History Film / BramStokersDracula

19th Jul '17 10:50:53 PM Blackbison01
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** Upon learning his lover has committed suicide, a sin great enough to would damn her soul for eternity:

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** Upon learning his lover has committed suicide, a sin apparently great enough to would damn her Elisabeta's soul for eternity:
19th Jul '17 10:48:23 PM Blackbison01
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**Upon learning his lover has committed suicide, a sin great enough to would damn her soul for eternity:
--> '''Dracula''' [[RageAgainstTheHeavens Is this my reward for defending God’s Church?! I renounce him!! I renounce God! And all of you hypocrites who feed off him!]] [[YouAreWorthHell If my beloved burns in Hell, so shall I.]] [[CameBackStrong I, Dracula! Voivode of Transylvania… shall rise from my own death]] [[RoaringRampageOfRevenge to avenge hers with all the powers of darkness…]] [[StartOfDarkness The blood is the life…the blood is the life and it shall be mine…]]
13th Jul '17 2:06:47 AM Morgenthaler
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* {{Deconstruction}}: The film deconstructs the ''Dracula'' myth by reconstructing many of the {{UnbuiltTrope}}s of the original, such as clarifying the ''vampires are not killed by sunlight'' trope. (Rather, they are depowered.) More broadly, the film expands upon the book as a portrait of Victorian London and the changing mores of sexuality, women, and the advances of science which were part of the time, and goes on to expand on the sexual subtext of the story, which is what underlies the Mina-Dracula romance.

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* {{Deconstruction}}: {{Deconstruction}}:
**
The film deconstructs the ''Dracula'' myth by reconstructing many of the {{UnbuiltTrope}}s {{Unbuilt Trope}}s of the original, such as clarifying the ''vampires are not killed by sunlight'' trope. (Rather, they are depowered.) More broadly, the film expands upon the book as a portrait of Victorian London and the changing mores of sexuality, women, and the advances of science which were part of the time, and goes on to expand on the sexual subtext of the story, which is what underlies the Mina-Dracula romance.
6th Jul '17 4:05:03 PM JulianLapostat
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** Coppola also noted that the story's setting paralleled the birth of film, and one scene shows Dracula and Mina seeing early films. His aversion of CGI for in-camera effects and technology stemmed from a desire to use primitive special effects like Magic Lantern shows and in the films of Creator/GeorgesMelies to arrive at something different.

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** Coppola also noted that the story's setting paralleled the birth of film, and one scene shows Dracula and Mina seeing early films. His aversion of CGI for in-camera effects and technology stemmed from a desire to use primitive special effects like Magic Lantern shows and practical effects in the films mode of Creator/GeorgesMelies to arrive at something different.Creator/GeorgesMelies.



* TruerToTheText: The intent was to make a more faithful adaptation of the book than previous films had (hence the InCaseYouForgotWhoWroteIt title). Intentions and execution are two different matters, though...

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* TruerToTheText: The intent was to make a more faithful adaptation of the book than previous films had (hence the InCaseYouForgotWhoWroteIt title). Intentions
** In general, Coppola's film is far more faithful to the novel than the majority of Dracula adaptations, both in tone
and execution are two in structure. For example, it is the only adaptation that does not composite the characters of Lord Holmwood, Dr. Seward, and Quincy into a single man. ''Nosferatu'', Browning's ''Dracula'', and Badham's Dracula also have different matters, though...character roles and relationships from the book; for example, in Badham's Dracula, Lucy is the final girl instead of Mina, and Mina is Van Helsing's daughter.
** The film version largely does follow the general plot outline and story dynamic of the novel. It's portrayal of Dracula restores most of the UnbuiltTrope from the original book, and most importantly just like the novel, it doesn't fully give Dracula a single final form, allowing him to take multiple shapes, as well as travel in sunlight without withering like paper (a motif introduced by Murnau). Of course the film does avert it in one instance. The movie removes the ship massacre sequence that was an iconic part of the novel and a SignatureScene in Murnau's film, Coppola did this out of love for the Murnau film and a desire to not repeat or compete with it.
21st Apr '17 8:42:12 PM PhoenixAvalon
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* BittersweetEnding: [[spoiler: Lucy and Quincey are dead, Mina and Jonathan's future relationship is on rocky ground and Mina has to kill the man she loves but Dracula's soul is implied to have been redeemed and reunited with his beloved Elisabeta in Heaven.]]
21st Apr '17 3:43:59 PM PhoenixAvalon
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* AdaptationalConsent: In the original book, vampire attacks seemed to be metaphors for rape, so while this trope is averted with Lucy it is played straight with Mina as she is PromotedToLoveInterest.
21st Apr '17 1:53:27 PM PhoenixAvalon
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* {{Cuckold}}: Jonathan Harker is an especially miserable example. While Mina never has ''sex'' with Dracula, their blood ritual late in the film obviously carries the same meaning, and she is at any rate far more emotionally intimate with the Count than she ever seems to be with Jonathan. While Jonathan is trapped in Dracula's castle, his fiance, who is the reason he went to Transylvania in the first place, is gallivanting around with his captor. While, in fairness, she has no way of knowing at the time that this man is her husband's captor, it's still pretty bad, and it certainly must sting for Jonathan. After Jonathan manages to escape, Mina only real regret seems to be that her affair must end. By the end of the movie, Mina is openly pining for the monster who imprisoned her fiance and raped and murdered her best friend, and who has undoubtedly committed even more such atrocities over the centuries. All Jonathan can do is tell her that when she eventually becomes a full vampire, he won't kill her. By the end of the movie there is no indication how their relationship will turn out.

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* {{Cuckold}}: Jonathan Harker is an especially miserable example. While Mina never has ''sex'' with Dracula, their blood ritual late in the film obviously carries the same meaning, and she is at any rate far more emotionally intimate with the Count than she ever seems to be with Jonathan. While Jonathan is trapped in Dracula's castle, his fiance, who is the reason he went to Transylvania in the first place, is gallivanting around with his captor. While, in fairness, she has no way of knowing at the time that this man is her husband's captor, it's still pretty bad, and it certainly must sting for Jonathan. After Jonathan manages to escape, Mina only real regret seems to be that her affair must end. By the end of the movie, Mina is openly pining for the monster who imprisoned her fiance and raped and murdered her best friend, and who has undoubtedly committed even more such atrocities over the centuries. All Jonathan can do is tell her that when she eventually becomes a full vampire, he won't kill her. By the end of the movie there is no indication how their relationship will turn out.
21st Apr '17 1:43:56 PM PhoenixAvalon
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* DanceOfRomance: Dracula and Mina share a brief one in a dark room full of candles.
21st Apr '17 9:25:58 AM PhoenixAvalon
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* AdaptationalVillainy: Really downplayed examples, but still:
** Lucy was vulnerable to Dracula's attack in the book due to her somnambulism. In this movie, according to Van Helsing, she offered herself willingly, as she is described as a wanton follower and devoted disciple.
** Van Helsing himself got some of this. While Book!Van Helsing withheld information from the heroes and made some serious mistakes, he had good reason, since he wanted to be certain of what he was dealing with. He also had the decency to be apologetic about it, and comfort Dracula's victims. Here, not only is he more concerned with proving his supernatural findings correct than he is with his friends' misery, he is very nonchalant about the way Lucy died in agony.
21st Apr '17 9:24:37 AM PhoenixAvalon
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** Mina was characterized as a very strong female character in the book; in fact, she was the one comforting her husband in a case of CollateralAngst in the aftermath of Dracula's attack that she suffered.



* [[PetTheDog Pet The Escaped Zoo Wolf]]: At first, Dracula makes to bite a hypnotized Mina, but hesitates, just as the crowd in the theater panics over said wolf wandering in. Instead, his ability to calm the animal impresses and fascinates the no-longer-entranced Mina, and she easily forgets that he attacked her minutes before.

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* [[PetTheDog Pet The Escaped Zoo Wolf]]: At first, Dracula makes to bite a hypnotized Mina, but hesitates, just as the crowd in the theater panics over said wolf wandering in. Instead, his ability to calm the animal impresses and fascinates the no-longer-entranced Mina, and she easily forgets that he attacked her minutes before.before (though it's implied this might be because she is the reincarnated soul of his wife and so subconsciously trusts he won't hurt her).



* WoobieDestroyerOfWorlds: Both injected into the story and [[LampshadeHanging Lampshaded]], with Dracula only becoming a villain because he was enraged by a priest telling him that his suicidal wife was in Hell. Mina even pities the count, which naturally disgusts the other characters. (This is ''before'' she learns that he's the "prince" she fell in love with while her fiance was away!)

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* WoobieDestroyerOfWorlds: Both injected into the story and [[LampshadeHanging Lampshaded]], with Dracula only becoming a villain because he was enraged by a priest telling him that his suicidal wife was in Hell. Mina even comments she pities the count, which naturally disgusts the other characters. (This is ''before'' she learns that he's the "prince" she fell in love with while her fiance was away!)count as a creature damned to be so relentlessly hunted.
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