When a surprisingly chatty Jonathan Harker (Ewens Abid) finds himself staring down certain death, he stalls for time by asking Vlad to regale him with his life’s story, reminiscent of Bart Simpson attempting to distract Sideshow Bob. We expect the vampire to laugh off this request, but Dracula settles in to recount his undead life. This wild tale involves a proprietary perfume Vlad develops to elicit mental domination. Ostensibly searching for his long-lost love, he uses the concoction on a series of high courts stretching across the continent. Courtiers dance like hordes of well-dressed puppets until Vlad gets frustrated and goes on a biting spree.
Though strange, this version is filled with Besson’s trademark visual flare. While Vlad commands a fiery battlefield, the doomed Elisabeta flees across a snowy field, her gauzy veil trailing behind. Littered with open bear traps, this dangerous chase injects terror and beauty into a predictable plot point. Later, the reclusive Vlad is served by a handful of stone gargoyles seemingly animated to assist their master. Blending into the scenery until the moment they move, these creatures are an eerie yet perplexing addition to the story.
But alongside this glitz and gore, Besson can’t seem to decide on a unified tone. Elisabeta’s death is presented with gut-wrenching sorrow and we feel Vlad’s pain as he mourns for her. But this chapter is capped with a jaw-dropping sequence in which the grieving widower repeatedly throws himself out a high castle window only to limp back up the stairs and try to die all over again. Jones plays the notorious villain with deadly seriousness, affecting a thick and growling Eastern European accent. Christoph Waltz seems to be in an entirely different movie as a Van Helsing figure-turned Catholic priest. He delivers each line with his trademark warmth and seems to be winking at us throughout each scene while Jones seems poised to tear us apart. Everyone else bounces between these two characters, unable to decide if they’re in a comedy or drama. Matilda De Angelis tips the scales exponentially as one of the vampire’s faithful servants. Though admittedly over the top, she steals each scene with gleeful bloodlust and bubbly menace. Only Bleu keeps the story on solid ground as the object of Vlad’s intense affection.
Besson takes major swings that don’t all payoff, but it’s thrilling to see a new version of this well-loved story. Watching feels somewhat like hearing the story of Dracula told on the playground by an older kid whose parents let him watch horror movies. He’s had to fudge a few of the details and is making others up as he goes along. That’s not to say Dracula isn’t enjoyable. The film looks fantastic and Besson goes all in on the visual effects. But his Dracula fails to reinvent the well-loved legend and seems destined for the horror curio shelf.
Jenn Adams is a writer and podcaster from Nashville, TN. Find her on social media @jennferatu.