However, on this occasion, it doesn't really matter such is Coppola's ability to sweep you up in a romantic, Victorian love story while adding a much needed humanity to Dracula's character and motivations.
Production designer Thomas Sanders really earns his crust in his recreation of this timeless story and he's helped, immeasurably, by Scorsese's regular cinematographer, Michael Ballhaus as every movie artifice in the book is utilised to beautifully, hyper-stylised effect.Īlthough faithful to Stoker's original source material, narratively, the film has holes bigger than anything an old Transylvanian could sink into your neck. It's obvious that it's Coppola intention to provide a fantastically visual experience and if the film is to be judged on that alone, then it's a massive success. One thing that can't be said about the film is that it lacks style or is anything less than ambitious and hugely extravagant. Many would even claim that Dracula continued his poor run of projects but as a reimagining, it's actually quite a stunning piece of work. However, when Bram Stoker's Dracula was released it came when, the once great, Coppola had fallen on harder times and he was unable to recreate the quality that his name had become synonymous with. The Godfather's, The Conversation and Apocalypse Now are considered some of the cinematic greats and just a few from the resumé of Francis Ford Coppola at a time when he was at the forefront of filmmaking. Inspired by the photo, the Count imprisons Harker and sets forth for London on a reign of seduction and terror to find his lost love. However, the Count happens upon a photograph of Harker's betrothed Mina Murray (Winona Ryder) who strongly resembles the undead vampire's lover, Elisabeta, who died centuries ago. Plot: In 1897, young lawyer Jonathan Harker (Keanu Reeves) travels to gloomy Transylvania to close a deal on 10 London properties purchased by Count Dracula (Gary Oldman). Two years previously, however, it was Francis Ford Coppola who reimagined Bram Stoker's lengendary tale of Dracula and he done so with some of the most visually impressive work he's ever produced. Under the watchful eye of director Mike Nichols, Jack Nicholson put his spin on the werewolf in 1994's Wolf while Kenneth Branagh managed to convince Robert DeNiro to take on the lead in Mary Shelley's Frankenstein (also in 1994). During the early 90's there was a reinvigoration for classic horror characters that were tackled by some of the most reputable names in the movie business.
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