Dracula

"Dracula"

Aspect ratio: 2.39:1 (Panavision)

Sound format: Dolby Stereo

The vampire Count Dracula (Frank Langella) arrives in England from Transylvania and targets a wealthy middle-class family, including the daughter of arch-enemy Abraham Van Helsing (Laurence Olivier)...

John Badham's underrated adaptation of Bram Stoker's novel takes most of its cues from the stage play by Hamilton Deane and John L. Balderston (which had launched Bela Lugosi to stardom in 1927), and while it may not be entirely faithful to the book - events are compressed for reasons of timing - it adheres faithfully to the spirit of the thing. It's also an immensely CINEMATIC work which uses the wide Panavision frame in painterly fashion, creating a landscape of Gothic architecture and Victorian excess (note the breathtaking shot looking down from the ceiling inside Dracula's castle, where an ornate spider's web fills the entire screen). Badham and screenwriter W.D. Richter emphasize the film's Romantic elements - helped immeasurably by Langella's complex performance - though the corruption underlying Dracula's handsome exterior is often betrayed by certain details (the Count clawing at a windowpane, seeking entrance to his latest victim; the ghoulish vampiress who continues to rot even as she pursues her lust for human blood, etc.).

Olivier has been criticized in some quarters for his 'silly' European accent, and it's true that his performance lacks some of the dynamism Peter Cushing once brought to the role of Van Helsing, but Olivier comes into his own when confronting Dracula with evidence of his vampirism, and in the deeply moving moment when he drives a stake through his daughter's heart and cradles her corpse in his arms whilst sobbing uncontrollably. The fine supporting cast includes Trevor Eve, Donald Pleasence and a wealth of familiar British character actors (Tony Haygarth, Teddy Turner, Sylvester McCoy, etc.), alongside Canadian actress Kate Nelligan, giving a finely-tuned performance as a potential bride of Dracula. A beautiful film - romantic, tragic, Gothic and sinister, it satisfies in almost every respect, and is ripe for rediscovery. John Williams' glorious music score is the icing on the cake.

Director John Badam's 1979 reboot of Dracula is a very well crafted and interesting film. While Frank Langella's performance may have been a bit too romantic, or the film may not be bloody enough for some horror purists, Dracula 1979 is a long ways away from something like Twilight and has a lot for horror fans to appreciate and enjoy here. This is a serious minded, big budgeted and intelligent take on the Dracula story. It is a very well shot, great looking film with very good f/x, direction and a haunting score by John Williams of Star Wars fame. Dracula is portrayed here as a seductive, romantic and tragic figure. While some may have felt Dracula was a bit too much of a ladies man, Frank Langella made it work with his exceptional performance and is a very talented actor. Also immensely talented actors Lawrence Oliver and Donald Pleasance shine here as well as Van Helsing and Dr. Jack Seward. The rest of the cast was also very good and as a whole, I enjoy this picture and is a very well done and classy Gothic horror film.

first, for the cast. to meet, together, Laurence Olivier, Donald Pleasence and Frank Langella is a real delight. then - for the nuances who reminds, after so many experiments, the original novel. and not the last, the fascinating Dracula by Frank Langella who is more a seducer than the monster. the atmosphere reminds old fashion Gothic literature. the acting preserves the delicacy of tension and gives force and beautiful sparkles to a story who seems be well - known. maybe it is not exactly the best adaptation. but it remains a must see. maybe for the emotions and for the special feeling to discover hide zones of a novel who remains great source of inspiration for the horrors. and this is the great good point of this film - it is the perfect mixture between thriller, mystery and crime, ignoring the rules of horror for a beautiful story who use in wise manner great cinematography.

It's Halloween as I write, and all the little ghouls are making their annual rounds. What better time to re-view and review my collection of vampire flicks? This version is one of the best so far in my opinion. You don't need to be Freud to understand the attraction of the vampire, and in particular Dracula. The powerful combination of sex and death (or un-death if you will) is irresistable to the human psyche. And let's admit it, who wouldn't like to live forever?

Frank Langella's take on the Count is expertly performed. His tall, dark, good looks are ideal here. Langella's astigmatism, which causes his eyes to quiver when staring, provide an eerie effect which the special effects of 1979 couldn't have achieved. As another reviewer noted, Mr. Langella had performed this role on stage before making this film, so his Dracula is smooth and well polished. His subtle spider-like hand movements are perfect here.

The beauteous Kate Nelligan provides an able foil as the strong and intelligent Lucy and Dracula's love/death interest. Note that the Lucy and Mina roles are reversed in this version, but no apparent harm is done to the story.

Olivier and Pleasence are solid but not exceptional in their roles as Drs. Van Helsing and Seward. The sets are very good, and some are wonderful (the graveyard scene with the white horse and the Count's dining room stand out).

All in all, a great way to spend a couple of hours in the presence of a sensuous and strangely attractive evil. 7/10 stars.

Langella made a huge impact with this film and it is the movie that made him a star. While Lugosi was brilliant, his performance was representative of the overacting that was the norm at the time. The Christopher Lee / Hammer version was scary but old school almost to the point of campy - cheap formula films. With the 1979 version we had something completely different - a young(ish) romantic vampire. The passion depicted had never been seen before and it broke barriers in bringing women into the theaters for horror films. By today's standards it is clearly dated and it seems to a degree to be like a series of vignettes, but they were breaking new ground. One can forgive some contrivances, such as an abbey (which represented the absolute best Carfax set in any movie before or since) with the incongruity of a giant stone bat and snarling face door in the interior masonry. These truly were the best Dracula sets ever. The climactic ending also displayed more imagination than any other Dracula film. Overall, this was a great movie for its day. If one were a fan of horror films, this is definitely one that should be in their collection.