Francis Ford Coppola’s «Bram Stoker’s Dracula»: A Timeless Maximalist Vision

This year marked the long-awaited return of American filmmaking legend Francis Ford Coppola with «Megalopolis,» a $120 million self-financed «fable» capturing the tale of a time-defying architect striving to construct the city of the future following his wife’s untimely death. However, fans of this ambitious narrative may find intrigue in revisiting Coppola’s earlier work, «Bram Stoker’s Dracula,» another maximalist fable portraying a man wrestled by grief over his wife’s demise.

Winona Ryder, one of the film’s lead actresses, was instrumental in bringing «Bram Stoker’s Dracula» to Coppola. This move came as an apology after Ryder’s abrupt departure from Coppola’s «The Godfather Part III,» where she was replaced by Coppola’s daughter, Sofia. In Coppola’s adaptation of the gothic novel, the character of Count Dracula, portrayed brilliantly by Gary Oldman, is transformed from a shadowy figure into a tragic war hero. After renouncing God due to the suicide of his wife, Elisabeta, depicted by Ryder, Dracula is cursed with eternal life as a vampire.

The storyline progresses as Dracula, upon discovering that the reincarnation of his former wife, Mina (also played by Ryder), exists in 19th-century London, endeavors to seduce her amidst the novelty of the cinematograph. In crafting «Bram Stoker’s Dracula,» Coppola drew inspiration from the novel’s 1897 publication, coinciding with the early era of motion pictures. By utilizing turn-of-the-century camera techniques and practical effects, Coppola pays homage to the birth of cinema, creating one of the most visually striking films to date.

Coppola famously dismissed his original special effects team for insisting on employing then-modern CGI, opting instead for his son, Roman, who delivered effects inspired by Georges Méliès. The director’s commitment to his elaborate vision is evident in the film’s cinematography, production design, and makeup, where each department was encouraged to «go for the jugular.» Particular praise has been given to the «gonzo» work of Eiko Ishioka, whose Oscar-winning costumes stand as set-pieces themselves, showcasing pure artifice and flamboyance.

Released during the 1990s heyday of the erotic thriller genre, alongside films like «Basic Instinct» and «Single White Female,» Coppola’s film brings to light the repressed sensuality of its Victorian setting. Unlike Bram Stoker’s original novel, the female characters in Coppola’s interpretation openly express their desires to be consumed by Dracula, a notable shift that embarks them on a journey fluctuating between agony and ecstasy.

The film notably reflects the Victorian values of Stoker’s time, drawing parallels to contemporary issues such as the HIV/AIDS crisis, prevalent during the film’s release. While conservatism is evident, Coppola counters this by immersing audiences in an overtly erotic spectacle, eliciting passionate performances, particularly from Gary Oldman and Sadie Frost. Their portrayals emphasize a blend of sensuality and fear, mirroring the film’s visual grandeur.

A poignant line from the film, «I have crossed oceans of time to find you,» encapsulates the relentless pursuit of love, symbolizing Coppola’s cinematic endeavor. This narrative theme echoes throughout Coppola’s illustrious career, featuring prominently in movies like «One from the Heart,» «Gardens of Stone,» and «Jack,» where private tragedies and themes of love and loss are explored.