Artsy kaleidoscope version of a Gothic classic.

Rating: 9/10 (11 December 2004)

Though not the most faithful version to Stoker's novel, Coppola's lavish cinematic effort is sumptuously detailed and well written. James V. Hart's screenplay retains many aspects of the original novel not seen in other Dracula films, but imposes a love story between the legendary vampire and the story's heroine, Mina Murray. Diverting from the original monstrous figure terrorizing Victorians in the 1897 book, this movie portrays Dracula as a more romantic anti-hero pursuing his immortal love.
Gary Oldman's performance as Dracula alone is worth watching; his transition from ancient, eccentric recluse to dark, dashing gentleman is seamless. His sympathetic portrayal, along with brilliant costume design and make-up effects, breathe new life into a very familiar character.
At the film's opening, we are introduced to the historic mercenary who inspired Dracula, Vlad the Impaler, offering an origin for Dracula's cursed immortality--the suicide of his beloved wife causes him to renounce God. Some 400 years later in Victorian London, young solicitor Jonathan Harker sets off for his ill-fated trip to Transylvania. (Keanu Reeves' stoic performance, though not brilliant, actually works here as the repressed and reserved Victorian gentleman.) While Harker assists in Dracula's purchase of London property, he shows the count a picture of his fiancé Mina, which sets up the film's love story--Mina reminds him of the wife he lost centuries ago.
While much of Stoker's plot is retained and respected, the film's bent on portraying Dracula and Mina as star-crossed lovers imposes a tension between the two not originally intended by Stoker that often leads to artificially sentimental dialogue and scenarios. After Dracula imprisons Harker in his castle, he sails to London and courts Mina in scenes completely invented for the movie (strolling to the cinema, waltzing by candlelight). Meanwhile, Dracula is attacking Mina's close friend, Lucy, whose mysterious illness from Dracula's visits is actually the central part of the novel. When Lucy's condition worsens, her three suitors (all included for the first time in any film version) call upon metaphysical guru Professor Van Helsing, the Obi One Kanobi of the Dracula legend. As Dracula desperately romances Mina, Van Helsing gathers the incredulous gentlemen together in a hunt to vanquish the vampire and, in consequence, love's fulfillment.
The film's treatment of the book is better than most, but what really sets this version apart is its artsy cinematography. It's very mesmerizing--the story is told in a sort of dream-like kaleidoscope, with transitions that vary from fluid to frenetic. The romantic sub-plot, woven throughout the entire film, sometimes works in this style. When Dracula recounts his past to Mina over a glass of absinthe, images of his former bride falling to her death are collaged in the background. This one scene conveys the essence of the entire film--Dracula sees Mina as his last hope for rekindling his lost love.
This film is an opulent visual feast that fluctuates from faithful literary homage to complete artist license--with a few moments of contrived dialogue and unforgivable sentiment--that ultimately shines as a beautiful cinematic masterpiece.