Bram Stoker grew up in the same circles as Oscar Wilde, on the fancy side of Dublin, and the two were roughly the same age, close enough at least to evidence an affinity. One year, after Wilde left to go study in England, his parents invited Stoker to spend Christmas Day with them, as though he were a substitute son—as though, that is, Stoker were a plausible stand-in for Wilde.
New Dracula in the Old World Dracula movies have never gone out of fashion. In particular, the U. K-based Hammer Film Productions launched a series of horror flicks that discriminating fans swear are superior to the American efforts that had dominated the popular imagination. Lush colour, intelligent scripts and classically trained actors are the hallmarks of these films.
They are obviously produced on limited budgets and so the special effects are restrained, often implied through characters' reactions. They also tend to forego dramatic camera tricks to present more straightforward staging with a distinctive stateliness that you get only with British film.
Plus the emphasis is placed on psychological development of characters rather than on emotional hysterics. This is not to make the Hammer films out to be great works of arts—they are still melodramatic takes on popular cultural obsessions.
But within the horror genre they are among the classiest chillers and thrillers. Hammer's great director was Terence Fisher who worked mainly in the horror genre and made all the studio's classic flicks. Its great stars were Christopher Lee, who usually played the count, and Peter Cushing who was typically his nemesis, Van Helsing.
A right proper Dracula In the studio's first entry, Fisher's Horror of Draculaoriginally named just Draculathe title character is presented without all the Lugosi-era's gothic theatrics: Rather Dracula's castle is clean, tasteful and like most Hammer sets somewhat overlit.
The host seems a polite, reasonable sort of aristocrat. This makes his unveiling as the blood-sucking monster even scarier. For the first time on screen, the inflamed Dracula has fangs and reddened eyes.
And the film doesn't forego gore either. Christopher Lee's Dracula turns out to be more selfish and brutal than Lugosi's, probably closer to Bram Stoker's idea, but at the same time even more elegant.
Peter Cushing as Van Helsing. And Peter Cushing is beyond doubt the best Van Helsing we've seen, a sophisticated, intelligent but driven man, someone you could really imagine devoting his life to the pursuit and eradication of evil. Horror of Dracula is really his movie.
Great liberties are taken with Bram Stoker's plot and characters. Harker comes to Dracula's castle somewhere in the Carpathian Mountains, not to sell him real estate but to kill him.
He fails and is turned into a vampire himself before his colleague Van Helsing arrives on the scene to put him to rest. The action never leaves eastern Europe and all the secondary characters are switched around from what we expect from the book and previous films.
But these changes are smart, making the story both fresh and more believable. No wonder many call this the best Dracula ever. Interestingly, although sexual desire plays a role in this Dracula, as it does in most versions, a greater analogy is drawn with drug addiction, with Van Helsing himself making a direct comparison briefly in one scene.
He's got a point. The disease is introduced through punctures in the skin, directly into the blood system. It changes the perceptions and the drives of those infected.
They become desperate to get more of the same, until the addiction progresses beyond the point of no return and the victims become the walking dead, deeply desiring to be released from their bondage but unable to stop themselves from preying on everyone around them.
Van Helsing's mission is to strike at the heart of the affliction, the head drug dealer if you will, in the person of Count Dracula.
So goes the theory of Dracula's appeal as expressing an allegory for the fear of drugs or other modern addictions taking possession of us.Slightly based on Bram Stoker's Dracula, NOSFERATU is the quintessential silent vampire film, crafted by legendary German director F.W.
Murnau (SUNRISE). Rather than depicting Dracula as a shape-shifting monster or a charming gentleman, Murnau's Graf Orlok is depicted as a nightmarish, spidery creature of bulbous head and long claws.
So, it seems, Bram Stoker anticipated the advent of audiobooks as a viable medium for literature. I decided to listen to the novel chapter by chapter, hearing all five versions of one chapter before advancing to the next. Bram Stoker's Dracula looks amazing in this release, setting aside the controversy.
Details are immaculate, with a consistently light and critical grain structure gracing the entire movie. Professor Abraham Van Helsing is a fictional character from the gothic horror novel yunusemremert.com Helsing is an aged Dutch doctor with a wide range of interests and accomplishments, partly attested by the string of letters that follows his name: "MD, yunusemremert.com, yunusemremert.com, etc, etc," indicating a wealth of experience, education and expertise.
The . •Stoker’s novel wants you to be scared of sex in general, though we can also make the point via the film: The first time we see Dracula attack a woman, all he really does is lean in for a kiss, though the street is dim and London-ish, and his victim is a flower-girl-for-which-read-prostitute, and these details inevitably summon overtones of.
Dracula Reborn is another sterling retrospective documentary that takes a highly detailed look at the making of the film and the era it sprang from, as well as how it considerably changed the face of Horror.
The usual suspects all appear.