As a massive horror nerd and huge fan of Bram Stoker’s legendary 1897 novel Dracula, I often struggle to enjoy film adaptations of his work. Many of them go wildly off-script, or focus more on cheap jump scares than on the steadily building sense of dread that eventually bubbles over near the end of the novel. For me, the aptly named Bram Stoker’s Dracula — Francis Ford Coppola’s 1992 take on the novel — is the pinnacle of Dracula film adaptations.
Bram Stoker’s Dracula boasts a star-studded cast: Gary Oldman as the titular bloodsucker, Keanu Reeves as protagonist Jonathan Harker, Winona Ryder as Jonathan’s fiancée Mina Murray, and Anthony Hopkins as demonologist and supernatural jack-of-all-trades Dr. Abraham Van Helsing. Oldman’s performance in particular has pretty much ruined me for every other live-action version of the character.
Most adaptations of Stoker’s goth-lit classic tend to make Dracula into one of two things: an utterly repulsive monster (see: Nosferatu‘s Count Orlock), or an utterly irresistible bad boy (see: Richard Roxburgh in Van Helsing). But truthfully, Count Dracula is both a bad guy and a tragic figure, and Coppola’s take on the character finally reflects this.
Yes, his true form is gross and creepy. But the version of himself he presents to the public — especially Mina — is handsome, magnetic, and ultimately, a little bit relatable. Oldman leans into the character’s history of isolation to the point that it’s hard not to feel kind of bad for the guy. Sure, he’s mind-controlling people and nomming on unconsenting necks by night, but by day, he’s a dapper, silver-tongued man of culture who is cripplingly lonely, and frankly, really freaking bored. (I assume that eternal life gets a bit repetitive.) Mina Harker appears to be the first person to truly pique the Count’s interest in centuries, and the chemistry between Oldman and Ryder’s characters is palpable. If you’re anything like me, you may find yourself rooting for ol’ Vlad during certain scenes.
The film’s visuals are striking and decadent, with ornate (and Oscar-winning) costumes, elaborate (and Oscar-nominated) sets, and stunning cinematography. But despite its beauty, Bram Stoker’s Dracula is ultimately about a monster, something Coppola never forgets, even as he leans into the novel’s romantic themes. Instead of shoehorning in unnecessary jump scares (or avoiding them entirely), he uses the film’s gorgeous visuals to lull viewers into a false sense of security, the same way Dracula’s human form fools those around him. Then, when viewers least expect it, Coppola gives them a taste of genuine terror.
Where to watch: Netflix
Polygon’s annual Halloween Countdown is a 31-day run of short recommendations of the best horror movies, shows, TV episodes, and online specials to stream for the Halloween season. You can find the entire calendar here.
