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Dracula Review – Besson’s Romantic Reinterpretation of the Gothic Classic is Outlandish but Watchable
It’s possible audiences aren’t clamoring for a fresh take of Dracula from Luc Besson, the French maestro for stylish excess. However, it’s worth noting: his richly designed vampire romance has ambition and panache – and amid its theatrical camp, it could be preferable to it to Robert Eggers’s recent, solemnly classy version of Nosferatu. There are some very bizarre touches, such as a scene that looks like it presents a land border between France and Romania.
Christoph Waltz as a Humorously Exhausted Clergyman Hunting Vampires
Christoph Waltz embodies a witty yet careworn man of the church pursuing the undead – it feels natural for him to tackle this role before – who ends up in Paris in 1889 to mark the 100th anniversary of the French Revolution. So does the sinister Dracula, played by the expert in grotesque roles Caleb Landry Jones using a distorted Eastern European tone similar to Carell’s Gru character from the Despicable Me comedies. This character suits him perfectly.
The Narrative: A Chronicle of Longing
The plot unfolds as follows: Dracula has wandered endlessly the world in torment over four centuries after his transformation into a vampire, a penalty for his irreligious grief over the death of his beloved Elisabeta (a first film part for Zoë Bleu, daughter of Rosanna Arquette). the vampire has sought relentlessly for a lady who might be the reincarnation of his deceased partner. By cruel fate, the chosen woman is revealed as Mina (portrayed once more by Bleu), the modest betrothed of Dracula’s wimpish land agent, Jonathan Harker (Ewens Abid), who just traveled to the vampire’s estate to negotiate his property portfolio and whose miniature portrait of the winsome Mina attracted Dracula’s gaze.
Besson’s Direction and Comic Flair
Besson structures Dracula’s flashback sequence of global roaming wearing flamboyant outfits confidently, and he doesn’t shy away from providing some comedy moments reminiscent of Mel Brooks – like the count’s repeated and futile attempts to end his own life post-Elisabeta’s demise, as well as absurd moments that follow Dracula sprays himself using a particular scent in 18th-century Florence, that renders him compelling to the opposite sex. Absurd yet engaging.
Dracula is available digitally beginning on the first of December and on DVD and Blu-ray from 22 December. It screens in Australian cinemas starting February 5, 2026.
Brett Davidson
A passionate writer and traveler sharing insights on personal growth and lifestyle from a UK perspective.
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