Bram Stoker's Dracula

After years of relentlessly campy outings, 1992's BRAM STOKER'S DRACULA attempts a more straightlaced adaptation.  Yet for all of its faithfulness to the source and high mindedness...is still quite campy.  I think it's unavoidable.  And the correct approach.  Any potential seriousness always leads back to what is essentially a melodramatic romance involving a centuries old vampire.  Which I love, by the way.  And director Francis Ford Coppola brings the film to life with some serious artistry, rarely if ever going too far as to be pretentious.

Following the prologue, during which we meet Vlad Dracula (Gary Oldman), who in 1462 grieves his wife Elisabeta's (Winona Ryder) suicide and subsequently becomes a vampire, the early scenes set in nineteenth century Transylvania are iffy.  Largely due to Keanu Reeves' stiff performance as Jonathan Harker, an attorney who travels to Transylvania to meet his new client, Count Dracula.  Much ink has been spilled over Keanu's less than exemplary work (even after his hair goes ashen), which I read the actor himself later dismissed.  But once Dracula sails to England, bound for Carfax Abbey, the film really finds its sinister groove.

And becomes great fun with Anthony Hopkins' hammy portrayal of Dr. Abraham Van Helsing, vampire hunter.  Some felt he was too cartoonish.  I disagree; his take is just right for this sober yet rambunctious film.

BRAM STOKER'S DRACULA attacks the familiar story with unapologetic grandeur.  The lavish production boasts well handled bloodletting and eroticism.  Palpable sensuality saturates this movie, delivered fearlessly by Oldman and Ryder, the latter of whom also plays Mina, Harker's fiancee.  She of course reminds the Count of his dearly departed Elisabeta.  Their scenes scorch the screen with just enough lust as to not edge over into ridiculousness.   Newcomer Sadie Frost offers plenty of carnal and primal energy as Mina's randy friend Lucy.  Sexiest of all are the trio of Dracula's brides, played by Monica Belluci, Michaela Bercu, and Florina Kendrick. 

The visual effects are sumptuous, too, rendering this film almost science-fiction like at times.  Michael Ballhaus shoots with a painterly eye.  There is atmosphere to spare.   This is quite a technical achievement. 

But curiously, Coppola never brings across any real emotional impact with these doomed lovers.  Can we blame the actors?  Hot bodies contort and weighty words abound, yet for all of its grown up abandon and comfort with sexuality it a felt rather juvenile when dealing with the complexity of love.  I never felt compassion for Jonathan or Dracula, or Mina.  As good as Ryder is she just doesn't involve us in the heart thumping tragedy the story possesses.