|Billy the Poet |
How much better would this movie have been if it had been a two-man piece with Waits and Richard E. Grant?
It worked well as an adaptation of the book until Coppola foolishly decided to turn the story into some kind of shit analogy for AIDS or whatever and ruined the entire creepiness of the Dracula character by making him a romance novel character instead of a horrible elderly man who uses his dark powers to make women think he's wonderful, which is far more disturbing. But, Hollywood...
The pace of Coppola's version was dull and I found the actual narrative of the film to be disastrous especially around when Drac started courting Mina and all of that 'lost love' claptrap.
Plus the decision to turn Dracula into a cross between Lord Byron, Heathcliffe and some kind of shape-shifting FX non-entity was simply baffling.
As far as film takes on 'Dracula' go, I find the 1979 "Dracula" film to be a reasonably satisfactory compromise between romantic gothic and straight horror, and, in particular, Laurence Olivier as Van Helsing was vastly underrated
- the hammy fluttering he does is intially comic, but intentionally so to hide a core of steel. Frank Langella as Dracula provided an interesting interpretation of the Count, in that while he was a glamorous type in some scenes he was also undeniably a monster. Though the climax was somewhat limp and lacking energy and Trevor Eve as Jonathan Harker was less than impressive.
stars for the security guards headgear.
I will not give less than five stars for anything Eiko Ishioka worked on.
Normally I have nothing against Ishioka but in this case, in this film, the costumes are one of my least favorite things about a movie I don't care much for at all. The costumes are all exactly what movie costumes shouldn't be, unless your movie's about clothes: showy and pretentious and harboring a nasty tendancy to draw attention to themselves.
|Binro the Heretic |
Canoe and Ryder were the huge potholes that made this movie such an awful experience. I could practically see waves of contempt directed at them by the other performers. Their hatred was so powerful it had actual visual manifestations that were captured on film.
That scene with Dracula's shadow "choking" Jonathan Harker? That wasn't a special effect. Gary Oldman's righteous indignation at having to perform in scenes with Reeves was so powerful it tried to kill him but, alas, it wasn't quite powerful enough to achieve a physical presence.
Anyway, the John Badham "Dracula" was the best one ever.
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