Dracula

Dracula is an exemplary case of the victory of form over substance. It’s as if Francis Ford Coppola tried to translate Stoker’s fantasy into evocative cinematic images in the most credible and effective way, but he forgot about the characters and the story itself. In terms of its visual and musical aspects, the film is captivating. The production design, costumes, the cinematographer’s work with shadows and the individual surrealistic scenes are all in perfect harmony with Wojciech Kilar’s unique music. And that cast! Keanu Reeves as the elegant Jonathan, Winona Ryder as the fragile Mina, Anthony Hopkins as the demonic Van Helsing, Tom Waits as the “insectophile” Renfield, and mainly Gary Oldman as the repulsive but mesmerizing Count Dracula…it’s as if all of them were born for their respective roles. But regardless of how captivating it all looks and sounds, the plot lacks the heart of the story, the spirit that, despite my knowledge of the material, could draw me into the action for two hours and take my breath away. Dracula is a gothic horror movie based on a classic story during which I wouldn’t be disturbed by the munching of popcorn. That would not be the case at all with, for example, Herzog’s Nosferatu. (2002-05-28)

Francis Ford Coppola only pulled off Dracula halfway, which in his case means a clear defeat. He was able to create a fascinating atmosphere wherever the camera turned, and for the viewer, it is not hard to feel like you're in a chilling forest in Transylvania after five minutes. However, his attempt at an animalistic interpretation of the story undermines him, where there is excessive sighing in emotional scenes, thus transitioning into incomprehensible perversion. The captivating story of tragic love then gains alarming cracks due to the fact that it is quite difficult for emotions to be expressed by the actors. Surprisingly, this applies mainly to Keanu Reeves, whose Jonathan is, despite his troubled fate, just an empty, sorrowful figure. Alongside the solid cynic Anthony Hopkins and the magnificent Dracula played by Gary Oldman, Winona Ryder is the queen of the evening. In her portrayal, Mina is a perfectly adorable creature torn between pure love for Jonathan and an insane craving for the lord of darkness. There was one other problem Coppola didn't quite solve, and that's the special effects. Since he vigorously tried to avoid CGI, he should have paid a bit more attention to all the miniatures and shots. As it is, some shots are downright distracting. Dracula, as a result, is not a bad movie, but despite its perfect atmosphere, it has too many accompanying negatives. (2007-03-10)

Dracula, an infinitely cruel and ruthless ruler, but at the same time an immensely loving man, struggles through the centuries to find the love of his life again. This (literally immortal) story comes to life in Francis Ford Coppola's adaptation, with Gary Oldman giving an absolutely brilliant performance as the infamous Transylvanian Count. This Dracula is different from its predecessors, more romantic and laced with an erotic touch. Alongside Oldman, I must single out the equally convincing performances of Winona Ryder and Anthony Hopkins. As far as the technical workmanship is concerned, it is really very good for its time. Last but not least, I must not forget to mention the wonderfully frightening make-up effects and lavish costumes. (2011-09-11)

Francis Ford Coppola shows with his authentic and in every way perfect handling that Count Dracula was actually an unhappy man beyond the reach of love. Compared to the really boring Interview with the Vampire, Coppola's Dracula is a brilliantly directed (it was indeed the directing I found lacking in Interview with the Vampire) and well cast adaptation of Stoker's book. The setting, the art direction, the costumes, the wonderfully evoked atmosphere and above all Coppola's imaginative and breathing direction are the main pluses of Dracula. (2009-08-02)

The excessively stylized sets have panache and give the film an impressive atmosphere. Gary Oldman can't disappoint, his ambivalent Dracula inspires both horror and pity, and he can lick knives in a sexy way. I think the film benefited from taking the legend in a different direction, i.e. making Dracula a creature who is both bloodthirsty and lovelorn. Unfortunately, Coppola’s adaptation has little in common with the book. (2002-06-13)