Renowned French director Luc Besson is back with his new take on the iconic Dracula film. Subtitled “A Love Tale,” this film focuses more on the romantic obsession of Count Vlad Dracula, played by Caleb Landry Jones, whose physical appearance is practically perfect for this role. After losing his lover, Elisabeta, played by Zoë Bleu Sidel, in 1480, the prince renounces and curses God. In punishment for this blasphemous act, God in return curses him with immortal life as a vampire. Over the next 400 years, Dracula does nothing but yearn in hope that one day his beloved Elizabeta will come back to him. It’s big and bold on paper, but Besson rushes through the emotional groundwork, leaving the tragedy feeling like just another scene rather than something important the audience should feel. A vampire-hunting priest, the main antagonist to Dracula played by a talkative Chrstopher Waltz lays down an engaging performance where it is due, but overall, is another shallow character.
When asked what is different about this version of Dracula on the Today Show, Christopher Waltz states, “Well it’s Luc Besson’s version, it’s based on the classic Dracula tale but he takes turns that others haven’t and that’s more fun for me to do something new within a set framework.”
This storyline is definitely one that viewers have seen before, as now the timeline shifts to the late 19th century, and Dracula has finally found and is reunited with his lost love, now by the name of Mina, an engaged city woman with no recollection of Dracula. For a movie that puts romance at its core, the actual love is pretty thin. Outside of a strong early moment where they physically and emotionally show their affection, their connection ceases to live up to the film’s emotional weight.
In past film adaptations, Dracula stalked, while here, he frolicks. He is confident that his brewed signature scent—a specialized perfume designed to seduce and awaken memories of lost love which has brought success throughout his search—will swoon Mina. But winning Mina over will take more than just his carefully crafted scent. After turning into a Vampire from being a victim of Dracula’s teeth, Mira, played by Matilda De Angelis, a good friend of Minas, works as a catalyst in connecting Dracula to his long-lost lover. While Besson seemed to fall short on the storyline, he clearly had money to burn on the costumes. The costumes are elaborate and detailed, and the sets flourish in each new scene. While being a gothic horror, the film almost seems too pretty or sleek at times, losing its eeriness of the Dracula character, and almost feeling a bit too artificial. This feeling heightens once we are introduced to Dracula’s Gargoyle helpers, who, although may add flair, seem a bit out of place and a little flushed out.
For a character who has been featured in over 700 films in history, this new take on the film seems far too safe, only seemingly relying on prior knowledge of the character, ultimately making this version far too shallow and, honestly, forgettable.
