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[[quoteright:318:[[{{Dracula}} http://static.tvtropes.org/pmwiki/pub/images/dracula_kiss_4341.jpg]]]]

->''"The Blood is the Life!"''
-->-- '''{{Dracula}}'''

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, one of its most obvious features is a romance plot that's not in the book.

It features Creator/GaryOldman playing a vampire, and Creator/WinonaRyder playing a DamselInDistress. Creator/AnthonyHopkins plays a [[LargeHam hammy]] Van Helsing.

The film opens with the fall of Constantinople in 1462 (in this, the movie is incorrect; [[ArtisticLicenseHistory the city actually fell in 1453]]). Prince Vlad III Draculea successfully defends Christian civilization from the Eastern threat, but the Turks take revenge by sending a false message of his death to his wife, Elisabeta, whom he loves dearly. In her despair, she throws herself from the castle's walls to her death. Vlad's priests declare that, as her death was a suicide, she is now damned to hell. Enraged, Vlad [[FaithHeelTurn renounces God]] and vows to drink the blood of men.

Flash forward to [[VictorianLondon England]], [[TheGayNineties 1897]]. A clerk named Renfield (Music/TomWaits) is gibbering in his [[BedlamHouse asylum cell]] while his replacement, Jonathan Harker (Creator/KeanuReeves), travels to Transylvania to complete the sale of various properties around London to a certain Count Dracula who is ''extremely'' intrigued when he sees a picture of Harker's bride-to-be, Mina Murray, as she looks ''remarkably'' like a certain lost love...

!!This film provides examples of:

* AdaptationalBadass: [[spoiler:Dracula is still alive when Jonathan slashes his throat and Quincey stabs him, even throwing both of them across the courtyard. Though this may be attributed to the fact that he manages to get out of his coffin before they reach him.]]
* 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. In addition, Dracula's plot in the original novel of taking over England is omitted, undoubtedly because the hypocritical [[https://en.wikipedia.org/wiki/Invasion_literature imperialist projection]] of foreign invader would not be sympathetic to a liberal Italian-American like Coppola.
* 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.
* AdaptationalModesty: Inverted. Lucy and Mina are quite modest in the original novel. This film cranks up the nudity and sex appeal.
* 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]]''.
* 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.
* AdaptationPersonalityChange: Lucy is an Ingenue, bordering on PuritySue 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".
* AllForNothing: Dracula's FaithHeelTurn and consequent vampirism due to his sheer despair and rage over not only losing Elisabeta (to suicide), but also being (seemingly) unable to be TogetherInDeath with her (as his religious branch unfortunately declares that SuicideIsShameful). But as the ending shows, [[spoiler:she ended up in Heaven after all (thus disproving said declaration), and he's apparently invoked enough RedemptionEqualsDeath to be allowed to rejoin her. Meaning that all of his evil actions have been completely pointless.]]
* AnimalMotifs: Dracula is associated with the usual wolves, bats, and rats. Lucy is frequently associated with reptiles: She wears an evening gown with snake embroidery and has a hairdo that resembles coiled snakes, the nightgown she wears when attacked by Dracula resembles a snake's belly, and her wedding/funeral dress was inspired by frill-necked lizards.
* AwardBaitSong: [[http://www.youtube.com/watch?v=vhG8zC4npsE Love Song for a Vampire]] by Annie Lennox
* ArtImitatesArt: Dracula's castle is modeled after the painting "The Black Idol" (1903) by Frantisek Kupka.
* BackStory: The prologue detailing Prince Draculea's war in the name of God, only to renounce Him upon his wife's suicide.
* BadassBoast:
--> '''Dracula:''' You think you can destroy me with your idols! I, who served the cross! I, who commanded nations, ''hundreds'' of years before you were born!
** Upon learning his lover has committed suicide, a sin apparently great enough to damn Elisabeta's 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…]]
* BeCarefulWhatYouWishFor: Mina admits in her diary that she wishes she "were as pretty and adored as Lucy." Dracula certainly sees her as beautiful and someone to adore... Later, after she returns from Transylvania with her new husband, she secretly wonders if/hopes that she'll see her "prince" again. She does, but the consequences aren't pretty.
* BedlamHouse: In an inversion from the book, Dr. Seward's asylum is depicted as one of these.
* BigNo:
** Vlad has one in the prologue, as he realizes too late what his RageAgainstTheHeavens has turned him into.
** Later, Harker gets a downplayed (loud, but short and intense) "No!" when he learns that Dracula's successfully claimed Mina as his.
** Mina does one when [[spoiler:Quincey stabs Dracula in the courtyard.]]
* 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.]]
* BlondeBrunetteRedhead: Dracula's brides. One brunette receives an AdaptationDyeJob to become a redhead (there was the blonde and two brunettes in the book).
%%* BloodFromTheMouthb: Plenty of it!
* BreakingAndBloodsucking: At first, Dracula lures Lucy out of the mansion and into the over-large gardens of the estate for sex and blood. From then on, Lucy eagerly awaits him, writhing and moaning in her bed as he approaches. The final night, he crashes through the window as a wolf, rips open her throat and laps up her blood, and she dies with cries of agonized pleasure.
* ByronicHero: Count Dracula goes from being a Holy Warrior of Christianity to a Demonic servant upon the death, and supposed damnation of his beloved wife, believing that God forsaked and punished him simply because he was acting as the culture and society of his time expected a good Christian King should have behaved. In the late 19th Century, he's a decadent aristocrat living a cursed, desperate, existence simply for the chance to reunite with his beloved with his magic rituals competing, poorly, against the scientific, modern, advanced world of London in the British Empire. It's been noted by many critics that had Dracula been written in the early [=1800s=] during the Romantic era, he would undoubtedly be made sympathetic by the likes of Byron and Shelley (Percy and Mary), and Coppola is very much a Romantic in the same mould.
* CaptainsLog: Most of the main characters provide voiceover narration in the form of journal entries or letters read out loud. In one case, it's played literally with a log written by the captain of the 'Demeter'. As the book is an epistolary novel, this is actually more accurate to the source material rather than just a clumsy job of incorporating elements that were hard to adapt.
* ChaseScene: The climatic action scene where the {{Vampire Hunter}}s on horseback pursue the coach carrying Dracula's coffin as it races towards his castle, while engaging in a shootout with Dracula's gypsy {{mooks}}.
* ChekhovsGun: Quincey's Bowie knife turns up in the scene in which he is introduced. At the end of the movie [[spoiler:Mina uses it to finally kill Dracula]].
* ChewingTheScenery:
** Van Helsing yelling "{{Feed me}}!" to his driver because he apparently can't go vampire hunting on an empty stomach. It normally would just be [[RealisticDictionIsUnrealistic realistic dialogue]], since people do need to eat, but it's this trope because he's bellowing it at the top of his lungs while doing an intentionally ridiculous tango with Quincey, screaming about how Lucy is "the Devil's concubine," and laughing like a maniac because he's figured out what Dracula is up to.
** A lot of Oldman's performance as the older Dracula can be this, although it actually works to his advantage -- he manages to be really damn creepy, and it (largely successfully) helps to portray the Count as someone who is unaccustomed to being around or dealing with people in any meaningful capacity.
* ChristianityIsCatholic: Averted, despite the fact that the director came from an Italian-American Catholic background. Most of the Christianity we see is very Orthodox influenced since it's set in Romania, and Mina and Jonathan's wedding is very much an Orthodox-flavored wedding. Count Dracula's castle likewise also has a lot of Byzantine-inspired murals and mosaics, which is ironic considering that the historical Vlad the Impaler was a Catholic in contrast to the Ortodox majority in Romenia.
* {{Cloudcuckoolander}}: Van Helsing falls somewhere between this and NightmareFuelStationAttendant.
* ColorCodedForYourConvenience:
** The Transylvanian scenes in the early part of the film are tinted a hellish red.
** If the main color for a scene is orange, it's an almost certain sign that someone is going to be in danger (or just very creeped out). It's not the first time something orange-related meant death in a [[Film/TheGodfather Francis Ford Coppola movie]].
%%* ComingAndGoing
* CostumePorn: Wonderful and fruitcake, the designs by Eiko Ishioka won an UsefulNotes/AcademyAward.
* CrossMeltingAura: Dracula's brides melt Jonathan's crucifix, thankfully without burning him. Dracula causes a cross that Helsing tries to use against him to burst into flames.
* DanceOfRomance: Dracula and Mina share a brief one in a dark room full of candles.
* DangerouslyCloseShave: Dracula does this to Harker- Harker is just nicked, but Dracula licking the blood off of the razor is one of the film's iconic moments.
* DaywalkingVampire: See Our Vampires Are Different. Played with in that this is faithful to the book, as vampires were not thought, at the time the original novel was written, to be unable to come out in sunlight. However, it runs counter to the more familiar vampire lore and expectations of the present.
* DeathByAdaptation: The gypsies. In the book, most (if not all) survive the fight with Jonathan, Arthur, Seward, and Quincey, fleeing when Dracula is killed. Here, half are killed in a chase to Dracula's castle and the rest cut down in a fight in the courtyard.
* {{Deconstruction}}:
** The film deconstructs the ''Dracula'' myth by reconstructing many of the {{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.
** More importantly, it deconstructs Dracula's vampire image by never giving him a fixed human and vampire form, often changing and shifting identities in the course of the movie, never arriving at a fixed classical image unlike Bela Lugosi's or Murnau's Nosferatu who are so ObviouslyEvil that you wonder why anyone is surprised when they turn out to be vampires. Here Dracula has [[VoluntaryShapeshifter a different form for different occasions]], the iconic traditional Old Dracula look when he greets Jonathan, a younger Londoner appearance when he visits Mina in daylight and a monstrous bat form and so on.
** 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 mode of Creator/GeorgesMelies. In terms of visual effects, the movie is an encyclopedia of the history of the gothic horror-fantasy film genre itself, alluding to everything from Melies to GermanExpressionism to Creator/ValLewton, to ''Film/LaBelleEtLaBete'', to Creator/AlfredHitchcock, Creator/RogerCorman, to ''Film/TheExorcist'' (Van Helsing treating Lucy). The characterization of Lucy Westenra and Mina Harker in the film also explores the FinalGirl trope in horror, with Lucy's victimization heavily focused on her sexuality, while Mina more or less commits adultery with Jonathan and willingly encourages Dracula's affections and returns it, and ends up defeating and redeeming the Count, presumably surviving the film's events.
** Coppola was also alluding to the fact that UsefulNotes/VictorianBritain was the era when UsefulNotes/{{Psychology}} first became a major field. Lucy Westenra's condition and illness is directed in a manner similar to cases of hysteria in the Victorian age, and Van Helsing's weird attitude to sex and vampirism, (i.e. civilization and syphilization proceeds in parallel to each other) is a parody of the patriarchal nature of conventional Freudian psychology, with women's sexuality being controlled, policed and punished by men. Renfield is imprisoned in a BedlamHouse symbolizing the more inhumane ways mentally ill people were treated in that time and place. Mina repeatedly asks Jonathan and Van Helsing if they would chop her head of like Lucy, or treat her like a beast too. Likewise, the heavy focus in the film on blood-transmitted vampirism aludes to '90s fears and anxiety about sex in the post-AIDS world.
* DecoyProtagonist: The film makes it seem as if Jonathan Harker is the main protagonist set at odds against Dracula as the antagonist. Once Dracula arrives in London, it becomes clear that both he and Mina are the film's true protagonists. Dracula begins the plot, while Mina finally resolves it. It was essentially this way in the original novel too, where the majority of the second and third acts revolve around Mina.
* DemotedToExtra: Seward, one of the most important characters and principal narrators in the original novel, is relegated to being part of [[ThoseTwoGuys Those Three Guys]] with Holmwood and Morris.
* DespairEventHorizon: The false report of the death of Vlad Draculea for Elisabeta, and her suicide for him.
* DiesWideOpen: Happens to [[spoiler:Dracula in the finale]].
* DissonantSerenity: Van Helsing, a couple of times:
** As he helps himself to some roast beef at a restaurant the night after he and his colleagues defeat vampire!Lucy:
--> '''Mina''': Was she in great pain?
--> '''Van Helsing''' : Ja she was in great pain! Then we cut off her head and drove a stake through her heart, and burned it, and then she found peace!
** He also remains quite calm when Arthur is pointing a gun into his face when Lucy is not found in her coffin.
--> '''Arthur (drawing gun):''' WHERE IS SHE?! WHAT HAVE YOU DONE WITH HER?!
--> '''Van Helsing (calmly):''' She lives beyond the grace of God, a wanderer in the outer darkness. She is "vampyr," "nosferatu."
* {{Dracula}}: What, did you think this trope page was going to be about Freddy Krueger?
* DoesThisRemindYouOfAnything: The entire scene where Dracula turns Mina is basically a sex scene, complete with TheImmodestOrgasm.
* DullSurprise: Keanu Reeves, as always.
* EatsBabies: Dracula's brides and the vampirized Lucy.
* EliteMooks: The Gypsies, as claimed by Jonathan Harker.
-->'''Jonathan Harker:''' The Count's gypsies, fearless warriors who are loyal to the death to whatever nobleman they serve...
* EvilSoundsDeep: Dracula in his bat-creature form.
%%* FaithHeelTurn: "I renounce God!"
* FallenHero: From the perspective of Christianity and the times. Dracula was once a servant of the cross, defending Europe from [[ValuesDissonance Muslim influence]], and then he became a vampire. Van Helsing hangs a {{Lampshade}} later on how he was a terrible person, even by Victorian standards, when he was still a hero as per the norms of his culture.
* {{Fanservice}}: Lots and lots of naked boobies. Also, Creator/GaryOldman in full on [[EvilIsSexy "evil sex demon" ]] mode.
* FauxAffablyEvil: Contemporary Dracula's very first lines are polite and inviting. The masquerade doesn't last much longer than that. Spoiled somewhat in that his delivery is awkward and creepy, underpinning how unused to even the ''pretense'' of social interaction he is.
-->'''Dracula''': Welcome to my home. Enter freely of your own will and leave some of the happiness you bring.
* AFormYouAreComfortableWith: Unlike earlier films, Dracula does not have a single fixed form - i.e. opera-cape, suit and slicked-back hair/little bat. He keeps shifting his forms, none of them consistent with his classic image. This was deliberately done as per Coppola to respect how in the original book, Dracula has different mutations and also to show how Dracula has been variously interpreted as a decaying count, a seductive young dandy, a Giant Half-Bat Half-Man thing, a wolf form and so on.
* GameFace: Dracula turns into a [[BuffySpeak giant bat thing]] when confronted by the heroes. He also changes into his wolf form when he's about to attack the crew of the Demeter.
%%* GlamourFailure
* GorgeousPeriodDress: With the possible exception of medieval Dracula's armor, which does look rad as hell. The film's costumes were designed by Eiko Ishioka and has a very strong avant-garde approach, to make it look different from the usual period pieces.
* GoryDiscretionShot: In the cutaway scene to the ship that transported Dracula, blood is splattered on a sail during the creature's spree.
%%* GothicHorror: More than most adaptions.
* HamToHamCombat: Hopkins and Oldman had ''way'' too much fun with their parts. It's a shame they didn't have more scenes together.
%%* HauntedCastle
%%* HemoErotic
* HeroesWantRedheads: Lucy is a redhead, and ''three'' heroes want her. (Four, if you're that sympathetic to the villain.)
* HollywoodCostuming: The ladies' outfits follow the basic tenets of [[TheGayNineties late-1890's]] fashion, but some details are just a bit off, like Lucy's unusually low neckline. However, Mina's decade-out-of-style bustle dress is actually an aversion, as it was intended to show that Mina couldn't afford the latest fashions, since she is "only a schoolmistress".
* ImpaledWithExtremePrejudice: During the battle montage early on. Well Dracula IS UsefulNotes/VladTheImpaler...what did you expect?
%%* ImpossiblyLowNeckline: [[http://25.media.tumblr.com/tumblr_lgg2vvntxu1qh1urno1_500.jpg Lucy's "snake dress"]].
* InCameraEffects and PracticalEffects: ''Every special effect in the movie''. There was no CGI. That shot of the train moving across the horizon over a closeup of a diary was actually done with a model train and an over-sized book. Another simple trick that pays huge dividends is film reversal, used for such scenes as Dracula forcing the brides off of Jonathan and vampire!Lucy being forced back into her coffin.
* InCaseYouForgotWhoWroteIt: A classic Coppola tradition, this time emblazoned into the very title itself, similar to Mario Puzo's ''Film/TheGodfather'' (1972) and ''John Grisham's The Rainmaker'' (1997), albeit on the posters rather than the credits itself. Others have claimed, however, that Stoker's name was included in the title to avoid legal action from Universal Studios, who claimed to own the rights to the simple title ''Dracula'' (1931). Some critics noting how Coppola wanted to explore the subtext and the UnbuiltTrope of the book was emphasizing the literary nature of the original to distinguish his film.
* 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]])''
* LargeHam: Gary Oldman, as usual. Watch how he orgiastically licks the bloodied knife.
* LastGuyWins: Lucy ends up picking Arthur as a husband - the last of her suitors to enter the room at the ball.
* LastOfHisKind: Dracula calls himself this, as the last of the Draculs.
* LennonSpecs: Dracula wears them in his London-Dandy form.
* LicensedGame: Interesting in that the available versions [[ReformulatedGame barely resemble each other]]. The NES version plays like a horror-themed [[Franchise/SuperMarioBros Mario]] (complete with ? blocks!), the SNES/Genesis version is a more generic action platformer, and the Sega CD version injects the previous with at-the-time high tech 3D rendered backdrops... along with context-less clips from the film that suffer from house-sized artifacts. There is also a PC game played from the first person perspective as well as an Amiga version that fell somewhere between the Megadrive/Genesis, SNES and Sega CD versions gameplay-wise.
* LicensedPinballTable: [[Pinball/BramStokersDracula Right here.]]
* LivingShadow: Dracula's shadow often moves independently of its owner, entering scenes from the opposite direction as the vampire, making threatening gestures at other characters, and at one point, knocking over an inkwell.
* LockedIntoStrangeness: Harker's suffering as a captive in Dracula's castle turns his hair prematurely gray.
* LooksLikeOrlock: At one point [[https://www.youtube.com/watch?v=mzyeGBdQmCM Dracula himself turns into a bat monster]] that has many Orlock-like characteristics, such as huge bat-like ears, claws and fangs.
* LoveRedeems: In the ending [[spoiler:Mina's love softens Dracula's heart and he asks her to end his torment. The final shot of the movie implies that Dracula and Elisabeta have been reunited in heaven. The question of how Elisabeta can be both in heaven and at the same time reincarnated in Mina is never addressed.]]
* MalevolentArchitecture: Normal laws of physics don't quite seem to apply in Castle Dracula, most notably seen when Harker opens a perfume bottle that starts dripping ''upward'' into the ceiling. For extra creep factor, the castle itself vaguely resembles a ghoulish figure crouched on a cracked throne, owing to its decay over the centuries.
* MatchCut: Many, to the point that the ''MAD Magazine'' parody made a joke about it. Examples:
** The "eye" of a peacock's tail feather in a garden becomes a tunnel that Harker's train to Transylvania emerges from.
** Bite marks on Lucy's throat become the eyes of the escaped zoo wolf.
** An extreme close-up of Mina's eye becomes an absinthe glass as viewed from above.
** Lucy's just-severed head twirling through the air is matched with a platter of rare roast beef Van Helsing enjoys at dinner the following night.
* MsFanservice:
** 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 LesYay with her best friend Mina.
** Dracula's brides, all of whom are gorgeous and topless, and one of whom is played by a young Creator/MonicaBellucci.
* MyGodWhatHaveIDone: Dracula himself has this moment when he first tries to bite Mina, realising that he was ready to treat the reincarnation of his great love as just another piece of meat to consume.
* NeverMyFault:
** Dracula seems to have forgotten that he brought his transformation on himself.
--> '''Dracula''': I was betrayed. Look what your God has done to me!
** From his perspective, the loss of his wife is a punishment after all the things he did to protect Christendom from Turkey. Dracula also doesn't regret all the impalings he did when he was Vlad.
* NoSenseOfPersonalSpace: Dracula and Van Helsing share this trait throughout the film. Amusingly ''both'' manage to freak out Mina with it in their first meetings.
* OffWithHisHead: No less than five decapitations.
* OminousLatinChanting: SANGUIS VITA EST! (The Blood is the Life!)
* OneWingedAngel: Dracula does this twice, first as a werewolf-like creature, then as a humanoid bat.
%%* OohMeAccentsSlipping: Good Lord, where do we start?
* OurVampiresAreDifferent: Somewhat. The undead here are portrayed as much more monstrous and making growling and otherwise inhuman sounds. Dracula also never fully changes into animals when he shapeshifts, keeping a humanoid form when he goes wolf or bat. These vampires also have more supernatual powers -- they can send people flying with an invisible force and, if powerful enough, burn or melt crosses. Lastly, while it's stated that vampires are weaker during the daytime (but can go out in it if they choose), Dracula hypnotizes and nearly bites Mina during their first day together -- though it's late in the day when they headed to the cinematograph, so it may already be after dark when he tries to turn her. Although this last one is consistent with the original novel, in which the Count does go about during the daytime.
* TheOphelia: Elisabeta. Coppola even referred to her as such on the set.
* [[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 (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).
* POVCam: The film switches to Dracula's POV whenever he's about to attack Lucy.
* ThePowerOfHate: How Vlad became Dracula, via a RageAgainstTheHeavens.
* ThePowerOfLove: In the final scene, [[spoiler:as Mina tends to the dying Dracula, she realizes that "Our love is stronger than death." It's out of her love that she finishes him off at his request, and this not only ends his evil on Earth, but allows him to be redeemed and reunited with Elisabeta in the afterlife]].
* PimpedOutDress: Both Mina and Lucy have a few in their wardrobes.
%%* TheProfessor: Van Helsing.
* PromotedToLoveInterest: Famously there is a love story between Dracula and Mina, where she is now the reincarnation of his dead wife.
* RageAgainstTheHeavens: This Dracula somehow became a vampire with [[ThePowerOfHate nothing but his own hatred of God.]]
* ReligiousHorror: Vlad's FaithHeelTurn.
* {{Reincarnation}}: It's all but directly stated that Mina is the reincarnation of Dracula's [[ReincarnationRomance first love]] Elisabeta. She even carries some of Elisabeta's memories.
* RingOfFire: Van Helsing creates one to protect himself and Mina from the bad guys, rather than the standard final duel setup. He also manages to do it simply by chanting Latin and drawing a circle around them on the ground with a flaming brand.
* RuleOfThree: After Lucy is initially attacked by Dracula, the progression of her vampirism is reflected in what happens when she asks each of her three suitors to kiss her. First is Jack, as he attends to her and she tells him of her increasing sensitivity and nightmares; he is able to reciprocate without being harmed. Second is Quincey, but this time it's a lure so she can have a go at his throat. Finally, when she is confronted in her tomb, she asks her fiance Arthur to come to her for a kiss; only Van Helsing driving her back with a cross prevents disaster. (Subsequently, Arthur is the one who stakes her.)
* SceneryPorn: The studio sets, from rose-filled gardens to Hammer-style taverns. Bound to happen with Mike Mignola involved with the art design.
* ShoutOut:
** 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}}''.
** The idea of Dracula lusting after his reincarnated lover is absent in the book but it is a major part of ''Film/TheMummy1932'', which was otherwise an Egyptian-flavored remake of ''Film/{{Dracula 1931}}''.
* SicklyGreenGlow: Dracula's mist form has this.
* StakingTheLovedOne: Twice -- Arthur stakes his fiance Lucy, and in the final scene [[spoiler:Mina finishes Dracula off]]. Mina also asks Jonathan, in the climax, "When the time comes, will you do the same to me?"
* TagTeamSuicide: Played with. At the beginning of the film, set in medieval times, Dracula's wife throws herself off a tower when she hears false news of his death in combat. When Dracula returns, the bishop tells him that she is damned to hell for her suicide. Enraged, he renounces God and becomes a vampire, technically committing suicide.
* TogetherInDeath:
** Implied in the final shot. [[spoiler:Dracula dying at Mina's hand allows him and Elisabeta to be reunited in Heaven at last, as seen in the fresco of his castle.]]
** The belief that this trope would be subverted, and that he might be reunited with his wife in Hell, was the whole reason for Dracula's FaithHeelTurn in the first place.
* TragicMonster: Dracula is portrayed as one in this version due to his backstory. While he away at war, his wife kills herself in despair over a lie his enemies wrote in a letter. Since she committed suicide she can't go to heaven; he renounces his faith as a result and becomes a monster.
* TranshumanTreachery: Vlad, as explored in his backstory (though in this case he turned himself into a monster). Lucy seems to actively accept becoming a vampire as she fights against Helsing's healing methods, and smiles when Dracula comes to complete her transformation. Mina likewise practically tries to rush into becoming a vampire so she can be with Dracula.
* TruerToTheText: The intent was to make a more faithful adaptation of the book than previous films had (hence the InCaseYouForgotWhoWroteIt title).
** In general, Coppola's film is far more faithful to the novel than the majority of Dracula adaptations, both in tone and 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 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.
* {{Uberwald}}: Although this is subverted in Mina's description of the Count's homeland.
* UltimateUniverse: Gary Oldman's portrayal of Count Dracula incorporates both Bela Lugosi's distinctive accent and Max Schreck's "creepy and clawed" comportment from ''Film/{{Nosferatu}}''. As well, the romantic approach given to his and Mina's relationship was presaged by [[Film/{{Dracula 1979}} the 1979 version]] that toplined Creator/FrankLangella (in that version, the heroine doesn't feel shame for her longing to be with Dracula and is even nastier to the good guys who want to save her).
* UndeadBarefooter: Dracula's Brides are always shown barefoot to add to their seductive nature.
* UnlimitedWardrobe: Lucy can get away with having lots of different outfits since she's an aristocrat, but Mina has too many nice dresses for a school teacher. (They're probably Lucy's hand-me-downs -- as noted above, they're out of style.)
* UnusuallyUninterestingSight: Harker is remarkably blasé about Dracula's habit of extending his limbs beyond their natural reach, moving out of sync with his shadow, teleporting from one side of the room to the other and gliding across floors like he was floating without legs. Ironically these tricks stop almost entirely ''after'' his true nature has become apparent to the characters.
* UnwittingInstigatorOfDoom: The downright-LawfulStupid priest who abruptly says that Dracula's suicidal wife is damned.
* VampiresAreSexGods: The bloodsucking is played very erotically, Dracula's brides pleasuring Jonathan like a threesome. Lucy's death ends in a parallel to TheImmodestOrgasm, and vampire!Lucy tries to seduce Arthur.
* VeinOVision: When Dracula (in his wolf-creature form at the time, feeding upon Lucy) first sees Mina in the flesh, he can see through to her veins and heart.
%%* VictorianLondon
* VillainyDiscretionShot: According to Dr. Van Helsing, Dracula has killed and tortured thousands of people. But of course, we only get to see this through old medieval pictures, otherwise Dracula wouldn't be half as sympathetic.
* VillainousCrush: Dracula for Mina.
* VoluntaryShapeshifting: Dracula retains this ability from the novel, turning into a wolf, a {{wolfman}} (or some hairy creature that bears a resemblance to one), a giant bat, green mist, and a horde of rats.
* 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.
* WhatTheHellIsThatAccent: Keanu Reeves' laughable attempt at a British accent.
* WhyDontYaJustShootHim: No reason is presented as to why Dracula leaves Jonathan Harker alive and imprisoned at his castle while he goes to London. Killing Harker after the purchase of Carfax abbey would have allowed Dracula to seduce Mina without interference, especially if Mina had received word of Jonathan's death in the Transylvanian wilderness.
** Most likely, this was to keep the vampire brides fed while Dracula was away. They seemed to rely on Dracula for food, such as when he gave them the infant. ("Are we to have nothing tonight?") Harker notes during his captivity that the brides kept him drained and weak, which meant he served as a self-regenerating source of blood until Drac returned.
* WomanInWhite: Vampire!Lucy, as she was buried in what was to be her wedding gown.
* 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 as a creature damned to be so relentlessly hunted.
%%* WorldOfHam
* TheWormThatWalks: Dracula turns into a pile of rats to escape the vampire hunters after he claims Mina as his "bride".
* WorthyOpponent: Van Helsing has a certain degree of respect for Dracula, even while acknowledging that it's necessary to destroy him.
--> '''Van Helsing:''' He was in life a most remarkable man, his mind was great and powerful. But greater is the necessity to stamp him out and destroy him utterly.
* YourCheatingHeart: Mina finds herself torn between staying true to Johnathan or being with Dracula. Even finding out that the latter's the monster who killed Lucy doesn't seem to sway her, so much so that she nearly becomes a vampire herself...''willingly''.