Dracula (1992) [Collector's Edition]
A Film by Francis Ford Coppola
2xDVD9 | ISO+MDS | NTSC 16:9 | Scans (4 JPGs) | 02:07:12 | 6,95 Gb + 5,42 Gb
Audio: English, French - AC3 5.1 @ 448 Kbps; Portuguese, Spanish - AC3 2.0 @ 192 Kbps
Subtitles: English, French, Spanish, Korean, Portuguese
Genre: Horror, Romance
A Film by Francis Ford Coppola
2xDVD9 | ISO+MDS | NTSC 16:9 | Scans (4 JPGs) | 02:07:12 | 6,95 Gb + 5,42 Gb
Audio: English, French - AC3 5.1 @ 448 Kbps; Portuguese, Spanish - AC3 2.0 @ 192 Kbps
Subtitles: English, French, Spanish, Korean, Portuguese
Genre: Horror, Romance
Based on Bram Stoker's classic 1897 novel, this film from Francis Ford Coppola and screenwriter James Victor Hart offers a full-blooded portrait of the immortal Transylvanian vampire. The major departure from Stoker is one of motivation as Count Dracula (Gary Oldman) is motivated more by romance than by bloodlust. He punctures the necks as a means of avenging the death of his wife in the 15th century, and when he comes to London, it is specifically to meet heroine Mina Harker (Winona Ryder), the living image of his late wife (Ryder plays a dual role, as do several of her costars). Anthony Hopkins is obsessed vampire hunter Van Helsing, while Keanu Reeves takes on the role of Jonathan Harker, and Tom Waits plays bug-eating Renfield.
IMDB
Francis Ford Coppola's lavish version of Bram Stoker's classic novel is a visual cornucopia, overstuffed with images of both beauty and grotesque horror.
Coppola has assembled a virtual Who's Who of young screen heartthrobs, all of whom–from Winona Ryder to Gary Oldman to Keanu Reeves to Cary Elwes–do their stuff against a range of brilliantly realized settings. Count Dracula's Transylvanian lair has a deliberately tongue-in-cheek, mythological aura, and Victorian England is brought to life through meticulous, and humorous, production design.
DRACULA also boasts some impressive special effects, and Coppola clearly enjoys recreating the cutting-edge technology of the late 19th century, from a primitive blood-transfusion apparatus to the earliest moving pictures. The problem is that the visual pyrotechnics and period detail tend to blunt the dramatic impact of a narrative that's pretty bloodless to begin with. James V. Hart's screenplay sticks fairly close to Stoker's novel but loses steam after about 20 minutes, when continual cutting between different storylines creates more confusion than tension.
It's also hard to gauge the tone of this adaptation. Hart sets up an archly romantic relationship between the Count (Oldman) and a beautiful young woman (Ryder) who's a dead ringer for the love he lost centuries earlier. The couple's "love conquers all" scenes can't be taken seriously, but it's not entirely clear how ironic DRACULA is intended to be. Not, that is, until the late arrival of Anthony Hopkins as Professor Van Helsing. Hopkins clearly recognizes this big, overblown, theme park ride for what it is, and wisely decides to inject some campy humor into the proceedings. The resulting combination is fun–but not as much fun as BUFFY THE VAMPIRE SLAYER.
You know the story of Dracula. If you don’t, then this movie will have an extra bit of excitement as something old will seem just like new. Basically, there’s this blood-drinking Count (Gary Oldman) who lives in a castle high up in the mountains of Transylvania with a trio of vampire hookers who feed on infants from the villages below. Since things are getting very boring at Castle Dracula these days, the old Count decides to move to the swinging London of 1897 in order to regain his youth. An ambitious young Law clerk named Jonathan Harker (Keanu Reeves) is sent to close the real estate deal that includes the transport of about 50 boxes of earth, shaped like coffins. Watch out Londoners.
The high concept brought by screenwriter James V. Hart (Hook) was to base the Count definitively on the historical Vlad the Impaler and to add a romantic angle through the theme of lost love. It seems that Dracula lost his one true love, Elisabeta, and now centuries later he discovers her reincarnated in the body of Jonathan Harker’s fiancée’, Mina Murray (Winona Ryder), giving Dracula one more reason to toss the puny Englishman to his vampire concubine as table scraps.
It’s really an odd story that seems very concerned with real estate contracts and travel as much as the undead. Yet, it’s lasted for over a century and hundreds of adaptations to the movies, TV, and theater. What Coppola does is to think way out of the box and try to come up with a whole new way to look at this penny dreadful material. With its huge impact on popular culture that even includes a breakfast cereal (Count Chockula?), Dracula comes with a truckload of pre-conceptions. Coppola simply digs deeper into the material and finds inspiration in decadent and symbolist art and the historical Vlad Dracula himself to challenge those pre-conceptions. The result replaces familiar images with something more uncanny.
As he has done throughout his career, Coppola hires some of the best artisans in the world, from costume designer Eiko Ishioka (who won an Oscar for her work on this film) to Polish composer Wojiech Kilar. Then Coppola just lets them create. Kilar’s score is one of the film’s best assets, driving the narrative with a haunting, romantic undertone that anchors this film whenever it‘s about to fly off into camp.
The cast is something else entirely, a kind of potpourri of styles and experiences that are easily the film’s weakest link. Performances range from brilliant to abysmal. Gary Oldman gives a Brando level performance as the many faces of Dracula and never, ever allows the elaborate makeup or costumes to inhibit his acting. He is wildly theatrical in a way few actors can even comprehend but without ever going over the top or losing the emotional thread of the character. Anthony Hopkins loses control about two thirds into the film (somewhere around the time he begins quoting Othello and humping Bill Campbell’s leg) and he seems unable to shake off Hannibal Lector altogether, still sniffing at people in a a creepy “Uncle Bob is just tickling you” kind of way.
The younger cast is variable with Winona Ryder sliding up and down the scale from inspired to affected. Keanu Reeves is best not even discussed as his performance here would be embarrassing in a community theater production. Some of his line readings are amazingly hilarious such as “I was impotent with fear.” Cary Elwes makes no impression at all but Richard E. Grant has a whole other weirdo movie about Dr. Seward in his crazy mind. You have to look closely but while the other vampire killers have brought crosses, axes and guns, Grant is seen holding some kind of smoking potion in a test tube. A great moment. I’m sure Dracula is really worried about the contents of his test tube. The wild cards in the cast are Tom Waits who is fantastic as the insect eating Renfield and Sadie Frost who brings a real carnal sexuality to the movie.
The movie’s greatness is not in the performances or in the storytelling, however. This is sheer filmmaking itself. Coppola and his visual effects team, led by his son Roman, utilize every trick in the old cinematic testament to create vast illusions onscreen. Since these were old when Coppola used them in 1992, they have not dated at all today. The movie’s great sense of early film magic is intact and will be forever.
This is the best rendition of Dracula ever captured on film. Gary Oldman's dark and sensual personae outshines any other vampire who ever dare put on a cape. To me Gary Oldman is the most talented and underrated actor ever. He becomes who he is playing, however in this role… Dracula became him… Oldman set the bar so high it is untouchable even to Bela Lugosi. Winona Ryder's delicateness suited the role of Mina/Elisabeta nicely and Keanu Reeves played the unsuspecting and naive Jonathan with satisfaction. However the whole movie comes together because of Gary Oldman's intoxicating essence. He draws the viewers into his darkness and passion and guides them through until the end. This film is drastically romantic and hauntingly captivating- just like a real Dracula movie should be. The cinematography deserved Oldman's phenomenal performance and perfectly created a true vampire realm. Francis Ford Coppola is brilliant. This is the spirit of the vampire.IMDB Reviewer
Special Features:
Disc One:
Commentary by Francis Coppola
Watch Bram Stoker's Dracula with Francis Coppola
Disc Two:
Documentaries:
- The Blood is the Life - The making of Dracula (28 mins)
- The Costumes are the sets - The Design of Eiko Ishioka (14 mins)
- In-Camera - The Naive Visual Effects of Dracula (19 mins)
- Method and Madness - Visualizing Dracula (12 mins)
- Heart of Darkness - article, Cinefex magazine (1993)
12 Deleted Scenes
Trailers
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