History Film / BramStokersDracula

* ArtImitatesArt: Dracula's castle is modeled after the painting "The Black Idol" (1903) by Frantisek Kupka.

* AdaptationalContextChange: Dracula's biting Lucy and Mina in the original book parallels rape on account of Victorian London's fears about "swarthy decadent foreigners who want to steal our women". Here in the film, the attacks are far more seductive, and the scenes come across as Lucy and Mina giving into their forbidden desires.

* AdaptationalModesty: Lucy and Mina are quite modest in the original novel. This film cranks up the nudity and sex appeal.

* AdaptationalModesty: Inverted. Lucy and Mina are quite modest in the original novel. This film cranks up the nudity and sex appeal.

* LoveTriangle: Dracula/Mina/Johnathan.

** The thrusting of a crucifix into the foreground (as Van Helsing faces down vampire!Lucy) is a direct reference to Hammer Films' ''Film/HorrorOfDracula''.
** Dracula's independent shadow and his rising from the coffin are taken from ''Film/{{Nosferatu}}'', while many famous quotes are included from [[{{Film/Dracula 1931}} the Lugosi version]]. Coppola also included a lot of [[ShoutOut Shout Outs]] to his old mentor, Creator/RogerCorman, with the film's style similar to Corman's Edgar Allan Poe films.
** The LivingShadow sequences also owe something to the Creator/CarlTheodorDreyer's ''Film/{{Vampyr}}'' (1932).
** "[[IDoNotDrinkWine I never drink... wine]]" is used verbatim in a shout out to Lugosi's ''Film/{{Dracula 1931}}''.

* InnocentInnuendo: Averted by the not-so-proper Lucy.
--> '''Lucy (to Quincy):''' Please let me touch it? It's so... ''big''. ''(pulls out Quincy's [[spoiler:knife]])''

* AmbiguouslyBi: Mina and Lucy, who enjoy the company of men but experiment with each other through a kiss in the rain.

* TheOphelia: Elisabeta who commits suicide by jumping into the river. Coppola even referred to her as such on the set.

* UnwittingInstigatorOfDoom: The LawfulStupid priest who casually says that Dracula's suicidal wife is damned - while Dracula is still an emotional wreck over her corpse.

* AdaptationalWimp: Renfield went down fighting Dracula in the book and came close to killing him (in his mist form no less) ''[[BadassNormal with his bare hands]]''.

The 1992 movie adaption of [[Literature/{{Dracula}} the novel]] directed by Creator/FrancisFordCoppola from James V. Hart's script. Even though it follows the book much more closely than previous ''Dracula'' movies as well as many later ones (among other things, it's the only film adaptation to this day to actually maintain the book version of the titular count's death), one of its most obvious features is a romance plot that's not in the book.

** Lucy Westenra, a gorgeous [[HeroesWantRedHeads redhead]] who is [[TheTease dangling three suitors at once]] and who spends her time wearing revealing dresses, getting [[HypnotizeThePrincess hypnotized by Dracula]] and even indulging in a little girl-on-girl teasing with her best friend Mina.

* EvilSoundsDeep: Dracula in his bat-creature form.

Other actors in the cast include Creator/AnthonyHopkins as Van Helsing, Creator/RichardEGrant as Seward, Creator/CaryElwes as Arthur, and Creator/MonicaBellucci as one of Dracula's brides.

* AdaptationPersonalityChange: Lucy is an Ingenue in the books. This film portrays her as flirty and promiscuous, as well as slightly ditzy. Of course, given that the novel is an epistolary, and told via multiple characters writing the events in journals, letters and so on, it's possible to interpret some of the book's portrayal of Lucy as Victorian euphemism, especially given Mina's awareness of the InterclassFriendship between her and Lucy, which would prevent people of her generation and background (i.e. upwardly mobile middle-class educated working woman) from being entirely critical of her "social betters".

* AdaptationalHeroism: Dracula gets this treatment in the film. He becomes a vampire for renouncing God after his bride kills herself (and the Priest declares that her soul would be eternally damned as a result) and then falls in love with Mina because she is her reincarnation. This backstory comes from the fact that Dracula is [[NoHistoricalFiguresWereHarmed patterned]] on UsefulNotes/VladTheImpaler who did oppose the Turks and wage a "Holy War" on behalf of God and protected Europe from Muslim influence. So from his perspective he was punished for doing God's work when his wife died.

* AdaptationExpansion: Dracula's BackStory as a self-cursed vampire because his wife committed suicide is entirely absent from the original novel. From this BackStory comes Mina's resemblance to his wife, Dracula's pursuit of her because of it, and Mina falling in love with him to the point of nearly sabotaging the heroes' attempts to stop him from completely turning her.
* AdaptationOriginConnection: In the original book, Mina Harker was a major supporting character who became a victim to Dracula before joining the mission to destroy him, but had no connection to the Count's backstory. In this version, she's reimagined as the [[ReincarnationRomance reincarnation of Dracula's former wife]] who was [[LoveMakesYouEvil the cause for his turn to darkness]].

** Mrs Westenra, Lucy's mother, has a significant role in the first half of the book. She stupidly removes the garlic protection around Lucy on the night Dracula turns her - allowing him to break into the house. An older woman is seen crying by Lucy's coffin - and if this is her then it's also SparedByTheAdaptation as she dies as Dracula turns Lucy.

* LennonSpecs: Dracula wears them in his London-Dandy form.

* WallCrawl: Dracula does this in the iconic scene of Harker spotting him crawling up a castle wall. One of Dracula's brides also does this when the Count stops them from feeding on Harker and flings her to a wall.

** In general, Coppola's film is far more faithful to the novel than the majority of Dracula adaptations, both in tone and in structure.[[note]]''Nosferatu'', Browning's ''Dracula'', and Badham's ''Dracula'' also have different character roles and relationships from the book; for example, in Badham's ''Dracula'', Lucy is the final girl and fiancee of Harker instead of Mina, and Mina is Van Helsing's daughter. In Browning's ''Dracula'' and Badham's ''Dracula'' Jonathan Harker never even went to Transylvania, while in several other Dracula adaptations he went and got killed in Dracula's castle.[[/note]] The film also gets the location and time period right - outside of Transylvania the plot takes place in Victorian England like in the novel [[note]]In '' Nosferatu '' the main events unfold in Germany, in Browning's ''Dracula'' - in 1930s England and in Badham's ''Dracula'' 1910s Edwardian England. [[/note]]

** In general, Coppola's film is far more faithful to the novel than the majority of Dracula adaptations, both in tone and in structure.[[note]]''Nosferatu'', Browning's ''Dracula'', and Badham's ''Dracula'' also have different character roles and relationships from the book; for example, in Badham's ''Dracula'', Lucy is the final girl and fiancee of Harker instead of Mina, and Mina is Van Helsing's daughter. In Browning's ''Dracula'' and Badham's ''Dracula'' Jonathan Harker never even went to Transylvania, while in several other Dracula adaptations he went and got killed in Dracula's castle.[[/note]]