The Romanian count known as Dracula is summoned to London by Arthur Holmwood, a young Lord who is one the verge of being wed. Unknown to Arthur's future bride Lucy, her future husband is ... See full summary »
For those familiar with Bram Stoker's novel, this adaptation follows the book quite closely in most respects. Jonathan Harker visits the Count in Transylvania to help him with preparations ... See full summary »
A young man, Paul Carlson, is on a trip and spends the night at count Dracula's castle. Needless to say, he is murdered. After some time has passed, the young man's brother Simon comes to ... See full summary »
Roy Ward Baker
When a ship is wrecked off Whitby, the only survivor, Count Dracula, is discovered lying on the beach by the sickly young Mina Van Helsing, who is visiting her dear friend Lucy Seward. Lucy, her fiancé Jonathan Harker (a solicitor), and her father Dr. Jack Seward (who runs the local asylum) try to make the Count feel welcome to England. The Count quickly takes the life of Mina, and proceeds to romance Lucy, with the intention of making her his greatest bride. Soon after the death of Mina, the Sewards call her father Dr. Abraham Van Helsing to come to their home. As Lucy falls deeper under the spell of the Count, Dr. Van Helsing almost immediately comes to understand that his daughter fell prey to a vampire and discovers the culprit to be none other than the Count himself. Dr. Van Helsing, Dr. Seward, and Harker work together to foil the Count's plans to take Lucy away to his native Transylvania. Written by
Hillary Glendinning (email@example.com)
The names of Mina and Lucy are inverted in this version of Dracula. In Bram Stoker's book and other movies, Mina was Jonathan Harker's fiancé and Lucy was her friend who becomes a vampire. Here, Lucy is the fiancé and Mina becomes the vampire lady. See more »
When Harker is driving away from Dracula's castle after having Dracula sign the deed papers, Renfield jumps him from the back of his car. During the scenes of struggle, there's a from-the-front shot that clearly shows another car loaded with people (crew?) about a hundred feet or so behind the Harker car. See more »
A Gothic masterpiece. The quintessential vampire movie.
After so many years, Lugosi's performance of Dracula wilts into camp, and the overblown Coppola version, while visually stimulating, comes across as so much hyperbole. Oldman was brilliant, but a few of his lines were poorly delivered, almost laughably so.
But Langella was the master of all vampires. His performance reels with sexual presence and a charm and sophistication that renders all other Dracula movies null and void. And why not? He had countless performances on Broadway to perfect his character, and perfect it he did. He insisted on touches, such as never wearing fangs, or never appearing with blood on his face, that added class to the vampire legend and places this version a cut above the rest.
Kate Nelligan (Prince of Tides) was so young and beautiful then and it was easy to believe that she could inspire a love that could transcend death and time. Olivier was already a ghost, and many of the scenes that involved activity no more strenuous than walking actually had to be shot with a stand in. It is rumored that Sir Larry's performance was so frail that impressionist Rich Little actually had to be called in to dub some of Olivier's lines, as he had done for David Niven in his final Pink Panther film, because the originals were virtually unintelligible given the poor health of the actors.
The brooding and regal score by John Williams drives the movie quite nicely. The film was edited by John Bloom, who a couple of years later would edit The French Lieutenant's Woman with a similar feel, and shot by Gil Taylor who shot, among other greats, the original Star Wars. Stoker would have been proud of the final result, particularly so with Langella's masterful and groundbreaking performance that launched a career. Dracula is a Gothic masterpiece that has never been given its due.
In 2004 director Badham decided to release a version in which the color had been drained from the movie, in much the same way as its central character drained color, blood and life from his victims, perhaps an intentional comparison. The "making of" featurette is delightful, and producer Mirisch's hilarious tongue in cheek observation of the "holy water" effect has already been misquoted by earnest IMDb reviewers. The remake is nice, but it was gilding the lily. And although the film was indeed improved by this modification, it had already surpassed any of its would be peers and remains the quintessential vampire movie.
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