Dracula Review – Besson’s Romantic Revamp of the Timeless Gothic Tale is Outlandish but Engaging
It’s possible audiences aren’t clamoring for a fresh take of Dracula from Luc Besson, the French maestro for stylish excess. And yet, it’s worth noting: his opulently crafted love story with vampires has ambition and panache – and with its B-movie charm, I’m not sure I wouldn’t prefer over the recent, stately interpretation by Robert Eggers of Nosferatu. A few strange elements appear, including one shot that looks like it presents a territorial boundary between France and Romania.
The Veteran Actor as a Witty Yet Careworn Clergyman Hunting Vampires
Christoph Waltz portrays a clever but beleaguered cleric fighting vampires – it feels natural for him to tackle this character previously – 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 with a mangled central European accent similar to Carell’s Gru character from the Despicable Me comedies. This is a part that he too was born to take on.
The Narrative: A Tale of Love and Loss
Here’s the premise: the vampire lord has traveled ceaselessly the world in torment over four centuries following his rise as one of the undead, a consequence for his faithless sorrow over the death of his spouse Elisabeta (a first film part for Zoë Bleu, daughter of Rosanna Arquette). The count has sought relentlessly for a lady who could be the reincarnation of his deceased partner. By cruel fate, the lucky lady proves to be Mina (again played by Bleu), the reserved future wife of Dracula’s wimpish land agent, Jonathan Harker (enacted by Ewens Abid), who has recently been to the vampire’s estate to negotiate his property portfolio and the tiny painting of the lovely Mina drew the vampire’s attention.
The Filmmaker’s Approach and Humorous Style
Besson organizes Dracula’s second-act backstory of global roaming sporting extravagant attire confidently, and he is not above providing humorous scenes reminiscent of Mel Brooks – like the vampire’s constant unsuccessful tries to end his own life post-Elisabeta’s demise, along with farcical scenes that result after Dracula applies to himself in a certain perfume during the 1700s in Florence, which makes him compelling to the opposite sex. Absurd yet engaging.
Dracula is on digital platforms beginning on the first of December and for physical purchase from 22 December. It screens in Australian cinemas starting February 5, 2026.
