Warlords, Vampires, and Spatial Genetic Multiplicity: Bram Stoker’s Dracula (1992)

Warning! It is highly recommended that potential viewers of Francis Ford Coppola’s 1992 version of Dracula are fully equipped with a few necessary items. These include: (1) the ability to follow an incredibly confusing plotline; (2) a sketchy knowledge of Bram Stoker’s novel; and (3) a plentiful supply of cold water (buckets or cold showers both acceptable). Also, this review contains spoilers.

The fact that Bram Stoker’s 1897 novel Dracula is littered with eroticism and religious imagery is nothing new. It’s informed the way we write and perform the vampire myth over the course of an entire century. But in Coppola’s 1992 adaptation of the book (‘adaptation’ is here used in the loosest possible sense) this is taken to a whole new level.

‘Bram’s’?

This seems an obvious place to start, but the way that Coppola chooses to present his film to audiences is interesting. The film’s full title is Bram Stoker’s Dracula, but readers of the book may find themselves a touch perplexed; apart from the characters the film seems to have little in common with Stoker’s story. A case of postmodern irony, or just a marketing strategy? I leave it for you to decide. The opening shots present viewers with Dracula’s (Gary Oldman) backstory, something which Stoker only hints at in the novel.

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Victorian Superheroes (Minus the Tights): Dracula (1897), by Bram Stoker

I vant to suck your blood… and varn you about ze spoilers ahead! (And also tell you zis book is #56 on my Classics Club list, bleh bleh).

On a dark and stormy night, in a castle in Transylvania, an English clerk named Jonathan Harker discovers a terrible secret about his host. It leads to an epic chase across the whole of Europe, from East to West, and back again. It’s the plot of Dracula, one of the most recognisable literary villains in history. Decades of literary criticism have shown us just how much there is to uncover in a book like Dracula. There’s no way I can possibly cover everything there is to find in a book like this, so I thought I’d start with some of the things which really caught my attention while I was reading.

Men Writing About Women Writing About Men (And Why It Always Makes Me Laugh)

In Dracula, women are everywhere. The plot revolves around two women in particular: Lucy Westenra and Mina Harker, the wife of Jonathan. In his characterisation of them, Stoker articulates anxieties about a range of issues, from Victorian sexuality to the fear of foreign invasion.*

Back From the Dead: Rebecca (1938), by Daphne du Maurier

This review contains some pretty big spoilers, so please watch out, especially in the second half of the review.

While I’m on the subject of Jane Eyre and creepy husbands, I thought I’d re-read Daphne du Maurier’s Rebecca. Based on Brontë’s classic, Rebecca tells the tale of an unnamed, penniless heroine who marries a rich widower and goes to live on his beautiful estate in the south of England, Manderley.

So far, so good. But for anyone looking for a nice, romantic story, Rebecca is most definitely not the book for you. Because it is, first and foremost, an incredibly creepy book. And it’s not the sort of book that sends a chill up the spine; no, it’s the kind of book whose creepiness hits you about twenty minutes after you’ve put it down, and you’ve already sat down to eat cereal.