Reviews - Specialty Releases


Film Review: Argento's Dracula

Greeted with a chorus of "worst movie ever" catcalls from fans of both vampires and Italian cult favorite Dario Argento, this resolutely old-fashioned (3D notwithstanding) take on Bram Stoker's genre-defining novel was kicked to the curb in Italy, where it opened opposite the last installment in the 'Twilight' saga, which bodes badly for U.S. box office.

Oct 4, 2013

-By Maitland McDonagh


filmjournal/photos/stylus/1386368-Argento_Md.jpg

For movie details, please click here.

Transylvania, 1893: Abandoned by her ungallant, married lover to make her own way home through the deep, dark woods, pretty Tania (Miriam Giovanelli) is attacked by a sinister owl whose scaly claws morph into fingers as she squirms and screams for help that never comes…
 
The following day, serious, scholarly Jonathan Harker (Unax Ugalde) arrives at the Passburg train station, anxious to begin his new job cataloguing the 400-year-old library of Count Dracula (Thomas Kretschmann, who plays Van Helsing opposite Jonathan Rhys Meyers' Dracula in the upcoming “Dracula” TV series) he has inherited from his ancestors. Harker's fiancée, Mina (Marta Gastini)—whose flirty, popular best friend Lucy (Asia Argento) is the daughter of Passburg's mayor—will be joining him soon. Harker quickly discovers that beneath the elegant manners and erudite speech, his new employer is not what he seems, winding up bitten, brutalized and a prisoner in Castle Dracula.
 
When the strong-willed Mina arrives to find her husband-to-be missing, she immediately starts poking around Castle Dracula, which is unfortunate in that she's a dead ringer for the count's long-dead, but not forgotten, wife, Countess Dolingen. At the same time, seasoned vampire hunter Abraham Van Helsing (Rutger Hauer, who played the prince of vampires in 2005's undistinguished Dracula  III: Legacy) has become aware that undead hijinks have started up in the previously quiet Passburg.

Argento's Dracula
has been alternately castigated for taking liberties with the original novel and for failing to find a new angle on it, which is the very definition of damned if you do and damned if you don't. For the record, Bram Stoker's book is a shambolic mess, alternately gripping and tedious, and veteran horror director Dario Argento and company did what virtually everyone does: trimmed and shuffled, favoring the creepy, sexy stuff over domestic drama and windy discussions of science, superstition and Romanian history. (The film also interpolates a healthy chunk of Stoker's Dracula's Guest, a vignette that deals with the vampire's lost love, Countess Dolingen.) More than anything, Argento's Dracula is a gory homage to Hammer horror, all heaving bosoms, quaint European travelogue and lush color photography.
 
The film features some strikingly good performances, notably Kretschmann's feral and sexually voracious Dracula and Hauer's battered, weary Van Helsing , side by side with some incredibly terrible ones, notably busy Italian TV actor Franco Ravera's turn as a portly priest given to sputtering pronouncements like "He is evil." And Argento's notoriously strong-willed daughter, Asia, is just plain miscast as the boy-crazy Lucy—she would have been a much better Mina—but comes into her own when Lucy breaks bad.
 
In the grand scheme of Argento's films, Dracula will never be a more than a footnote (most likely one that alludes to his childhood introduction to Euro-horror's ur-texts, of which Argento preferred Frankenstein). But fans of horror all'Italia won't want to miss it.


Film Review: Argento's Dracula

Greeted with a chorus of "worst movie ever" catcalls from fans of both vampires and Italian cult favorite Dario Argento, this resolutely old-fashioned (3D notwithstanding) take on Bram Stoker's genre-defining novel was kicked to the curb in Italy, where it opened opposite the last installment in the 'Twilight' saga, which bodes badly for U.S. box office.

Oct 4, 2013

-By Maitland McDonagh


filmjournal/photos/stylus/1386368-Argento_Md.jpg

For movie details, please click here.

Transylvania, 1893: Abandoned by her ungallant, married lover to make her own way home through the deep, dark woods, pretty Tania (Miriam Giovanelli) is attacked by a sinister owl whose scaly claws morph into fingers as she squirms and screams for help that never comes…
 
The following day, serious, scholarly Jonathan Harker (Unax Ugalde) arrives at the Passburg train station, anxious to begin his new job cataloguing the 400-year-old library of Count Dracula (Thomas Kretschmann, who plays Van Helsing opposite Jonathan Rhys Meyers' Dracula in the upcoming “Dracula” TV series) he has inherited from his ancestors. Harker's fiancée, Mina (Marta Gastini)—whose flirty, popular best friend Lucy (Asia Argento) is the daughter of Passburg's mayor—will be joining him soon. Harker quickly discovers that beneath the elegant manners and erudite speech, his new employer is not what he seems, winding up bitten, brutalized and a prisoner in Castle Dracula.
 
When the strong-willed Mina arrives to find her husband-to-be missing, she immediately starts poking around Castle Dracula, which is unfortunate in that she's a dead ringer for the count's long-dead, but not forgotten, wife, Countess Dolingen. At the same time, seasoned vampire hunter Abraham Van Helsing (Rutger Hauer, who played the prince of vampires in 2005's undistinguished Dracula  III: Legacy) has become aware that undead hijinks have started up in the previously quiet Passburg.

Argento's Dracula
has been alternately castigated for taking liberties with the original novel and for failing to find a new angle on it, which is the very definition of damned if you do and damned if you don't. For the record, Bram Stoker's book is a shambolic mess, alternately gripping and tedious, and veteran horror director Dario Argento and company did what virtually everyone does: trimmed and shuffled, favoring the creepy, sexy stuff over domestic drama and windy discussions of science, superstition and Romanian history. (The film also interpolates a healthy chunk of Stoker's Dracula's Guest, a vignette that deals with the vampire's lost love, Countess Dolingen.) More than anything, Argento's Dracula is a gory homage to Hammer horror, all heaving bosoms, quaint European travelogue and lush color photography.
 
The film features some strikingly good performances, notably Kretschmann's feral and sexually voracious Dracula and Hauer's battered, weary Van Helsing , side by side with some incredibly terrible ones, notably busy Italian TV actor Franco Ravera's turn as a portly priest given to sputtering pronouncements like "He is evil." And Argento's notoriously strong-willed daughter, Asia, is just plain miscast as the boy-crazy Lucy—she would have been a much better Mina—but comes into her own when Lucy breaks bad.
 
In the grand scheme of Argento's films, Dracula will never be a more than a footnote (most likely one that alludes to his childhood introduction to Euro-horror's ur-texts, of which Argento preferred Frankenstein). But fans of horror all'Italia won't want to miss it.
Post a Comment
Asterisk (*) is a required field.
* Author: 
Rate This Article: (1=Bad, 5=Perfect)

*Comment:
 

More Specialty Releases

Sagrada
Film Review: Sagrada: The Mystery of Creation

The fabulous 130-year work-in-progress that is Barcelona's Sagrada Familia cathedral, as well as its crazy-brilliant originator, Antonio Gaudi, is the focus of this vividly informative documentary. More »

Inside the Mind of Leonardo
Film Review: Inside the Mind of Leonardo in 3D

Documentary-feature hybrid that offers unexpected insight into the world of Leonardo da Vinci, but nonetheless suffers from a heavy hand and pretentious sensibility. More »

If You Don't., I Will
Film Review: If You Don't, I Will

Anemic drama about a forever-bickering couple who do not at all get along nor emit a scintilla of chemistry. It’s a disappointing, too-lean portrait of a marriage. More »

Mr. Turner
Film Review: Mr. Turner

In Mike Leigh’s Mr. Turner, arguably the year’s most gorgeous film, Timothy Spall etches an indelible portrait of the great painter, aided by a marvelous supporting cast who make the period spring alive. More »

ADVERTISEMENT



REVIEWS

Annie review
Film Review: Annie

Here’s an updated Annie for today’s entitled, tech-savvy and racially diverse generation of tweens who can easily relate to the new Annie’s love of luxurious toys. Their parents and other adults may miss the sweet innocence of the original, but they won’t be entirely bored by this frenetic new version of her classic story. More »

The H obbit: The Battle of the Five Armies
Film Review: The Hobbit: The Battle of the Five Armies

After rewriting the rules for modern fantasy cinema, for the better and worse, Peter Jackson’s six-film Tolkien saga slams, bangs and shudders to a long-overdue conclusion. More »

Player for the Film Journal International website.


ADVERTISEMENT



INDUSTRY GUIDES

» Blue Sheets
FJI's guide to upcoming movie releases, including films in production and development. Check back weekly for the latest additions.

» Distribution Guide
» Equipment Guide
» Exhibition Guide

ORDER A PRINT SUBSCRIPTION

Film Journal International

Subscribe to the monthly print edition of Film Journal International and get the full visual impact of this valuable resource for the cinema business.

» Click Here

SPONSORSHIP OPPORTUNITIES

Learn how to promote your company at the Film Expo Group events: ShowEast, CineEurope, and CineAsia.

» Click Here