The iconic king of vampires, the prince of darkness, Count Dracula, has been brought to life on the big screen dozens of times in multiple formats. It’s hard to argue that any movie monster has been adapted more often or seen so many different takes. Recently, we’ve seen Drac portrayed comedically (by Nicolas Cage in Renfield) and his monstrous side highlighted in Robert Eggers’ Nosferatu. Unsurprisingly, French filmmaker Luc Besson has his own vision, and it’s to focus on the broken-hearted man within the cold exterior. Reunited once again with star Caleb Landry Jones, Besson’s Dracula is his best movie in years, and those who might’ve scoffed at this idea in the beginning will want to check out this soulful, sympathetic vampire love story.
The original title of the film, Dracula: A Love Tale, tells you what Besson had in mind from the beginning. Immediately, we see the passion between Vlad Dracula (Jones) and his lover, Elisabeta (Zoë Bleu), the wild fornication taking place even as battle rages outside the castle walls. But when Dracula is forced to take the battlefield himself, and Elisabeta dies at enemy hands, he forsakes God for failing to protect her. He even lives up to his ominous “Vlad the Impaler” monicker by impaling a priest on the cross. For committing this horrible sin, Dracula is cursed to walk the Earth as an immortal, bloodthirty vampire. Over 400 years, Dracula pines for his lost love and hopes to be reunited with her once again. His wish comes true when he encounters Mina Murray (Bleu again), a woman who bears an uncanny resemblance in beauty and spirit to Elisabeta.
Besson chooses a fairly traditional take on Bram Stoker’s Dracula, and bears striking visual similarities to Francis Ford Coppola’s 1992 adaptation. He changes some of the names around, such as referring to Christoph Waltz’s vampire hunter as simply Priest rather than Van Helsing, but their trajectories remain mostly intact. One thing Besson does is add splashes of vibrant colour to spruce up this dark, Gothic tale, with some scenes resembling the pastel flavor of Sofia Coppola’s Marie Antoinette.
A problem that has plagued Dracula films over the years is that too often he is a supporting character in his own story. Besson doesn’t let that happen here, and how could he with Jones delivering a performance that is equal parts terrifying and steamy. This is a Dracula who in one scene can devour an entire convent full of nuns, and in the next be overwhelmed with joyful memories of the woman he loved. While the film doesn’t quite turn him into a hero or anything like that, we’re clearly meant to be sympathetic and Jones makes us feel for the ice cold embodiment of evil.
With Dracula truly owning his own story for once, the supporting cast is badly overshadowed…with the exception of Christoph Waltz who hilariously delivers each line like he just made it up on the spot. I also liked the scenery-chewing performance by Matilda De Angelis as Maria, who is sort of a mix of the absent Renfield and Mina’s friend Lucy. But we don’t get much from Bleu or from Ewens Abid who plays Jonathan Harker. He’s portrayed as weak and impotent, while she lacks any personality at all other than as Dracula’s obsession. But the worst supporting characters by far are Dracula’s gargoyle minions. Captured in terrible CGI, they don’t fit the movie’s tone or look at all, and only make you cringe the longer they’re around.
Besson has long been one of my favorite directors, stretching back to his early work in The Professional and The Big Blue. Of late, I’ve appreciated that he just seems to be having more fun with what he does, even when that hasn’t always led to great movies. Dracula has flaws, but it’s not trying to be grim or morose, it’s meant to be a romance and an enjoyable one. We can root for Dracula to have his heart’s desire, for once, and thanks to an outstanding Caleb Landry Jones, we don’t have to feel bad for that.
Dracula opens in theaters on February 6th via Vertical.
