Super Reviewer ½ Dracula: Listen to them: the children of the night. What sweet music they make. "Lord Never Dies" After just recently reading Dracula for the first time, I thought I'd give Francis Ford Coppola's film another look. This is a pretty faithful adaption altogether, albeit with the sexual subtleties from the book thrown out. The subtleties aren't there when it comes to sex anymore. There's a lot of nudity, a lot of sex talk, and innuendo thrown in throughout this Dracula adaption. Same story as every other Dracula. Jonathon Harker is sent to Transylvania to meet with, and care for the purchases of Count Dracula. Once in his castle, Jonathon notices a lot of unusual things with the Count and his home. Soon Dracula leaves for London. Once there he begins corrupting the women as he begins his takeover of London, England, while also trying to get Harker's wife, Mina, to himself. The cast isn't perfect in this one and neither are the characters. Keanu Reeves feels so out of place in this movie.

Van Helsing, like every other Van Helsing character, doesn't really feel like the character from the book. I like Anthony Hopkins and he's good here as well, it's just not the true Van Helsing. Winona Ryder is a decent, but unsatisfactory, Mina. Gary Oldman is the selling point and is great as Dracula. Altogether this is a really good Dracula adaption. It has its share of problems for sure, but the terrific cinematography, music, and atmosphere of Coppola's horror epic, more then make up for the small problems. Melvin White Super Reviewer ½ Coppola tries so hard to make something stylish above anything else that his film seems like a ludicrous comedy, with so many laughable camera movements, ridiculous overacting and cheesy effects in a mostly incoherent adaptation of what is supposed to be a terrifying story. Carlos Magalhães Super Reviewer In his rather extensive career, Francis Ford Coppola has given us some of the most iconic, famous, and history changing films from The Godfather Trilogy (yes, I do adore Part III. Get over it) to Apocalypse Now to The Outsiders.

With every film he has made, he always makes them completely different from one another in terms of his style, direction, and power; constantly pushing the envelope on how to make a film. With Bram Stokerâ(TM)s Dracula, Coppola enter gothic territory with a film adaptation on the famous Gothic Horror novel that has spawned countless film adaptations, subgenres, and has been a benchmark in pop culture. With this adaptation, Coppola gives us something Dracula fans have been wanting: a serious, faithful, and gorgeous adaptation that does not copy the legendary 1931 Dracula nor goes to all of the stereotypes. Instead, we get something fresh, new, and original. Of course, the main reason why this film is so great is not really due to Coppolaâ(TM)s direction. More so, it is due to Gary Oldmanâ(TM)s performance of the title character. Recreating the character to be more based off of the historic ruler Vlad the Impaler, Oldman makes his Dracula more romantic, more powerful, and more terrifying while not doing what so many other actors have done and try to mimic the performance of Bela Lugosi.

Yes, Gary Oldman is over the top in this performance, overacting as so many actors in vampire films tend to do (really, it is difficult not to overact in a vampire film), but he adds a passion, sorrow, and evil into the character that really makes you pity him. When Vlad is a human, you feel his anger and hatred for the world and his hatred for God due to the events that have happened. With this in mind, Gary Oldman gives a performance that is still powerful today as it was when this film first came out. Many have tried to copy his tortured performance, and all have failed. Another actor that I need to mention is Anthony Hopkins as Van Helsing. To be honest, I was shocked at how cold, frank, and just humorous he makes the character. Typically the character of Van Helsing is meant to be serious, old, and kind of a bore. But Hopkins, he makes the name Helsing be as cool as it sounds. Everything he is on screen, he delivers his lines, his movements, his entire persona with such a likeable charm that you canâ(TM)t help but laugh when he says something so macabre that it disgusts the characters. Truly a likable performance.

With the other actors and actresses, they are all okay. Nothing really stands out about any of them, and this is sad because there is SO much potential. Why Coppola decided to focus on the acting of two characters, I donâ(TM)t know. Even more so when there is so much time dedicated to Mina Harker (Winona Ryder) and I would have liked it if she was more developed as a character. It is quite sad, but regardless, we have already two powerhouse performances that are enough to carry this film as far as it was carried. The aspect of this film that took me the most is the makeup effects on Gary Oldman as the old Dracula, the Werewolf Dracula, and the Vampire Dracula. With every variation, I found myself spellbound at how wonderful and breathtaking each version was. To say that the makeup team did not waste their time would be an understatement. Another aspect I want to talk about is Coppolaâ(TM)s direction. As mentioned earlier, Coppola has a tendency to use different styles with his films to get the story across. With Dracula, I liked how he handled the prologue, the romance, and the ending of the film.

However, some aspects are a little left to be desired. Like the scene where the Werewolf Dracula seduces Lucy in the garden. Personally, the direction was a bit confusing while you still got the point across. Things like that were a tad bit odd, but for the most part his dirction is pretty good, but he should probably not do Gothic Horror again unless he decides to fix some of the few problems he has with this filmâ(TM)s direction. In the end, this is the Dracula we have been waiting for: dark, creepy, romantic, fresh, and new. Granted, there are some aspects that are left to be desired, Coppola does direct Oldman and Hopkins in powerful performances that breathes new life into their characters and the impact of Coppolaâ(TM)s film has had on vampire films in general is still apparent to this day. Zach Brehany Bram Stoker's Dracula (1992) | Adaptations Wiki | Fandom powered by Wikia Bram Stoker's Dracula (1992) Share Ad blocker interference detected! Wikia is a free-to-use site that makes money from advertising.

We have a modified experience for viewers using ad blockers Wikia is not accessible if you’ve made further modifications. Remove the custom ad blocker rule(s) and the page will load as expected. Dracula directed by Francis Ford Coppola is a 1992 adaptation of Bram Stoker's novel Dracula . Though there are many analyses concerning this popular film, it is especially interesting to discuss it as an adaptation. Situating Coppola's Dracula in Adaptation Edit The film claims a sort of fidelity to the well known parent text written by Bram Stoker with the posters and movie covers showing the title as Bram Stoker's Dracula, but the film itself is not concerned with absolute fidelity. Many of the scenes and plot lines are recognizable from Stoker's novel, but character presentation and overall plot structure have been tweaked and even completely overhauled in some respects. For a film that almost boasts of its fidelity to a previous text, it may seem strange to find that Coppola has changed Dracula into a love story between Mina and the Count (or the prince as Mina calls Dracula throughout the film).

It may even seem odd that Coppola mostly follows the text except when it comes to Mina's character including the original ending created by Stoker in which Mina and Harker have a child. The fact of the matter is that Dracula(1992) is a creation of Coppola, the actors, and the studio in which it was produced, so it will obviously have a focus and purpose different from that of Stoker. Though a majority of the plot and characters are obviously from Stoker's novel, the images, the dialogue, the acting, and the love story are obviously creations of the studio which was inspired by the progenitor text and other horror or monster films that came before them. This fact does not keep Coppola's film from being an adaptation, because change is just the nature of the beast. Different mediums, different audiences, and different purposes will keep an adaptations from being "exactly" the same. The intention to supplement (as Jacques Derrida defines it) a progenitor text seems to be the criteria for considering a text to be an adaptation. Coppola's intention to add to the well known story situates the text as an adaptation regardless of his claims to follow the book faithfully.

To discuss what the 1992 Dracula changed and why is not to discuss the importance of adaptation fidelity, but to discuss the the various ways those changes affect the narrative. It seems that the studio wanted to focus on Dracula as a monster and a being that was once human who can love and is vulnerable. For some viewers this iteration of Dracula as a complex being who may have fallen from grace yet still holds some human emotions is entertaining, or at least more interesting as a main character than a simple cold-blooded killer, but for others Coppola's rendition of the character of Dracula is ridiculous and incompatible with the character's history and mythos. For Coppola, the intrigue of Dracula is not so much the violence and the predatory nature of the creature, but his power of seduction and the little bit of humanity that may conceivably still remain in a being that was once human. What does Coppola's version of Dracula bring to the tale other than a different level of interest for the viewer? Is it a commentary on the nature and experience of being human or simply living as an intelligent being?

It could be argued that Stoker's novel explores the complexity of human desire and the graying of the lines between gender, sexuality, and morality, so it could also be argued that Coppola's Dracula supplements this subtext of the progenitor text by extending this exploration to the supernatural and most interesting character of Dracula. Dracula, as played by Gary Oldman in the 1992 film, is now the focus of interest and the space in which the modern audience can more freely, tearfully, and fearfully explore these questions. ==Sexuality and Love== If there is one aspect of which one could say that Dracula (1992) stays close to its predecessor it is in the focus on gender and sexuality. In a similar spirit to the text that inspired the film, Coppola and company depict images of writhing women, ambiguous sexuality, bestiality, infidelity in marriage, and especially lusting or longing for an embrace and/or penetration (of the teeth of course) for both men and women. Mina and Dracula The studio obviously wanted to focus on the infinitely interesting character of Dracula, they also wanted to focus on the never ending discussion of sexuality, and especially female sexuality.

Lucy's sexuality and desire figures much more prominently in Coppola's Dracula than Stoker's as Lucy writhes and moans on her bed after Dracula's nightly visits to her room. She is clothed in red and her breasts are bare. It is the sexualized body of Lucy that Coppola presents to us instead of the slow draining of life that Stoker focused on. The female sexuality is what is presented as terrifying and unnatural instead of the constant loss of blood. It is titillating for the audience, but it also suggests that female sexuality is what Coppola desired to be the main focus of the narrative. Mina's sexuality is also on show as she moans and gyrates, but she tends to be more clothed than Lucy. Mina is not presented to the audience as a sexual being for the sake of show, but her desire is directed toward the Count. This sort of love that Coppola has framed his version of Dracula with is not a "virtuous" sort of love, but a noticeably sexual sort of love. This aspect of the relationship between Mina and Dracula does not seem to be considered a negative aspect.

As Mina attempts to protect her new beloved against the violence of her husband in the final scene the audience may almost feel pity for the lovers. Love, for these characters, is more than an agreement to enter into marriage, but involves sexual desire. Though Mina's previous courtship with Johnathan Harker was "innocent" and proper (i.e. no pre-marital sexual encounters) the audience is almost led to approve of the more passionate and sexual union between Mina and Dracula. This union between Mina and Dracula is shown in their swapping of blood in her bed instead of the sort of union we see between Dracula and Lucy which is blatantly sexual as the wolf-like version of Dracula is found between her legs. Mina and Dracula present a complicated relationship with physical passions that are somehow more than simple primal urges. Their union is presented as passionate and almost spiritual. Not only is love presented as an experience involving sexuality, but it also comes in multiple forms. Mina does not completely forsake her husband for this passion for Dracula, and Lucy is also presented as a character that desires multiple admires. Even Johnathan Harker experiences a desire to be touched by multiple women (the three vampire wives in Dracula's castle).

These scenes suggests a desire for love that goes beyond monogamy. Coppola even gives a quick scene of sexual passion between Mina and Lucy suggesting that some lovers need not be of opposite sexes. These portrayals of the different forms of love are still presented as "base" or "primal" urges, so it is difficult to suggest that these produce a positive discussion about the various kinds of commitments that humans can enter into, but it may indeed problematize the notion that heterosexual-monogamy is the preferred kind of commitment, especially of a sexual nature. Though this ambiguity about gender and sexuality can be interpreted from Stoker's novel, one can say Coppola focuses on this feature of the original more so than other adaptations, and in a more explicit manner with the visual and auditory presence of sexuality. Coppola also takes this a little further than Stoker by including the explicit scene of female same sex attraction. Another interesting note about the portrayal of sex is the fact that the women are the sexual instigators, instead of the men. This is an inversion of the assumed role of women as passive receivers of the passions of virile men.

If such sex roles are assumed to be proper or to reflect reality, the experiences and the desires of these characters are evidence to the contrary. Women sometimes desire multiple lovers (polyandry) and men sometimes desire to be passive or even penetrated themselves, as in Harker's case with the three female vampires. These seemingly inverted roles could be a space in which the audience can examine their preconceived notions about gendered sexuality, or they could be seen as unnatural enough to reaffirm previously held beliefs concerning appropriate sex roles based on gender. The film gives little reason to assume intentions leaning one way or the other. The sexualization of Lucy in the film also brings up the issue that to sexualize a person in this manner can effectively turn them into an object or a commodity to be consumed instead of a complex autonomous individual. Why did Coppola decide to only focus on Lucy's sexuality and mostly focus on Mina's rising desire as these two women become vampiric, yet Dracula, the only male vampire we see, is presented as a complex character with emotions beyond the basic lust for blood or sex? It is here that we can see the male gaze in action.

Once women have been sexualized by a male (Dracula or the default assumption of the audience as male?) she is made an object that can be used. This is not a gender necessity, but this is a phenomenon that has been witnessed in mass productions of western culture and art, and we see it in Dracula (1992), Such sexual tension excites an audience obviously drawing in paying customers, but it also gives the viewer a world in which they can explore gender binaries and what it means to desire or love. Whether we discuss polygamy, polyandry, feminine qualities in men, homosexuality, or the kind of consumption/commodification of a person caused by sexualization and desire, this adaptation brings the same issues that subtly exist in Stoker's work to the viewers eye. This visual medium of film makes such issues explicitly and almost corporeally present or obvious such that one cannot unsee it. The medium of film almost requires the sexuality from the progenitor text to be made overt in the adaptation of the narrative to film. ==Adaptation, Allusions, and Appropriation== Though Coppola's work explicitly claims to be an adaptation of Stoker's work, there are many other works influencing the film as well.

All texts are intertextual in a manner of speaking, so Coppola's text is no exception; it is a product of what came before it. Such allusions and appropriations seem to reflect other horror films of the time such as The Exorcist with a focus on intense phrases invoking Christ and projectile vomiting (such as Lucy vomits blood as Hellsing invokes the name of Christ. Lucy's violent expulsion of blood as Hellsing invokes the power of the cross). Such allusions give the audience, and especially an audience that is unfamiliar with Stoker's novel, an image that they are familiar with as a way to evoke horror as well as enjoyment. These allusions to other horrific or supernatural films work to supplement the original text as a narrative that visually belongs to the ever growing and changing body of texts (film, novels, graphic novels, etc.) that an audience would associate together as Horror or Gothic. ==References== Bram Stoker's Dracula - Movies & TV on Google Play Bram Stoker's Dracula Item added to wishlist. Item removed from wishlist. You will receive an email when your movie becomes available. You will not be charged until it is released.

( 611) Synopsis Gary Oldman, Winona Ryder and Anthony Hopkins star in director Francis Ford Coppola's visually stunning, passionately seductive version of the classic Dracula legend. In BRAM STOKER'S DRACULA, Coppola returns to the original source of the Dracula myth, and from that gothic romance, he creates a modern masterpiece. Gary Oldman's metamorphosis as Dracula who grows from old to young, from man to beast is nothing short of amazing. Winona Ryder brings equal intensity to the role of a young beauty who becomes the object of Dracula's devastating desire. Anthony Hopkins co-stars as the famed doctor who dares to believe in Dracula, and then dares to confront him. Opulent, dazzling and utterly irresistible, this is Dracula as you've never seen him. And once you've seen BRAM STOKER'S DRACULA, you'llnever forget it. (Original Title - Bram Stoker's Dracula) © 1992 Columbia Pictures Industries, Inc. All Rights Reserved. My review This luscious film restores the creature's nobility and gives him peace.

Todd McCarthy Overall, this Dracula could have been less heavy and more deliciously evil than it is, but it does offer a sumptuous engorgement of the senses. Jonathan Rosenbaum A somewhat dispersed and overcrowded story line that remains fascinating and often affecting thanks to all its visual and conceptual energy. This lack of a convincing central dynamic leads to the occasional sense that the film is little more than a spectacular edifice, but you'll be too spellbound to resist seduction. Vincent Canby With Dracula it's apparent that Mr. Coppola's talent and exuberance survive. Hal Hinson It is Coppola's most lavish and, certainly, his most flamboyant film; never before has he allowed himself this kind of mad experimentation. Critic reviews Full Review Todd McCarthy Overall, this Dracula could have been less heavy and more deliciously evil than it is, but it does offer a sumptuous engorgement of the senses. Full Review Jonathan Rosenbaum A somewhat dispersed and overcrowded story line that remains fascinating and often affecting thanks to all its visual and conceptual energy.

Full Review Hal Hinson It is Coppola's most lavish and, certainly, his most flamboyant film; never before has he allowed himself this kind of mad experimentation. Full Review Roger Ebert The movie is an exercise in feverish excess, and for that if for little else, I enjoyed it. Lizzy Dotson May 14, 2016 Masterpiece at work. Blood ...Gore.. Tragedy ... Heart ache .must see Full Review Judy Goelzer September 4, 2016 Geez, is Prince what's his name Johnny Depp? Lol! Anthony Hopkins was a perfect choice for Abraham Van Helsing in my book. And that guy who played Dracula? He was awesome! Keeneua Reeves was amazing, too! Oh, let's not forget Winona Ryder! This is how Dracula was meant to be. I mean, blood, Gore, heartbreak! Full Review Mac Taborn September 3, 2016 BRAM STOCKERS DRACULA This movie captured the deep emotional wounds that love has left, even over centuries of time. And what any of us would have done in order to have it returned.

Cosmin Cristani October 28, 2016 Favorite film of all time. Breaks my heart. 💜 Full Review Marc Morgan November 26, 2015 Best Dracula Ever This Gothic masterpiece showcases Gary Oldman's superb acting. Johnny Depp would have been a much better choice than Keanu, whose English accent and acting are abysmal, though. Winona was a delightful surprise. Anthony Hopkins has a field day. Full Review Steven Nicolet October 29, 2014 A Love Story This is one of my all time favorities. It has an all star cast and it combines a horror movie with an underlying love story. The cinematography is amazing. This movie has a certain unique classic style. It really was not what I expected to see the first time I watched it. You know it's something special when you want to watch this film over and over again. Full Review Nair Haile February 4, 2016 Coppola's Delight As a proud black ETHIOPIAN goth and film nut, I have to execute my favorite movie in a positive light, and this particular vampire classic has it all....

Full Review Vita Martinez October 26, 2015 Loved it At first it was a little hard to understand, but when u get it, U will love it Dale Kipple October 27, 2014 How it should be This is the vampire story I grew up with. Full Review angela jensen March 27, 2014 Love this movie Best vampire movie since Interview with a vampire!:) A horror classic it was dark yet beautifully crafted ! Great book as well one of my favorite movies !;) Nelson Hicks October 25, 2015 Phenomenal Not even keanu Reeves horrible performance could ruin this Gary oldman should have won an Oscar Richard Ellington, Jr. August 12, 2015 Bram stroker's DRACULA. Francis Ford Coppola. Theatrical& progressive art film. Full Review Luis Encarna February 27, 2015 Top shelf of a movie, the best ever made.No ifs or Buts, simply the Best, Gary Old man is the man here .Good acting all around Full Review Tiger Dee February 24, 2016 Personal favorite! Love THIS movie.

Best Dracula ever. Awesome cast! Gary Oldman & Winona Ryder & Keanu Reeves were a dynamic trio lol. Beautiful love horror story. Stephanie Crabtree February 22, 2016 This movie was superb. A recollection of the original vampire. This is where it all started. LORI KNIGHT September 25, 2016 Bram Stokers Dracula Could watch it over and over . Full Review Abby Mitchell December 9, 2014 Classic A classic done just right. The gore and dark supernatural mystery tie in perfectly. The only way "Dracula" should ever be done. Full Review Taunya Gehl October 24, 2015 Bram Stokers Dracula is a very good and great movie.... Anthony Hopkins,wynona rider & K. Reeves bring the movie together with Gary Oldham love this movie👍👍👍💜 X ORTIZ January 24, 2015 B.S.'s DRACULA BRAM STOKER...that is!

Siarrah Carlton December 19, 2015 One of my favorite movies growing up, finally get to see it again Best dacula ever seen Jackson Scheele September 20, 2014 Terrible I loathe its existence. Wesley Smith December 19, 2014 Bram stoker's Dracula The Best Dracula movie i have seen in all my years of movies Shane Jarrett September 12, 2014 Bram Stoker's Dracula One of the best vampire movies of all time Full Review Crystal Vidana September 15, 2015 Awesome movie. I had it when it was on cassete !!! And now the cd. The best dracula ever! Michelle Smith June 10, 2015 Great romance long awaited reunion by one s love .to end the way it did April Davis February 26, 2016 Romance I love this movie. Its one of my favorite vampire movies.

Full Review Haily Randolph December 3, 2014 Dracula was the best movie ever Love this movie because Gary oldman did the best acting I ever saw Anndria Turner April 1, 2016 I have loved this movie every day since I watched it in the theaters. &lt;3 Cindy Murray May 24, 2015 Cm This is awesome the best Dracula ever no other could top this movie Anitra Spencer November 2, 2014 Great movie!!! I love it all the more every time I watch it. Carol A April 30, 2016 Passion Get the soundtrack. Melissa Ortega May 15, 2015 Bram Stoker's Dracula Vincent Zambuto March 31, 2014 Bram smokers dracula Very good movie, they should have more of the Castle in it,,,, Enjoy!!!!! Full Review Leslie Jones February 3, 2015 AMAZING I have watched this over and over and I still love it. I highly recommend this movie.

Lemone Hammock October 22, 2015 Yes Please My selection for best Dracula interpretation ever done Eric Bencs November 1, 2014 Passionate and violent!!! justin thorne October 29, 2014 One of my very favorite movies for the past 22 years. Lily Mae Rubalcaba September 20, 2014 Love it When I was 3 I watched this and I've loved it ever since ♥ Cesar Guzman September 11, 2014 Dracula Me rrecuerda a my Nilesh Bajaria August 6, 2014 Stellar performances.. Video - Bram Stoker's Dracula (1992) Trailer | Dracula Wiki | Fandom powered by Wikia Bram Stoker's Dracula (1992) Trailer 306pages on Click on a date/time to view the file as it appeared at that time. Date/Time created video Metadata This file contains additional information, probably added from the digital camera or scanner used to create or digitize it. If the file has been modified from its original state, some details may not fully reflect the modified file.

title Bram Stoker's Dracula (1,992) Trailer published Bram Stoker's Dracula (columbia) Diretor: Francis Ford Coppola Elenco: Gary Oldman; Winona Ryder; Anthony Hopkins; Keanu Reeves; Richard E. Grant Drácula de Bram Stoker é um filme de 1,992,[1] baseado na obra literária de Bram Stoker, escritor irlandês. O filme é dirigido pelo renomado diretor Francis Ford Coppola, também diretor de O Poderoso Chefão, Apocalipse Now, O Poderoso Chefão 2, Cotton Club e Peggy Sue trailerrating Dracula creator Bram Stoker born - Nov 08, 1847 - HISTORY.com Dracula creator Bram Stoker born Share this: Dracula creator Bram Stoker born Author Dracula creator Bram Stoker born URL Publisher A+E Networks On this day in 1847, Bram Stoker, author of the horror novel “Dracula,” is born in Clontarf, Dublin, Ireland.

Stoker’s villainous, blood-sucking creation, the vampire Count Dracula, became a pop-culture icon and has been featured in hundreds of movies, books, plays and other forms of entertainment. After overcoming a childhood filled with health problems that frequently left him bedridden, Stoker graduated from Trinity College in Dublin. He then worked for the Irish Civil Service while writing theater reviews for a Dublin newspaper on the side. His drama reviews brought him to the attention of Sir Henry Irving (1838-1905), a tall, dark and well-regarded actor of the Victorian era who was said to have served as an influence for Stoker’s Count Dracula. Stoker eventually became Irving’s manager and also worked as a manager for the Lyceum Theater in London. He published several horror novels in the 1890s before the debut of his most famous work, “Dracula,” in 1897. Set in Victorian England, “Dracula” is the story of a centuries-old vampire and Transylvania nobleman, Count Dracula, who roams around at night biting the throats of human victims, whose blood he needs to survive.

The concept of vampires didn’t originate with Stoker: These mythical creatures, who cast no shadows, have no reflections in mirrors and can be killed with a stake through their hearts, actually first appeared in ancient folklore. English writer John William Polidori’s 1819 short story “The Vampyre” is credited with kick-starting modern literature’s vampire genre. Stoker’s novel has been adapted for the big screen several times. An unauthorized version of the book was made into a 1922 German film, “Nosferatu.” In 1931, Universal Pictures released the well-received “Dracula,” which starred Hungarian-born actor Bela Lugosi (1882-1956) in the title role. (The Library of Congress later labeled the movie culturally significant and added it to the National Film Registry.) Universal went on to release such related films as “Dracula’s Daughter” (1936), “Son of Dracula” (1943) and “House of Dracula” (1945).

In the 1950s, 60s and 70s, English actor Christopher Lee (1922-) starred in a series of Dracula productions from Hammer Films, including “Horror of Dracula” (1958), “Dracula: Prince of Darkness” (1966) and “Scars of Dracula” (1970). In 1992, director Francis Ford Coppola (“The Godfather,” “Apocalypse Now”) had a blockbuster hit with “Bram Stoker’s Dracula,” which featured English actor Gary Oldman (1958-) in the lead. The Dracula oeuvre also includes such productions as the 1972 blaxploitation film “Blacula” and director Mel Brooks’ 1995 parody, “Dracula: Dead and Loving It,” starring Leslie Nielsen (1926-). The vampire genre as a whole has proved to be box-office gold in Hollywood.

In 1994, Anne Rice’s 1976 novel “Interview with the Vampire: The Vampire Chronicles” was made into a hit movie starring Tom Cruise (1962-) as the vampire Lestat. In 2008, the big-screen adaptation of “Twilight,” author Stephenie Meyer’s 2005 best-selling vampire novel for young adults, scored big at the box office. Bram Stoker died at the age of 64 on April 20, 1912, in London. He published other novels after “Dracula,” but none achieved the same level of success. Related Videos Watch Dracula (1992) Online Free - PrimeWire | 1Channel Posted by siamesekitty 4 years, 10 months ago +6 | +7 / -1 A beautiful romance story. I wanted Dracula to have the girl. Gary Oldman is a really good actor. Anytime I see he is in a movie I will watch it.

Posted by HalliBot1138 2 years, 9 months ago +4 | +4 / -0 This has always been one of my all time hands down favorite Vampire movies/Love stories. Gary Oldman and Winona Ryder were wonderful; although I did feel she could have done a little more work with her &quot;English accent&quot; though. Keanu Reeves was alright, but in my opinion Gary Oldman made this movie what it was. I loved the Cinematography, the wardrobe, scenery, and story-line. 5/5 Posted by GinnyWinchester 5 years, 10 months ago +4 | +4 / -0 i was 4 or 5 when i first saw it, and my god, i love it, always have :) Posted by lauranbvc 1 year, 11 months ago ( Edited 1 year, 11 months ago ) +3 | +5 / -2 Gary Oldman was very prompt, eerie and stylish in his role as the Count Dracula. His many transitions regenerated and brought excitement to the undead role. He made the highly popular vampire his own. It is reasonable faithful to the original story, however material has been added.

The reincarnation story involving Mina Harker was bold but paid out well and kept in tune with the story. I didn't like the actress that played Lucy, the character was too sexualised. In my understanding after reading the novel she was meant to be sweet, pure and innocent. As for my verdict, I was entertained and pleased by this adaptation. It had great gothic presence, beautiful costumes, a nice soundtrack and decent acting. Posted by Brissygirl 5 months ago +2 | +2 / -0 I don't think this is as good as I remembered but Gary Oldman was HOT back in the day! Posted by CultChristi 2 years, 1 month ago +2 | +2 / -0 Gary Oldman and Christopher Lee are the only Dracula versions i'll ever recognize. This movie is timeless. A Coppola classic for sure. Posted by JOKERS_WILD 2 years, 11 months ago +2 | +2 / -0 A stylish and bizarre mix of the very good and the cripplingly bad. Watch if you can handle some absolutely atrocious accents.

Posted by nicolafinucane09 3 years, 4 months ago +2 | +2 / -0 I love how awfully tacky this version is!!! I love Winona Ryder so can forgive some of her erm...'acting' her Beauty makes up for any misgivings! Gary Oldman as Dracula-FABULOUS! Not so much impressed with Keanu Reaves :/ Its a fun movie to watch if u haven't yet seen it, give it a chance &amp; I'd be surprised if u don't like it!! =] 5 Stars from me =] =] =] Posted by joeych1 3 years, 6 months ago ( Edited 3 years, 6 months ago ) +2 | +2 / -0 One of the better Dracula films, it wasn't so much Winona as much as it was Keanu that didn't do their parts well... I do like him as an actor, so I'm not really hating, but . . . I don't think he did his part well, and Winona too could have done better. Gary Oldman carried the movie . . .

8+/10 Posted by luvlinguae 4 years ago ( Edited 4 years ago ) +2 | +2 / -0 Some may find this film corny or melodramatic, but it's truer to the Victorian romantic novel style that Bram Stoker wrote in. My only complaint is in regards to the bad British accents by Winona Ryder and Keanu Reeves. Couldn't they have found Brits to play the part of Brits? Posted by Zenspider 4 years, 3 months ago ( Edited 4 years, 3 months ago ) +2 | +3 / -1 I am sorry too disagree with everyone who liked this but I was hugely disappointed, for I wanted too like it so much. With Keanu Reeve's dodgy accent and they some how managed too dull down Winona Ryders's beauty and as for Anthony Hopkin's over the top hammy Van Helsing. Oh dear! The saving grace is Gary Oldman as Dracula. Wonderful performance! I recommend that you watch it for that alone...

Posted by vladimir7728 5 years, 10 months ago ( Edited 5 years, 10 months ago ) +2 | +2 / -0 After seeing The Matrix, I can't take this movie seriously because I keep expecting Neo, I mean Keanu Reeves, to become cooler at any moment. Also you don't mess with Dracula Johnathan, I love how He completely ignores the garlic when He turns Lucy into a Vampire, He'll rape your wire and kill your friends. Very close to my favorite novel of all time. 9/10 Posted by Capnluci 6 years, 5 months ago +2 | +2 / -0 Now that's a real vampire story!! Those who think Twilight is the best vampire movie obviously hasn't seen this and I feel sorry for them. This has definately done the book justice and couldn't of had a better cast. Watch It.

Deep Focus Review - Re(focused)views - Bram Stoker's Dracula (1992) Bram Stoker's Dracula (1992) Cast: Gary Oldman, Winona Ryder, Anthony Hopkins, and Keanu Reeves Rated: R Original Release Date: 11/13/1992 Bram Stoker’s Dracula opened in 1992 and marked the first significant box-office victory for director Francis Ford Coppola outside of his Godfather trilogy, although the film was not as warmly regarded as attended. Developed and marketed as a faithful adaptation to Stoker’s 1897 novel, the outcome contains several scenes straight from the book and not typically included in earlier film adaptations. Yet, Stoker’s vision was unquestionably renovated to meet not only Coppola and writer James V. Hart’s preoccupations, but also the 1990s culture to which the film was being sold. Their approach turned many moviegoers away by failing to provoke genuine scares, and instead strummed the classic tale for its romanticized and sensual themes over the pure horror approach of so many earlier adaptations.

But, ornamented with incredible visual and technical bravado, Coppola’s film is a dramatic, literate visual feast of operatic excess to be savored for its finer qualities. Hart’s script was first brought to Coppola by star Winona Ryder, who sought to make amends with the director after dropping out of The Godfather, Part III on short notice. Much like his third Godfather effort, Coppola saw the project as a moneymaking device through which he could prevent his production company, American Zoetrope, from falling into bankruptcy. Similar motivations drove Coppola to helm Jack (1996) and The Rainmaker (1997), yet unlike those efforts Coppola let his imagination out to play here. Grandiose in both in its emotion and brimming, Victorian Gothic stylization, perhaps Coppola’s film does not belong in the horror genre in the modern sense. It contains no Boo! or Gotcha! moments (for instance, those found in other “vampire dramas” Interview with a Vampire and Let the Right One In ).

Of course, elements of horror such as Dracula’s monstrous manifestations (as a wolf-man and bat-creature) and gallons of blood fill the screen, but these are employed in a metaphoric sense rather than to evoke terror in the viewer. Coppola and Hart present the titular character as a sympathetic villain, not unlike Michael Corleone in Coppola’s Godfather films. Instead of horror, Coppola delivers a love story (complete with marketing tagline: “Love never dies”) told with vibrant imagery and one of the first cinematic Draculas to be more than a ghoulish bloodsucker. Though many critics admired the energy and visual inspiration Coppola instills into his adaptation—most notably Oscar winning costumes by Ishioka Eiko and gorgeous production design by Thomas Sanders and Garret Lewis—few considered it a faithful translation of Stoker’s book. Coppola’s tone was believed too romantic, his Dracula too human, and his narrative more about style than substance.

Desson Howe of the Washington Post called the film “an intricately designed bag of wind” and the critic for Empire Magazine asked “Has a film ever promised so much yet delivered so little?” Even though the majority of critics gave positive reviews, their critiques censured Coppola for his lack of adherence to the novel. Roger Ebert wrote, “The one thing the movie lacks is headlong narrative energy and coherence.” Moreover, Coppola’s inspirations came more from other films about Dracula than Stoker’s novel. Details like Dracula’s line “I never drink… wine” had originated with Tod Browning’s Dracula in 1931. More than any one particular element within the film, detractors took greater issue with the pre-title “Bram Stoker’s”, given Coppola and Hart’s considerable liberties with the material. A handful of critics proposed the film should’ve been named Francis Ford Coppola’s Dracula. And perhaps they are correct.

(It’s probable Columbia Pictures chose the title because Universal Studios still owned the rights to the title “Dracula”.) Amid the usual Hollywood deviations in book-to-film adaptations, Hart’s added prologue is set in 15th century Transylvania and identifies Prince Vlad Dracul (Gary Oldman) as a man so heartbroken that he renounces God and vows to avenge his fallen princess by triumphing over death to become a vampire. Hart also implies a parallel between Dracula’s princess Elizabetha and 1897’s Mina Murray (both played by Winona Ryder), suggesting Dracula’s deathly quest is more about recovering his former love than creating an army of vampires in London (his scheme in Stoker’s text). The film’s Dracula seems almost content in his Transylvania castle until drawn to find his long lost princess’ London-bound double, Mina. Any mention of spreading vampires throughout the modern world is secondary, except in scenes with Tom Waits’ exceptional rendition of the madman Renfield, when he arrives and begins his affair with Mina.

Truly cursed, Coppola’s Dracula searches for redemption instead of satisfying his bloodlust like his cinematic predecessors and becomes a three-dimensional character instead of a monstrous “other” feared and despised by the audience. We understand him and empathize with him. As the plot unfolds, solicitor Jonathan Harker (Keanu Reeves) travels to Transylvania to finalize paperwork on Count Dracula’s real estate purchases all about London and finds himself held captive, where he’s raped and drained of life by Dracula’s vampiric brides. Meanwhile, Dracula sails to England to meet Mina, and, now appearing young and handsome, he assures that the two become lovers. There he infects Mina’s wealthy friend Lucy Westenra (Sadie Frost), and then finds himself hunted by Prof. Abraham Van Helsing (Anthony Hopkins), as well as Lucy’s trio of suitors: the cowboy Quincey Morris (Billy Campbell), the morphine-addicted Dr. Seward (Richard E. Grant), and her dignified fiancé Arthur Holmwood (Cary Elwes).

By the conclusion, Harker joins in their pursuit of Dracula as they confront him in a race to the Count’s castle where the infected Mina must put her lover to rest. As in Stoker’s book, sexuality defines the film’s characters in understated ways. Take the flirtatious Lucy, whose sexual preoccupation determines that she must become Dracula’s victim, as female sexual advances are deemed “unnatural” according to Stoker’s text, and thus goes punished; whereas, uncorrupted, Mina is his subject of love. Yet, scenes between Dracula and Harker in the castle have a certain intimacy. Their scene together where Dracula shaves Harker, their reflection in the mirror showing only the latter, suggests they are the same; Dracula’s reaction to Harker’s blood is orgasmic, whereas his reaction to Lucy or Mina’s blood are lesser so. This leads to a faint allusion that Dracula has been “doomed” to homosexuality, as well as an AIDS-relative blood disease by renouncing God. Certainly Stoker’s book hinted at Harker’s denial of, but undeniable pleasure in, his conflicting heterosexual urges with the vamp-brides.

Even Reeves’ wooden performance (the film’s most apparent and most oft-mentioned downfall), his utter lack of sexual chemistry with the willing Ryder, suggests his sexual ambivalence toward females. Audiences of the early 1990s considered Van Helsing’s discussions of blood transfusions and “infection” relative to their AIDS-fuelled panic at the time. And historians have supposed that Stoker viewed Dracula as the demonized Oscar Wilde after his prosecution for “the love that dare not speak its name”—which is to say, Stoker empathized with Wilde, to the degree that many historians believe Stoker himself was gay, and used his trial as inspiration for his horror tale. Coppola seems conscious of this connection (between blood disease, sexual uncertainty, religious punishment, and the deathly pursuit of someone who has been deemed doomed by God) and augments those themes in an indirect, perhaps even unintentional way throughout the film. Relevant if unconscious themes aside, Coppola’s story reacts less to early ‘90s AIDS hysteria and in fact permeates sensuality into the production, enhancing its romanticized mannerisms through an omnipresent theatricality.

When budget constraints forced Coppola to shoot on soundstages and special FX wizards told him modern technology couldn’t achieve the desired effects he wanted, Coppola made his most inspired decision and hired his son, Roman, to oversee second unit effects using old-fashioned techniques—not unlike the original Universal horror films like Dracula and Frankenstein, although enhanced with Coppola’s assured hand. Miniatures and models render the Carpathian Mountains and Castle Dracula and train sequences, whereas Victorian London is recreated with all the atmospheric detail Coppola could muster into a set piece. The opening sequence detailing Dracula’s battles in the Crusades appear as two-dimensional silhouettes shot against a matte painting; later we see the image repeated in London’s cinematograph using miniatures cut to perspective, a gorgeous but basic approach. Simple tricks like double exposures, projected images, and film stock played in reverse achieve some of the film’s eeriest effects, and yet these are methods that have been used since cinema began. Coppola’s most brilliant scenes in the film take place inside Castle Dracula, where the world does not behave as it should.

At Borgo Pass, a demonic carriage driver outstretches his arm and grabs Harker from several feet beyond its reach, lifting its passenger into the carriage. When Harker arrives at the castle, Oscar-winning sound effect design delivers whispers and unintelligible screams coming from all around us (a top-notch audio system makes home viewings all the more unsettling). Coppola projects vampire shadows onto the wall and they move independently of their owner, eager to break free of their master at any moment and strangle Harker. All around the walls move closer, trapping Harker in his other-worldly environment where mice crawl on the ceiling and mirrors cast no reflection of the Count. Aside from the appearance of blue flame outside the castle, all of the film’s effects were created using in-camera techniques and no computers. Seeing films like this makes one ache for the days before CGI, when filmmaker still looked to the past for cunning ways to achieve movie magic. It took only Coppola’s enlivened willpower to return to these undeniably effective methods, which could be used today except for the lacking ingenuity of young filmmakers.

Behind the artifice, Wojciech Kilar’s resounding score instills the film’s operatic sensibility by reverberating it into our bones during the film’s many climaxes. Amid the Oscars won for Bram Stoker’s Dracula, none were more deserved than those for costume design and makeup. Japanese designer Eiko captured elements of Kabuki Theater and Bela Lugosi mysticism in Dracula’s silky, crimson red robes, while the young warrior Dracula’s armor looks as though the skin was peeled from Vlad’s body to reveal the underlying musculature. Eiko would go on to design similarly-styled garbs for visionary director Tarsem ( The Cell , The Fall ). Likewise, makeup crew Greg Cannom, Michèle Burke, and Matthew W. Mungle create frightening body suits for Oldman, from his aged Dracula’s face (complete with Kabuki-inspired buns in his hair and furry palms) to the wolf-man and bat-creature designs. Only Rick baker has done better.

And, that Oldman is able to perform through such elaborate costumes and still render the most chilling Dracula onscreen since Lugosi remains a testament not only to the functionality of the costumes, but to Oldman’s incredible, deeply articulated performance (in the film’s long list of larger-than-life portrayals). Regarded from a purely technical perspective, it’s impossible not to slather one’s affections on the film’s finely tuned veneer. As for the story—the ingredient against which the film’s detractors have the most vocal opposition—its cohesion does not appear easily, but rewards the audience for handing over their reservations. In all truth, the story works better once the production’s splendid details have soaked into your memory after repeated viewings, allowing the romantic nature of the storytelling to take hold and the palpable wonders of the production to recede. With the enthusiasm of a film student hungry to use his vast knowledge of cinematic trickery, but with a master’s eye, Coppola constructed this elegant, stunning production that redefines Dracula with humanity imparted into its horror iconography. Blood and sensuality have very different meanings here than in typical vampire films where necks are sucked and hearts go staked for entertainment value.

Horror story and vampire tropes become components in this flawed masterpiece, whose grandiose staging embraces the bold imagery that made the legend what it is, and then infuses that boldness into every element of the production, resulting in an unparalleled and unforgettable telling of the Dracula drama in operatic terms. No doubt, Dracula is hot - Houston Chronicle No doubt, Dracula is hot By Everett Evans , Houston Chronicle Updated 4:40 pm, Thursday, October 9, 2014 Photo: Marie D. De Jesus, Staff Image 1of/24 Close Image 1 of 24 2014: The Alley Theatre's just-opened "Dracula" should be the talk of Houston's Halloween season, as it recreates famed illustrator Edward Gorey's spectacular sets and costumes from the hit Broadway production of the 1970s. Jay Sullivan and Elizabeth Bunch star as Dracula and his (ahem) love interest Lucy. less 2014: The Alley Theatre's just-opened "Dracula" should be the talk of Houston's Halloween season, as it recreates famed illustrator Edward Gorey's spectacular sets and costumes from the hit Broadway production ...

more Photo: Marie D. De Jesus, Staff Image 2 of 24 2014: "Dracula Untold," which opens at Houston-area movie theaters Friday, presents the Count's "origin story," with Luke Evans (right) as Vlad and Charles Dance as the Master Vampire. 2014: "Dracula Untold," which opens at Houston-area movie theaters Friday, presents the Count's "origin story," with Luke Evans (right) as Vlad and Charles Dance as the Master Vampire. Photo: -- Image 3 of 24 From the early days: After starring in "Dracula" on Broadway, and then in Tod Browning's classic 1931 film, shown above, Bela Lugosi would be associated with the character and the horror genre for the rest of his life. less From the early days: After starring in "Dracula" on Broadway, and then in Tod Browning's classic 1931 film, shown above, Bela Lugosi would be associated with the character and the horror genre for the rest of ...

more Photo: Tod Browning Image 4 of 24 William Marshall starred in the 1972 movie "Blacula," part of filmdom's "blaxploitation" cycle of the early 1970s. William Marshall starred in the 1972 movie "Blacula," part of filmdom's "blaxploitation" cycle of the early 1970s. Image 5 of 24 Vonetta McGee and William Marshall starred in the 1972 "blaxploitation" flick "Blacula." Vonetta McGee and William Marshall starred in the 1972 "blaxploitation" flick "Blacula." Image 6 of 24 Frank Langella garnered rave reviews and a Tony nomination starring in the 1977 Broadway revival of "Dracula." Frank Langella garnered rave reviews and a Tony nomination starring in the 1977 Broadway revival of "Dracula." Image 7 of 24 Frank Langella starred in the hit 1977 Broadway revival of "Dracula" - the acclaimed Edward Gorey-designed production on which the Alley Theatre's current staging is based.

Frank Langella starred in the hit 1977 Broadway revival of "Dracula" - the acclaimed Edward Gorey-designed production on which the Alley Theatre's current staging is based. Image 8 of 24 Frank Langella reprised his stage role as the bloodthirsty Count in director John Badham's 1979 movie "Dracula," opposite Kate Nelligan as Lucy. Frank Langella reprised his stage role as the bloodthirsty Count in director John Badham's 1979 movie "Dracula," opposite Kate Nelligan as Lucy. Image 9 of 24 Klaus Kinski starred in"Nosferatu the Vampire," German filmmaker Werner Herzog's 1979 remake of the silent screen classic. Klaus Kinski starred in"Nosferatu the Vampire," German filmmaker Werner Herzog's 1979 remake of the silent screen classic. Photo: handout slide Image 10 of 24 George Hamilton spoofed the bloodthirsty Count in the 1979 comedy "Love at First Bite." Former "Laugh-In" fixture Arte Johnson co-starred as Renfield.

George Hamilton spoofed the bloodthirsty Count in the 1979 comedy "Love at First Bite." Former "Laugh-In" fixture Arte Johnson co-starred as Renfield. Photo: handout Image 11 of 24 The 1987 movie "The Monster Squad" featured an all-monster cast with Gill-Man (Tom Woodruff Jr.), Count Dracula (Duncan Regehr), Frankenstein (Tom Noonan), Mummy (Michael Mackay)and Wolfman (Carl Thibault). The 1987 movie "The Monster Squad" featured an all-monster cast with Gill-Man (Tom Woodruff Jr.), Count Dracula (Duncan Regehr), Frankenstein (Tom Noonan), Mummy (Michael Mackay)and Wolfman (Carl Thibault).

Photo: handout slide Image 12 of 24 The deathless Count was showing his years by the time Gary Oldman starred in Francis Ford Coppola's 1992 horror spectacle, whose official title was "Bram Stoker's Dracula." (AP Photo/HO) The deathless Count was showing his years by the time Gary Oldman starred in Francis Ford Coppola's 1992 horror spectacle, whose official title was "Bram Stoker's Dracula." (AP Photo/HO) Photo: HO Gary Oldman played the title role in 1992's "Bram Stoker's Dracula." Gary Oldman played the title role in 1992's "Bram Stoker's Dracula." Photo: handout Image 14 of 24 Choreographer Ben Stevenson created a gothic-inspired "Dracula" for Houston Ballet in 1997. They last performed it in 2006. Choreographer Ben Stevenson created a gothic-inspired "Dracula" for Houston Ballet in 1997. They last performed it in 2006.

Photo: Jim Caldwell Image 15 of 24 Ballerinas with a bite: Ben Stevenson's ballet "Dracula" features an entire corps of brides who've been victimized by the thirsty count. Ballerinas with a bite: Ben Stevenson's ballet "Dracula" features an entire corps of brides who've been victimized by the thirsty count. Photo: Drew Donovan Image 16 of 24 Rudolf Martin starred as Vlad Dracula, the historical figure who gave Bram Stoker's Dracula his name, in "Dark Prince: The True Story of Dracula." Rudolf Martin starred as Vlad Dracula, the historical figure who gave Bram Stoker's Dracula his name, in "Dark Prince: The True Story of Dracula." Photo: Constantin Ailenei Gerard Butler starred in "Wes Craven Presents Dracula 2000." Gerard Butler starred in "Wes Craven Presents Dracula 2000." Photo: Marni Grossman Image 18 of 24 John Malkovich (left) and Willem Dafoe starred in 2001's "Shadow of the Vampire," which dramatized the controversies surrounding German director F. W.

Murnau's silent screen classic "Nosferatu. John Malkovich (left) and Willem Dafoe starred in 2001's "Shadow of the Vampire," which dramatized the controversies surrounding German director F. W. Murnau's silent screen classic "Nosferatu. Photo: Jean-Paul Kieffer Image 19 of 24 Tom Hewitt starred in Frank Wildhorn's "Dracula, the Musical," here with co-stars Jenn Morse (left) and Amy Ruthberg in the show's 2001 tryout at La Jolla, Calif., Playhouse. Critics had their stakes sharpened for the 2004 Broadway production, which proved short-lived. less Tom Hewitt starred in Frank Wildhorn's "Dracula, the Musical," here with co-stars Jenn Morse (left) and Amy Ruthberg in the show's 2001 tryout at La Jolla, Calif., Playhouse. Critics had their stakes sharpened ... more Photo: J. T.

MACMILLAN, HO Image 20 of 24 Filmmaker Guy Madden's 2002 "Dracula, Pages from a Virgin's Diary" was his film treatment of a Royal Winnipeg Ballet production. Filmmaker Guy Madden's 2002 "Dracula, Pages from a Virgin's Diary" was his film treatment of a Royal Winnipeg Ballet production. Photo: e-mail Image 21 of 24 Wesley Snipes, playing vampire hunter, Blade, took on the ultimate vampire, Dracula, in 2005's "Blade Trinity." Wesley Snipes, playing vampire hunter, Blade, took on the ultimate vampire, Dracula, in 2005's "Blade Trinity." Photo: DIYAH PERA, HO Andrew Murphy was a haunting Dracula in Houston Ballet's production in 2006. Andrew Murphy was a haunting Dracula in Houston Ballet's production in 2006. Photo: Jim Caldwell Image 23 of 24 Carl Coomer and Leticia Oliveira, who now dance with Texas Ballet Theater in Fort Worth and Dallas, starred in Houston Ballet's "Dracula" in 2006.

Carl Coomer and Leticia Oliveira, who now dance with Texas Ballet Theater in Fort Worth and Dallas, starred in Houston Ballet's "Dracula" in 2006. Photo: Drew Donovan

Question: Who played the title role in "Bram Stoker's Dracula" (1992)?
Answer: Gary Oldman