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A Dracula That Doesn't Suck Coming at this as a film-child that has never read the book cover to cover, I can say with certainty that with its deep and more complex story, excellent production design, unique score (often pilfered for trailers and the like), and fantastic cast, this is the best telling of the Dracula legend. Dracula starts the (movie) history of Vlad (Oldman), in love with Elisabeta (Winona Ryder) but sworn to protect the church from the invading Turks in what is described as a nearly suicidal battle. Vlad survives, but Elisabeta – believing Vlad died at the hands of the Turks – defenestrates herself. Having taken her own life, her soul is condemned to Hell. Vlad flies into a rage and gives himself to the powers of darkness for what he perceives as God's betrayal. Dracula the vampire is born. Hundreds of years later we meet Mina Murray (Ryder again) and husband to be Jonathan Harker (Keanu Reeves). It seems that Jonathan must replace one of his colleagues, Renfield (a brilliant Tom Waits) who is struggling with a bout of insanity after working abroad in Romania for the mysterious Count Dracula. Mina goes to stay with childhood friend, slutty Lucy (Sadie Frost), who courts London's most eligible bachelors: psychologist Dr. Jack Seward (Richard E. Grant), American cowboy Quincy Morris (Bill Campbell), and the filthy rich Lord Arthur Holmwood (Cary Elwes). As Harker struggles with his sanity (and fidelity) in the Count's castle, Dracula himself heads west to London (property purchased through Harker's company) to meet, woo, and win Mina – who bears a striking resemblance to Vlad's lady-love from long ago – all the while sating his lust for blood and bedding with little Lucy-slut. Lucy begins to degenerate from her suck and sex to the point where Dr. Jack contacts his old colleague Dr. Abraham Van Helsing (Anthony Hopkins, spectacular as always) to help him treat her. It is quickly discovered that something mystical is afoot, much to the disbelief and chagrin of Lucy's suitors. Mina is busy living it up with Vlad (who she knows as a prince, not a count) in lieu of Jonathan's presence until she receives a telegram from Romania: Jon is alive and recovered after his ordeal and asks that she come to marry him post haste. Mina rushes off leaving Vlad a – ironically enough – "Dear John" note. He is displeased, slaughtering Lucy and raising her as one of his immortal killers. Lucy's suitors, as well as a very in the know Van Helsing, team up to make sure Lucy stays dead and to hunt down the beast that cursed her. Returning to complicate things are Jonathan and Mina Harker to join the hunt against Dracula, Mina's Prince. The unparalleled Gary Oldman displays great range in his performance from lowest point of sorrow and despair to the highest moment of ecstasy and joy and from old withered creature to vibrant young man. Hopkins is likewise a joy (as always) and the other standout performance would be Tom Wait's Renfield. The movie as a whole has a strange dream-like quality to it, punctuated by its rousing score and sometimes playful special effects (watch the backgrounds and shadows when Dracula and Jonathan Harker are in Dracula's castle). All in all, this Dracula is far more complex and interesting a story than any other iteration of the same legend. email this review to a friend
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