IMDb > Dracula: Pages from a Virgin's Diary (2002)
Dracula: Pages from a Virgin's Diary
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Overview

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Director:
Writers:
Bram Stoker (novel)
Mark Godden (ballet Dracula)
Contact:
View company contact information for Dracula: Pages from a Virgin's Diary on IMDbPro.
Release Date:
12 December 2003 (UK) See more »
Genre:
Plot:
A ballet rendition of Bram Stoker's gothic novel DRACULA, presented in a style reminiscent of the silent... See more » | Add synopsis »
Awards:
3 wins & 2 nominations See more »
NewsDesk:
(5 articles)
User Reviews:
Cinematically Erotic See more (29 total) »

Cast

  (in credits order) (complete, awaiting verification)
Wei-Qiang Zhang ... Dracula (as Zhang Wei-Qiang)
Tara Birtwhistle ... Lucy Westernra
David Moroni ... Dr. Van Helsing

CindyMarie Small ... Mina
Johnny A. Wright ... Jonathon Harker (as Johnny Wright)
Stephane Leonard ... Arthur Holmwood
Matthew Johnson ... Jack Seward
Keir Knight ... Quincy Morris

Brent Neale ... Renfield
Stephanie Ballard ... Mrs. Westernra

Sarah Murphy-Dyson ... Vampiress / Nun / Maid
Carrie Broda ... Maid / Nun
Gail Stefanek ... Maid / Vampiress
Janet Sartore ... Maid / Nun
Jennifer Welsman ... Gargoyle / Nun
Emily Grizzell ... Gargoyle / Nun
Chalnessa Eames ... Gargoyle / Nun
Vanessa Lawson ... Gargoyle / Nun
Michelle Lack ... Nun
Kerrie Souster ... Vampiress
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Directed by
Guy Maddin 
 
Writing credits
Bram Stoker (novel "Dracula")

Mark Godden (ballet Dracula)

Produced by
Danishka Esterhazy .... associate producer
Lesley Oswald .... co-producer
Lesley Oswald .... line producer
Robert Sherrin .... executive producer: CBC Television Arts Programming
Vonnie von Helmolt .... producer (as Vonnie Von Helmolt)
 
Cinematography by
Paul Suderman (director of photography)
 
Film Editing by
deco dawson 
 
Production Design by
Deanne Rohde 
 
Art Direction by
Deanne Rohde 
 
Set Decoration by
Ricardo Alms 
 
Costume Design by
Paul Daigle 
 
Makeup Department
Lori Caputi .... key hair stylist
Amanda Kuryk .... key makeup artist
Doug Morrow .... key special makeup effects
Jennifer Machnee .... first assistant prosthetic makeup artist (uncredited)
 
Production Management
Lesley Oswald .... production manager
Carol Wenaus .... post-production supervisor
 
Second Unit Director or Assistant Director
Wanda Bretecher .... second assistant director
Cary Davies .... third assistant director
Elizabeth Jarvis .... first assistant director (as Liz Jarvis)
 
Art Department
Robert S.B. Adey .... assistant carpenter
Andrew Beck .... key scenic artist
Boris Danyliuk .... assistant carpenter
Jacqueline Easton .... property assistant
Mary Esther Griffiths .... key scenic painter (as Mary Esther Griffith)
Kim Hamin .... property master
Jim Hogan .... assistant lead carpenter (as James Hogan)
Steve Jansen .... head carpenter
Tim Jansen .... construction coordinator
Welland Jennings .... scenic carpenter
Sharon Johnson .... key scenic artist
Debbie Kuzina .... sets buyer
Michael Larocque .... painter
Brent Poole .... carpenter
Vaike Ruus .... scenic specialist
Robert Schultz .... carpenter
Burkhard Weiss .... key greens
Ricardo Alms .... scenic fabricator (uncredited)
 
Sound Department
Russ Dyck .... playback operator
Russ Dyck .... sound effects editor
Bruce Little .... sound mixer: Midcanada Production Services Inc.
Anita Lubosch .... playback operator
Tony Wytinck .... online mixer: Midcanada Production Services Inc.
 
Special Effects by
Tim Harding .... first assistant special effects
Ken Hart Swain .... special effects coordinator
Vaike Ruus .... model builder: Dracula's castle (uncredited)
 
Visual Effects by
Brad Hoplock .... CGI art director: Midcanada Production Services Inc.
Alan Pakarnyk .... CGI artist: Midcanada Production Services Inc.
Alisa Prokopchuck .... CGI artist: Midcanada Production Services Inc.
Andrew Shire .... CGI artist: Midcanada Production Services Inc.
 
Camera and Electrical Department
Dominique Balcaen .... best boy grip
Tony Bear Ruksys .... dolly grip (as Tony-Bear Ruksys)
Tony Bear Ruksys .... key grip (as Tony-Bear Ruksys)
John Clarke .... electrician
Bruce Claydon .... grip
Jamie Dawsett .... camera trainee
deco dawson .... photographer: Super 8 and Bolex
Michael Drabot .... gaffer
Marc Gagnon .... electrician
Christopher M. Gower .... grip (as Christopher Gower)
Andrea Hardy .... second assistant camera
Jason Heke .... camera trainee
Guy Maddin .... photographer: Super 8 and Bolex
Paul McWhinney .... grip
Bruce Monk .... still photographer
Len Peterson .... first assistant camera
Rob Rowan .... best boy (as Rob A. Rowan)
Paul Suderman .... camera operator
Mike Turesky .... grip trainee
Keith Eidse .... assistant camera (uncredited)
 
Costume and Wardrobe Department
Anne Armit .... head of wardrobe
Brenda Belmonte .... wardrobe assistant
 
Editorial Department
Andrew Shire .... on-line editor: Midcanada Production Services Inc.
 
Music Department
Bob Stewart .... music editor
 
Other crew
Julie Anderson .... first assistant accountant
Megan Basaraba .... office production assistant
David Bergman .... caterer
Geoff Bottomley .... consultant: laboratory processing (as Jeff Bottomley)
Andrew Willem Boyles .... executive director: Royal Winnipeg Ballet
Jason Campbell .... production assistant
Shane Clements .... production assistant
Sarah Jane Cundell .... location assistant
Sarah Jane Cundell .... set production assistant
Denys Curle .... key craft service
Boris Danyliuk .... first aid
deco dawson .... associate director
Adeline Elias .... production accountant
Claude Forest .... insurance: Multimedia RCIB
Janice Gibson .... assistant to choreographer
Penny Handford .... set supervisor
Jolyn Hoogstraten .... post-production accountant
Andre Lewis .... artistic director: Royal Winnipeg Ballet
Gilles Marchildon .... publicist
Tamara Mauthe .... production coordinator
Catherine McKeehan .... executive director: Royal Winnipeg Ballet
Bruce Monk .... ballet master
Paul Popeski .... legal affairs
Jody Shapiro .... consultant: laboratory processing
Bob Sochasky .... executive director: Royal Winnipeg Ballet
Mark Dinicola .... film recordist (uncredited)
 
Thanks
Diane Boehme .... special thanks
Geoff Bottomley .... special thanks (as Jeff Bottomley)
Clare Cullen .... special thanks: National Bank of Canada
Paul Dargle .... special thanks
Terry Gallagher .... special thanks
Anastasia Geras .... special thanks (as Tasia Geras)
Ginette Hamel .... special thanks
Erin Hershberg .... special thanks
Douglas Holliston .... special thanks: MPB
Louis Major .... special thanks
Laura Michalchyshyn .... special thanks
Bruce Monk .... special thanks
Deborah Patz .... special thanks
Joan Schafer .... special thanks: MPB
Jody Shapiro .... special thanks
Carole Vivier .... special thanks
 
Crew verified as complete


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Additional Details

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Runtime:
73 min
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Language:
Aspect Ratio:
1.85 : 1 See more »
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15 out of 19 people found the following review useful.
Cinematically Erotic, 7 December 2005
Author: tedg (tedg@FilmsFolded.com) from Virginia Beach

I am completely revising my must see list after watching this. I know only one other of Maddin's projects, his "Saddest Music in the World" of the next year. I rated that in my category of films you must see.

The rules of that list are that no more than two films per year, nor no more than two per filmmaker can be on it. This almost bumped "Talk to Her" off that list. It may yet. Let me advise you now that this is powerful and important stuff, the only successful marriage I know of literature, dance and film. In fact I know few that successfully integrate any two, much less masterpieces in each medium.

The story itself is greatly enriched: all the most terrifying horror is beautiful, and this is: an arc of desire across your life for that hour and a half. Where the original was only about sex, this is written larger to race, money, power and all in an erotic context that transcends sex. You'll notice when seeing this that it is more true to the book than any other filmed version.

Now just think for a moment about this: Dracula has been filmed by Murnau, Browning, Warhol, Herzog, Franco, Coppola and herds of lesser lights. No where has the scope been this broad and sharp.

(The device of the diary has been changed from the detective's to the virgin's, a master concept that indicates the deep thought that went into this. Exposure to that diary makes the girlfriend sex-crazed, for instance, as if the art itself were the infected blood.)

The dance. The choreographer has put together something that is remarkable, even seen merely as a ballet. It uses Mahler's music, by the way. That music is usually so overtly ripe it smells of selfish world conquest. It says something that here it seems merely supportive, that what you see on the screen is bigger.

So the choreography affects powerfully but what matters is the cinematic rendition. This is far more evocative as filmed ballet than a live performance can ever be, because we are allowed to have our eyes dance as participants. When a character's eyes flutter and question, ours do too. When the dance suggests a motion, it is us that completes it or gives it a resting place. The integration of choreography and cinematography is the best I have ever had in my life: beyond the sheer energy of "Red Shoes" to intimacy.

But it is the other cinematic qualities that make this unique. Dracula is a powerful story only because it evokes notions of the past that have power to awaken and live in our souls. Those notions are like the vampire and carried by him in the story. Once we touch them -- have sex with them, we are infected, transformed.

How to convey that cinematically? Why by evoking old film techniques as the story did literary ones. (Today that evocation by hacks is inaptly called "gothic.") So we have a silent film. Actually a postmodern comment on a silent black and white film. Lots of reminders of the camera in cropping and Vaselined lenses. Occasional tinting (blood and lucre), overtly theatrical sound effects, wobbling when we have to move quickly (or die).

The gauzy camera lens is made three dimensional with fog that extends the blur as the camera motion is also made three dimensional by the moving crowd. The whole thing has a phrasing and rhythm that is so well integrated among the dance, light, camera, story and music it is as if the things coevolved from the big bang.

Whoever did the art design deserves a reward. The sets are organic and in the last half in the lair, overtly vaginal -- so overtly it shocks. It must have been drawn at the same time as the choreography.

There's sex and beauty and seduction here. Be seduced my friends. Succumb. Art requires seduction and in the process some infection of urges. It is all about the dance -- Succumb, dance, die.

Ted's Evaluation -- 3 of 3: Worth watching.

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