'Dracula' has cast a powerful spell on the cinema. Throughout the history of this medium, Bram Stoker's 1897 novel has been filmed umpteen times, in a range of countries, with a variety of filmmakers (Tod Browning, Coppola, etc) putting new and unique spins on it.
Of all the versions of Stoker's novel that I have seen, John Badham's 1979 production is certainly one of the most intriguing. Badham's film is based on the Broadway production of Stoker's novel, and certain scenes (esp the one where Dracula is 'introduced' to the viewers) do ooze a sense of 'staginess'. That said, the movie puts some clever twists on the novel. These include the transportation of the character Lucy from Drac's first victim to the powerful New Woman role occupied by Mina (and this can work within a pro-feminist context, as Nina Auerbach discusses in her 1995 book 'Our Vampires, Ourselves'). And I enjoyed watching the male vampire hunters being reduced to a pack of stuffy, half-witted patriarchs. Laurence Olivier's interpretation of Van Helsing as a murderous buffoon is particularly amusing (and a pity this performance is overshadowed by the horrific one he gave in the following year's 'The Jazz Singer' - itself a remake of a cinematic classic).
And still, after years, I am struck by the film's climax. The spectacle of Dracula's cloak (Dracula himself?) flying off bat-like into the sun-drenched British sky is (as Auerbach pointed out) truly a "paen to resurrection". It's also a surprisingly upbeat end to quite a dark film.
Dracula (1979) isn't terrific, but it's certainly one of the more intelligent and elegant cinematic spins on the old tale.
Of all the versions of Stoker's novel that I have seen, John Badham's 1979 production is certainly one of the most intriguing. Badham's film is based on the Broadway production of Stoker's novel, and certain scenes (esp the one where Dracula is 'introduced' to the viewers) do ooze a sense of 'staginess'. That said, the movie puts some clever twists on the novel. These include the transportation of the character Lucy from Drac's first victim to the powerful New Woman role occupied by Mina (and this can work within a pro-feminist context, as Nina Auerbach discusses in her 1995 book 'Our Vampires, Ourselves'). And I enjoyed watching the male vampire hunters being reduced to a pack of stuffy, half-witted patriarchs. Laurence Olivier's interpretation of Van Helsing as a murderous buffoon is particularly amusing (and a pity this performance is overshadowed by the horrific one he gave in the following year's 'The Jazz Singer' - itself a remake of a cinematic classic).
And still, after years, I am struck by the film's climax. The spectacle of Dracula's cloak (Dracula himself?) flying off bat-like into the sun-drenched British sky is (as Auerbach pointed out) truly a "paen to resurrection". It's also a surprisingly upbeat end to quite a dark film.
Dracula (1979) isn't terrific, but it's certainly one of the more intelligent and elegant cinematic spins on the old tale.