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Dracula Review – The French Director’s Romantic Revamp of the Timeless Gothic Tale is Ridiculous but Engaging
Perhaps interest is limited for a fresh take of Dracula from Luc Besson, the filmmaker known for glossiness and bloat. However, one must admit: his opulently crafted vampire romance has ambition and panache – and amid its theatrical camp, it could be preferable compared with Robert Eggers’s recent, solemnly classy version of Nosferatu. A few strange elements appear, like a particular moment that looks like it presents a geographic divide between France and Romania.
Waltz as a Humorously Exhausted Priest Tracking the Undead
Christoph Waltz embodies a humorous yet burdened cleric fighting vampires – I can’t believe he hasn’t played this role before – who arrives in Paris in 1889 for the French Revolution centenary celebrations. So does the sinister Dracula, played by the seasoned horror actor Caleb Landry Jones speaking in a twisted regional dialect reminiscent of Steve Carell’s Gru of the Despicable Me series. This is a part that he too was born to take on.
The Story: A Tale of Love and Loss
Here’s the premise: the vampire lord has traveled ceaselessly the globe in anguish for hundreds of years following his rise as one of the undead, a penalty for his faithless sorrow following the loss of his spouse Elisabeta (a first film part for Zoë Bleu, daughter of Rosanna Arquette). Dracula has been searching, searching, searching for a female who could be the return of his deceased partner. By cruel fate, the fortunate female turns out to be Mina (also Bleu, of course), the reserved future wife of Dracula’s feeble property handler, Jonathan Harker (Ewens Abid), who has recently been to the vampire’s estate to negotiate his property portfolio and whose miniature portrait of the winsome Mina drew the vampire’s attention.
Besson’s Handling and Humorous Style
Besson organizes Dracula’s second-act backstory of worldwide travels sporting extravagant attire confidently, and he doesn’t shy away from offering some comedy moments with a distinctly Mel Brooks flavour – for example the count’s repeated and futile attempts to kill himself after Elisabeta’s death, along with absurd moments that follow Dracula douses himself using a particular scent in 18th-century Florence, which makes him compelling to the opposite sex. Absurd yet engaging.
Dracula is available digitally from 1 December and on DVD and Blu-ray starting the twenty-second of December. It plays in Australian cinemas starting February 5, 2026.
Louis Proctor
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