Dracula Review – The French Director’s Passionate Reimagining of the Gothic Classic is Absurd but Watchable
It’s possible audiences aren’t clamoring for a fresh take of Dracula from Luc Besson, the filmmaker known for stylish excess. However, one must admit: his lavishly upholstered vampire romance boasts bold vision and flair – and amid its theatrical camp, I’m not sure I wouldn’t prefer to it to the recent, stately interpretation by Robert Eggers of Nosferatu. A few strange elements appear, such as a scene that seems to depict a geographic divide between France and Romania.
Waltz as a Clever but Weary Vampire-Hunting Priest
Christoph Waltz portrays a clever but beleaguered cleric fighting vampires – I can’t believe he hasn’t played this role before – who arrives in Paris in 1889 during the centennial of the French Revolution. So does the malevolent vampire count, enacted by the expert in grotesque roles Caleb Landry Jones with a mangled central European accent reminiscent of the voice of Gru by Steve Carell from the Despicable Me comedies. This character that he too was born to take on.
The Story: A Chronicle of Longing
The story is this: the count has been restlessly roaming the world in torment over four centuries since he became undead, a penalty for his irreligious grief over the death of his beloved Elisabeta (an inaugural screen appearance for Zoë Bleu, Rosanna Arquette’s child). The count has been searching, searching, searching for some woman who would be the return of his lost love. Unfortunately, the lucky lady proves to be Mina (portrayed once more by Bleu), the demure fiancee of the count’s timid estate manager, Jonathan Harker (enacted by Ewens Abid), who has recently been to Dracula’s fortress to discuss his property portfolio and the small picture of the charming Mina caught the count’s hooded eye.
The Filmmaker’s Approach and Humorous Style
Besson arranges Dracula’s middle-section history of international journeys sporting extravagant attire confidently, and he willingly includes offering some comedy moments in the style of Mel Brooks – for example the count’s repeated and futile attempts to commit suicide following Elisabeta’s passing, in addition to comical sequences that follow Dracula douses himself using a particular scent during the 1700s in Florence, which makes him compelling to the opposite sex. Ridiculous and watchable.
Dracula is on digital platforms starting December 1st and on DVD and Blu-ray from December 22nd. It will be shown in Australian cinemas from 5 February 2026.
