Luc Besson’s Dracula: A Stylish & Sexy Vampire Reimagining | Review
- Luc Besson’s reimagining of “Dracula,” starring Caleb Landry Jones, is now in theaters, offering a decidedly romantic, and at times, ridiculous take on the classic Bram Stoker tale.
- The film opens in 1480, introducing Vlad (Jones) as a handsome prince deeply in love with his bride, Elisabeta (Zoë Bleu).
- Besson, known for his focus on romance, initially titled the project “Dracula: A Love Tale,” and this emphasis is evident throughout the film.
Luc Besson’s reimagining of “Dracula,” starring Caleb Landry Jones, is now in theaters, offering a decidedly romantic, and at times, ridiculous take on the classic Bram Stoker tale. Reviews are beginning to surface, painting a picture of a film that, while flawed, possesses enough stylistic flair and a committed performance from Jones to warrant attention.
The film opens in , introducing Vlad (Jones) as a handsome prince deeply in love with his bride, Elisabeta (Zoë Bleu). Their idyllic life is shattered by war, leading to Elisabeta’s tragic death and Vlad’s subsequent descent into darkness. Consumed by grief, he renounces God after a priest fails to protect his wife, resulting in a curse of immortality and a lifelong quest to find his reincarnated love.
Besson, known for his focus on romance, initially titled the project “Dracula: A Love Tale,” and this emphasis is evident throughout the film. Unlike the bleak and fearsome portrayal in Robert Eggers’ “Nosferatu,” Besson’s Dracula is imbued with a “swashbuckling sexiness” that complements Jones’s “craggy appeal.” This is highlighted by a scene where, even after centuries of aging, Dracula’s homemade scent proves irresistible to a group of nuns, who eagerly offer their necks.
The narrative then jumps forward four hundred years, finding a “shriveled but stylish” Dracula residing in the Carpathian Mountains. However, the majority of the action unfolds in Paris, during the celebrations surrounding the centenary of the French Revolution. Besson’s affection for Paris is apparent, with the city serving as a vibrant backdrop for sumptuous costumes designed by Corinne Bruand and lavish set pieces, including receptions at Versailles and a street carnival.
Into this setting enters an unnamed Bavarian priest, played by Christoph Waltz, a determined vampire hunter reminiscent of Javert pursuing Valjean in “Les Misérables.” He is on a relentless pursuit of his prey, mirroring Dracula’s own mission to find the reincarnated Elisabeta.
A chance encounter with a picture of a young man’s fiancée, Mina, sparks Dracula’s obsession. He spares the young solicitor’s life (Ewens Abid) and travels to Paris, convinced that Mina (also played by Bleu, and the real-life daughter of Rosanna Arquette) is his long-lost love.
The film is described as full of “Bessonian flourishes,” including CGI gargoyles, though some critics note that more such touches could have further distinguished this version of “Dracula” from previous adaptations. The story builds towards a final confrontation between Dracula and the priest, a showdown likened to the climactic meeting between Pacino and De Niro in “Heat.”
Reviews suggest that the film is “ridiculous but watchable,” with Jones and Waltz delivering enjoyable performances. The film’s ability to offer a fresh, albeit imperfect, take on a well-worn story is a key takeaway.
“Dracula,” released by Vertical Entertainment, is rated R for violence, gore, and sexuality. The film has a runtime of and has received a rating of two and a half stars out of four from at least one critic.
The film’s approach to the source material is described as a “romantic reimagining of a Gothic classic,” and a “frustratingly inert” take on Bram Stoker’s work. One reviewer noted a humorous line delivered early in the film – “I haven’t eaten in centuries” – delivered by a disguised Dracula seeking food, a line that lands as funny despite the film not being a comedy.