Dracula (1979)

Despite originally being a literary character, Count Dracula has spawned multiple cinematic incarnations. From Bela Lugosi’s 1931 iconic interpretation to Leslie Nielsen’s 1995 comedic portrayal, the 500-year-old vampire from Transylvania has spanned generations as a classic horror luminary.

1979’s Dracula casts Frank Langella in the title role. His portrayal avoids many of the clichés of the past. Langella plays the part without the aid of fangs or a heavy accent. While his version does transform into a bat and a wolf and climbs walls, he also smolders as if he were an undead sex symbol. In fact, the movie is essentially built around that fact.

The script, written by W. D. Richter and based on the same Hamilton Dean and John L. Balderston play as the 1931 version, casts off various trappings of the original Bram Stoker novel. Completely removing Transylvania from the equation, this Dracula takes place entirely in England. Even some of the characters are swapped out in this version. But, by and large, the essence of the story remains the same: Count Dracula arrives in England and begins preying on unsuspecting victims.

Taking up residence in Carfax, next to an asylum run by Dr. Seward (Donald Pleasence,) the Count soon ingratiates himself into the local social scene. He’s particularly captivated by Lucy Seward (Kate Nelligan.) After Lucy’s friend Mina Van Helsing dies from a strange loss of blood, Dr. Seward calls upon Mina’s father, Dr. Abraham Van Helsing (Laurence Olivier) to help determine the cause of death. Dr. Van Helsing’s investigation leads him to believe a vampire was responsible. He has to convince Dr. Seward and Lucy’s fiancé, Jonathan Harker (Trevor Eve,) that the strange count that lives next door is the culprit.

Dracula plays up the romantic and sensual side of the count’s conquest of Lucy. Langella, who played the role of Count Dracula on Broadway before being cast in the movie, emphasizes the count’s sexuality. When Langella peers into the eyes of a potential victim, his hypnotic spell is completely convincing. His disco-era hairstyle might be the only thing that can’t be taken seriously about his performance.

Director John Badham (Blue Thunder) and cinematographer Gilbert Taylor do their best to give the entire production an epic feel. From the large and intricately detailed sets to the sweeping John Williams score, Dracula looks and feels impressive in scope. In most cases, the film doesn’t look like a product of the 1970s. In fact, it recalls the Hammer productions of the early 1960s. However, there are moments — like an oddly filmed love scene between Dracula and Lucy — that haven’t aged as gracefully. Thankfully, these are few and far between.

My main complaint about Dracula is that the filmmaker’s efforts to make it a more romantic telling of the count’s adventures in England means that there are few truly frightening scenes. Still, the quality of the entire production and the excellent cast make for entertaining, if not necessarily spooky, viewing.