The enduring Dracula myth has received yet another cinematic retelling with Luc Besson’s latest film, featuring Caleb Landry Jones drawing heavy inspiration from Gary Oldman’s iconic portrayal in Bram Stoker’s Dracula. This new adaptation, released recently, revisits the gothic vampire legend with a focus on romanticism over horror, set primarily in historical Eastern Europe and later 19th-century Paris.
A Fresh Take on an Overfamiliar Vampire Legend
Dracula films have long felt repetitive, with countless versions turning the vampire saga into a well-worn franchise. Recent attempts like Nicholas Cage’s Renfield and Robert Eggers’ Nosferatu have mixed originality with style but failed to fully revitalize the story. Besson’s film arrives amid this crowded field, adding another chapter that aims more for romantic melodrama than genuine terror.
Caleb Landry Jones Evokes Gary Oldman’s Dracula with a Modern Twist
Jones’s portrayal closely mirrors Gary Oldman’s original Dracula in the opening act, from the white hair styled into a bun with side bangs to the pale, decaying skin and sharpened, fossil-like teeth. His performance channels a blend of inspirations, merging Oldman with elements reminiscent of Boris Karloff’s Mummy, the Cryptkeeper, Klaus Kinski, Willem Dafoe, Heath Ledger, and even a grimacing carp. Jones introduces himself as:
“I am Vlad, the second prince of Volokia. Count…Dragoool.”
Jones’ Dracula establishes the foundation for the character’s tortured nobility and eerie presence.
Setting and Story: From 15th Century Eastern Europe to 19th Century Paris
The narrative opens in 1480 Eastern Europe, where a young prince Vlad, played by Jones, lives with his beloved wife Elisabeta (Zoë Blue) at the foot of Romania’s Carpathian Mountains. Their tender relationship is shattered when Elisabeta is brutally killed, pushing Vlad into profound grief and spiritual rebellion. Addressing a priest, Vlad vows:
“Tell God that until he brings back my wife, my life no longer belongs to Him.”
This moment is punctuated by a supernatural thunderclap and a statue of Jesus shedding a bloody tear, signaling Vlad’s descent.
Years later, the story moves to a grand castle resembling Notre Dame where Dracula now hosts Jonathan Harker (Ewens Abid). The castle’s imposing gothic architecture sets an ominous backdrop as the tale transitions to Paris in the late 1800s. Here, Jones’s Dracula appears more polished and dandified, yet this incarnation feels less compelling than his ancient form.
The Film’s Romantic Focus Falters in Later Acts
Much like the 1992 Bram Stoker’s Dracula, Besson’s film loses momentum during its contemporary period. The romantic subplot between Dracula and Mina—both roles portrayed by Zoë Blue—feels uninspired. Their exchanges, such as:
“Madame, it is an honor and a pleasure to see you again.”
and Mina’s hesitant:
Have we met before?
“In a dream, perhaps. I have this strange feeling that we have known each other…for a long time.”
add little intrigue, resulting in disengagement from the audience, who are left unenthused by this love story.
Supporting Cast and Key Scenes Provide Moments of Interest
Christoph Waltz stars as the Priest, a Van Helsing-like figure, delivering a quietly intense performance that punctuates certain scenes effectively. One notable sequence involves Maria (Matilda De Angelis), Dracula’s first disciple, who undergoes a terrifying transformation before meeting a violent end through decapitation and staking.
The film’s climax returns to the vast castle, where stone gargoyles animate, and a series of elaborate but unconvincing action sequences play out, including clumsy sword fights and exaggerated cannon fire. The Priest closes the story solemnly by declaring:
“The spell is broken.”
This line unintentionally summarizes the film’s overall impact, as it fails to break fresh ground in the Dracula legend.
Music and Direction Capture Atmosphere but Lack Dramatic Depth
Danny Elfman’s score adds a haunting ambiance, drawing on the waltz themes reminiscent of Rosemary’s Baby. However, Besson’s direction often feels like a fatigued music-video approach, with slower pacing and fewer dramatic crescendos. The film’s attempt to blend periods and moods dilutes the suspense and leaves it more visually moody than engaging.
Implications for the Dracula Legacy and Future Adaptations
Besson’s Dracula, with Caleb Landry Jones’s avatar of Gary Oldman’s Dracula, reiterates that retelling this vampire tale is a perilous endeavor. Despite talented actors and impressive production design, the movie struggles to add depth or innovation to an already saturated genre. While the character remains steeped in gothic allure and tragic romance, this version underlines how difficult it is to reinvent Dracula for modern audiences without retreading familiar ground.
Future filmmakers seeking to revive the vampire myth may need to pursue radically new perspectives or narratives to recapture widespread attention, especially after films like this once again blend homage with tired storytelling.
