Dracula: Dead and Loving It is a 1995 Mel Brooks movie (and, as of 2011, his last directorial effort) starring Leslie Nielsen as Dracula. It starts as a young solicitor from London, Thomas Renfield (Peter Mac Nichol), meets the mysterious Count Dracula. He begins to suspect that something is amiss, but the Count hypnotizes him before he can escape. The pair then travel to London, where the Count has purchased a manor next to an insane asylum. He meets his next-door neighbors at an opera: Dr. Seward (played by Harvey Korman), his daughter Mina (Amy Yasbeck), her friend Lucy (Lysette Anthony), and Mina's fiancee Jonathan Harker (Steven Weber). Shortly thereafter, Lucy becomes mysteriously ill. This prompts Dr. Seward to seek advice from his old friend Dr. Abram Van Helsing (played by Mel Brooks).Van Helsing informs Jonathan and Harker that they have "entered ze realm of ze supernatural!" and that Lucy is the victim of a vampire attack. It is imperative that the vampire is stopped before Lucy dies, or she vill become vun herrself! Sadly, Lucy does indeed die and rise again as a member of the evil bloodsucking undead. This finally convinces Harker and Dr. Seward that there is a vampire in their midst. They set off to stop him...just as Mina begins to develop the same symptoms that Lucy had before she died.All along the way, Hilarity Ensues (literally, in this case).
Dracula in bat-form attempts to fly into Lucy's open window just in time for her to close it.
Dracula is lurking outside Mina's window, but she has an inconvenient nurse inside with her. He's got them both under his spell but they're mindlessly following his commands and Dracula can't get the nurse to leave the room and Mina to let him in.
Jonathan: But Lucy, I'm engaged to Mina. And you're dead!
Vampire!Lucy: I'm not dead. I'm undead...!
Jonathan: Yes, well, I'm not un-engaged.
Call Back: The door knocker crumbling in Renfield's hand, which Mel Brooks states is a deliberate reference to Young Frankenstein in that film's commentary. Also, Van Helsing pronouncing the word "back" like "beck."
Ceiling Cling: Dracula uses this to escape detection. A slamming door causes him to come loose.
Modified version where Dracula acts like Spider-Man to free Renfield. Then flies to the ground. Renfield attempts to follow. Dracula points out:
Compelling Voice: Played with as Dracula attempts to give instructions, but has difficulty getting people to do exactly what he wants and controlling multiple people at the same time. Usually results in general goofy chaos, which is par for the course in a Mel Brooks flick. Dracula seems to do this randomly as well, like when he tries to use it to get an usher to relay a (not in any way secret) message.
Decoy Protagonist: The film seems to set Renfield up like this - he is the solicitor from London who meets up with Dracula in the beginning, as opposed to Jonathan Harker from the novel. Then Renfield is made into Dracula's servant, and the focus of the film shifts to Jonathan and Mina.
Harker: But Lucy, I'm British! Lucy: [exposing her cleavage] So are these!
The Ditz: Renfield. He gleefully eats insects and spiders in front of Dr. Seward, leads the heroes straight to where Dracula is hidden even while knowing that they were following him, and exposes his master to sunlight in a bid to rescue him, finishing Dracula off.
Dream Sequence: Dracula has a "daymare," where he believes his vampirism is cured and goes out to enjoy the beauty of the light. Then he bursts into flame and wakes up screaming and running.
Due to the Dead: After he accidentally kills his master, a mournful Renfield gathers the ashes of Dracula, puts them in the coffin, and then forms a smiley face out of them to make Dracula "look like his old self again" before shutting it.
Enforced Method Acting: Steven Weber had no idea how much blood was going to be splattered on him during the "staking Lucy" scene. Look closely and you can see him trying not to crack up.
Living Shadow: Parodied in several scenes as a goof on Bram Stoker's Dracula. In one, Dracula falls down the stairs and claims to be perfectly fine. His shadow is then seen limping up the stairs behind him.
Screw This, I'm Outta Here: During the climax of the movie, the shadow clearly shouts "Uh-Oh!" and runs away when Van Helsing and the others show up to kill Dracula.
The Load: Renfield proves to be more of a liability to Dracula than Van Helsing ever was, up to and including killing him accidentally.
Mood Whiplash: When Lucy bites the cemetery night guard, it's surprisingly scary for a part in a Mel Brooks movie. Not especially scary, thankfully, but still enough to catch viewers off guard.
Dracula's unnatural power in the final confrontation leads to him defeating all of the heroes, and grabbing Johnathan by the throat. He begins a pretty damned scary and badass speech about how he is utterly invincible, everyone is going to die, and there is nothing in the world that they can do to stop aaaaaaand then he gets poked in the eyes, by Johnathan, Three Stooges style.
Nice Job Fixing It, Villain: At the end, Renfield attempts to save Dracula by opening an escape route for him in the attic where Van Helsing and the heroes have Dracula cornered. But since morning has come and the sun is out, all he does is shine sunlight onto his master, killing him once and for all.
No Ontological Inertia: Double-subverted. After Dracula's death, Renfield cries and continues to call him his Master, and only snaps back to normal after Dr. Seward reminds him that he's now his own man. Renfield then follows Seward out, calling him "Master".
Small Name, Big Ego: Dracula says at one point, "They are fools to think they can match wits with me! Me who can control the forces of darkness! Me who has commanded the creatures of the night to do my bidding!" This is the same ancient evil who cannot rise from his coffin without banging his head on the chandelier.
Not to mention that he crashes into Lucy's bedroom window as she closed it. Who would have thought you can keep out vampires with Windex?
That has some basis in myth, actually - that a vampire can't enter a house without being invited in.
How little effort? Three small steps in either direction, then spinning around in place a couple times.
Vampires Are Sex Gods: Upon turning into a vampire, Lucy changes from a proper upper-class Victorian English lady into a lusty temptress. Even being bitten is enough to make the equally patrician Mina more frisky than usual. Neither of their charms work on Jonathan.
Vampire Dance: Van Helsing and co. set up a party for the high society. Dracula begins an elaborate dance with Mina. Then the cover is pulled off of the floor-length mirror, revealing that Dracula has no reflection.
Hilarity ensues when he spirals her in the air, and in the mirror it looks like she's flying in circles.