Drakula Istanbul'da

Atrocious picture quality made this one nearly unwatchable, with innumerable breaks in the film, some scenes are blown out almost completely white, (unintentional?) double exposures, and even visible fingerprints.

This is another fairy faithful adaptation of Bram Stoker's original novel, but inept on all other departments, from bland acting, to its depiction of Dracula as nothing more than a bald old man, to uninspired directing, and no budget sets, which really look like someone's redressed cellar. The film looks nearly comical, like a (lame) William Castle flick.

Perhaps I'll give this a second chance, if I can ever locate a better copy of it, otherwise, I would have a difficult time recommending this to even the biggest fan of Dracula, even Pakistani Dracula was an improvement.

I must say I found this movie to be 'cok ilginc' (very interesting!) or verrrrry inetersting as the late, great Vincent Price may have said. I gave it a verrrrry generous 7 out of 10. It is clearly a virtual ripof of Tod Browning's "Dracula," and it does even measure up to Werner Herzog's remake of F.W. Murnau's German classic "Nosferatu." But,as a Turkish-American, I have to thank showtvnet.com for providing this interesting guilty pleasure (sorry no subtitles) which does drag at times, but considering this film was made almost 50 years ago when Turkish film standards were even lower than they were in the 'ala Turka cinema renaissance ' of the '70s (when enormous numbers of bad films were made left and right) this has to be viewed as a noble effort. Along with "SCream Blacula Scream,' and perhaps (I've never seen it) "Billy the Kid Meets Dracula," it has to be one of the more unusual takes on this much-filmed saga.

I first heard about this (and became sufficiently intrigued by it) over the Internet; it is virtually the only vintage Turkish film to be given reasonable exposure in recent years, apart from the Genghis Khan reworking KIZIL TUG (1952), which I also own but have yet to watch.

This, then, joins the ranks of other foreign-language adaptations of the Bram Stoker horror classic – such as the two German NOSFERATUs (1922 and 1979); two from Spain i.e. Dracula (1931; albeit filmed concurrently with the quintessential Hollywood rendition on the very same sets!) and COUNT Dracula (1969; its director, Jess Franco, even made an updated distaff version in VAMPYROS LESBOS [1970]) and the Pakistani THE LIVING CORPSE (1967; which is actually just as obscure and which it most resembles in the long run, not least in the numerous musical interludes). Unfortunately, the copy I viewed was in very bad shape (which perhaps enhanced the expected pervasive mood of dread and inherent strangeness): an exceedingly dark and splicy print, marred even further by combing issues and subtitles that went out-of-synch for considerable stretches!

While the obvious model for this one was the Bela Lugosi milestone (down to refraining from showing the vampire's ultimate come-uppance…but, then, the camera focuses squarely on the heroine's shapely figure while she changes into 'something more comfortable' soon after!), it proved most interesting in what differed from the usual blood-sucking fare. As for Dracula himself, he is atypically played by a bald-headed fellow (albeit resembling Brian Eno much more than the Max Schreck of the original NOSFERATU!) whose role, once the scene shifts from Romania to Turkey, is so severely diminished that he virtually becomes a supporting character in his own 'star vehicle'(!!) – for the record, he can disappear and manifest himself at will, as well as take any animal form he wishes (though, understandably, we are only ever shown one very brief bat mutation throughout) via a simple flashing of the cape over his face…which, at the end, results in unintentional hilarity, when he loses the emblematic garment and is thus forced to literally run for his life (incidentally, here we also have the very first depiction of the famous moment in Stoker's tale where the Count is seen scaling his castle walls, not to mention an off-screen reference to the equally renowned baby-feeding scene)!

To get back to what is novel here vis-a'-vis the source material and the myriad movie versions before and after: Dracula's properties in Istanbul are amusingly referred to as "kiosks"; the Count's hunchbacked servant back home eventually turns on him, and pays with his life, in an effort to protect the victimized hero (which is not even appreciated by the latter!); most hilariously, the vampire is warded off not by the traditional cross but rather mere garlic (lots of 'em!)…but, then, characters are made to freely bestow blessings upon one another (perhaps a requisite of the country's religion?)!; the 'Mina' counterpart is a blonde "Follies" dancer (the girl is forever excusing herself to perform for some Red Cross benefit activity!), and she is even made to give a private show, under hypnosis, for Count Dracula!!; another unusual setting is the sea-side one reserved for the 'Lucy' substitute's initial attack (later on, however, it takes her boyfriend and the obligatory elderly vampire-hunter three separate visits to her crypt in order to ascertain the girl's return from the dead!).

Given the number of classic films that were inspired by Stoker's original over the years, it is unlikely that this particular version will ever be included in that pantheon – but it is certainly enjoyable along the way and weird enough to withstand more than a cursory viewing from horror aficionados.

Over the years, I have seen several incredibly campy Turkish films from the 1970s and 80s, such as knockoff versions of "Star Wars" and "Captain America". However, I've never seen an older Turkish film until I stumbled upon this version of "Dracula" (1953) floating about on YouTube. It does have subtitles but in some ways is much better than the newer films I've seen. Yes, the production values are at times very bad....but the acting is pretty good and the film does provide a few frights...and it's not as campy as the other films I mentioned. Now I am not saying it's good....but at least it's not terrible.

The story is generally that which you'll see in other Dracula stories with only a few major exceptions. It's set in contemporary times and instead of Dracula buying a manor in England, this one decides to move to Istanbul--which makes a lot of sense considering there aren't that many crucifixes there to dissuade him (you see none in the film)! As for Drac himself, he's a weird looking one with teeth that go out at 45 degree angles--which makes you wonder HOW his bite can penetrate ANYTHING!! Predictably, when Drac begins sucking Sadan dry, her family bring in a Van Helsing-like old bearded guy to help them put a stop to all this.

A few things to note. First, although this was filmed in a Muslim nation, it was at the time officially a secular state and seeing some of the women wearing very little still surprised me a bit. Second, the print on YouTube is in terrible condition and I have no idea how else to find this film with subtitles. Third, while the IMDb trivia section says the word 'vampire' does not appear in the film, it is in the English language subtitles and in many ways it stays very close to the original Bram Stoker novel.

Overall, not even close to being a must-see film. The camera-work is often sketchy (especially on closeups), the 'castle' is an obvious painting and the entire production looks pretty cheap.

'Dracula in Istanbul' deserves credit for an honest title, at least. This Turkish-made film sticks fairly close to the original plot of Bram Stoker's novel (greatly simplified), apart from moving the action to Istanbul in the present day (1953), presumably as a budget-saving device and in order to make the film more 'relevant' to its target audience ... much as the Hollywood version of H.G. Wells's 'War of the Worlds' moved the action to modern Los Angeles.

Dracula is played here by Atif Kaptan, who was apparently (I'm told) a horror-film veteran in Turkey, somewhat equivalent to Peter Cushing. He plays Count Dracula in impeccable (modern) formal dress: white tie and tails. He is also completely clean-shaven and slap-headed, looking vaguely like a cross between Max Schreck in 'Nosferatu' and Kojak.

The English characters in Stoker's novel are Turkish here, with appropriate name changes. The most significant change in the storyline is the conversion of demure ingenue Mina Seward into a fleshly cabaret dancer named Guzin, erotically depicted by Annie Ball. She gives an intriguing performance, turning me on more than somewhat, but this alteration weakens the story. Much of the horror in Stoker's novel comes from the contrast between the virginal Mina and the profane unholy nature of the undead. In this Turkish film, the Mina character Guzin is already depicted as a 'bad' girl, so somehow it doesn't seem quite so shocking when Dracula threatens to recruit her into the undead's legions.

This film was made on a laughably low budget, only a bare notch above the Ed Wood level. Yet the lighting and photography impressed me, and the Turkish locations are very interesting. I wish I could say I was impressed with the actors' performances: perhaps Turkish cinema audiences actually prefer a more stylised acting technique than I'm accustomed to viewing. I'll rate this Turkish delight 4 points out of 10.