Dracula Film Analysis – Luc Besson’s Romantic Reinterpretation of the Gothic Classic is Outlandish but Engaging
Perhaps interest is limited for a new version of Dracula from Luc Besson, the filmmaker known for glossiness and bloat. However, one must admit: his lavishly upholstered romantic vampire tale boasts bold vision and flair – and in all its Hammer-y cheesiness, it could be preferable compared with Eggers’s dignified recent take of Nosferatu. Odd details emerge, including one shot that appears to show a territorial boundary between France and Romania.
Waltz as a Clever but Weary Priest Tracking the Undead
Christoph Waltz embodies a humorous yet burdened vampire-hunting priest – I can’t believe he hasn’t played such a part earlier – who finds himself in Paris in 1889 for the French Revolution centenary celebrations. Likewise present is the sinister Dracula, brought to life by the expert in grotesque roles Caleb Landry Jones with a mangled central European accent evoking Steve Carell’s Gru from the Despicable Me comedies. It’s a role he seemed destined to play.
The Plot: A Chronicle of Longing
The plot unfolds as follows: Dracula has been restlessly roaming the world in torment over four centuries following his rise as one of the undead, a punishment for his irreligious grief following the loss of his beloved Elisabeta (a movie debut role for Zoë Bleu, the offspring of Rosanna Arquette). The count has looked tirelessly for a lady who might be the return of his deceased partner. Unfortunately, the chosen woman turns out to be Mina (again played by Bleu), the demure fiancee of Dracula’s wimpish land agent, Jonathan Harker (played by Ewens Abid), who just traveled to the vampire’s estate to negotiate his land assets and whose miniature portrait of the lovely Mina attracted Dracula’s gaze.
The Filmmaker’s Approach and Lighthearted Touch
Besson structures Dracula’s second-act backstory of worldwide travels sporting extravagant attire confidently, and he is not above giving us some comedy moments in the style of Mel Brooks – such as the count’s repeated and futile attempts to commit suicide following Elisabeta’s passing, as well as absurd moments that result after Dracula applies to himself using a particular scent in historic Florence, which makes him irresistible to women. Absurd yet engaging.
Dracula is on digital platforms starting December 1st and on DVD and Blu-ray from 22 December. It will be shown in Australian cinemas starting February 5, 2026.
