IMDb > Dracula: Pages from a Virgin's Diary (2002)
Dracula: Pages from a Virgin's Diary
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Dracula: Pages from a Virgin's Diary (2002) More at IMDbPro »


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:
One of the best "Dracula" movies ever 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

Also Known As:
Runtime:
73 min
Country:
Language:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
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Filming Locations:

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3 out of 4 people found the following review useful.
One of the best "Dracula" movies ever, 22 November 2004
Author: kintopf432 (kintopf432@hotmail.com) from St. Paul, MN

Despite the extreme, extreme familiarity of the source material and the stuffy associations of the ballet form, Guy Maddin's 'Dracula: Pages from a Virgin's Diary' emerges not only as one of the best 'Dracula' movies ever, but also as one of the best films about the Victorian Era (ranking with 'The Elephant Man' and 'Topsy-Turvy'). Maddin achieves the first feat with his insight into Stoker's novel (it's exciting to see somebody touch on the misogyny and xenophobia for once), and the second through a fascinating and completely appropriate aesthetic synthesis. Combining a 19th-century novel with a 19th-century pop art form, and setting it to 19th-century music (Mahler's from the wrong country, but so what), is a good beginning, but what makes it work, of course, is shooting it all in a mock-19th-century style. OK, so the silent horror films we think of date from a little later; still, Maddin does what he can to give the film a primitive, experimental, moving-daguerreotype effect, and the result feels like an actual window to the past, even if it's all just an artificial aesthetic construct. If this all sounds a bit self-conscious and over-the-top, it sort of is, but viewers will almost certainly be surprised at how unpretentious the effect actually is. The more explicitly balletic moments occasionally slow things down a bit for non-fans, but Maddin wisely keeps the running time at 75 minutes, and this helps the film retain a surprising accessibility. Not for all tastes, of course, but worth the effort for just about anyone. 8.5 out of 10.

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