Dracula Film Analysis – Besson’s Passionate Reimagining of the Gothic Classic is Absurd but Engaging

Perhaps there is no great enthusiasm for an updated adaptation of Dracula from Luc Besson, the filmmaker known for glossiness and bloat. And yet, one must admit: his opulently crafted vampire romance displays creativity and style – and with its B-movie charm, I’m not sure I wouldn’t prefer over Robert Eggers’s recent, solemnly classy version of Nosferatu. There are some very bizarre touches, such as a scene that appears to show a land border between France and Romania.

Christoph Waltz as a Clever but Weary Clergyman Hunting Vampires

Christoph Waltz plays a clever but beleaguered cleric fighting vampires – it’s surprising he never took on such a part earlier – who ends up in Paris in 1889 for the French Revolution centenary celebrations. Likewise present is the sinister Dracula, brought to life by the seasoned horror actor Caleb Landry Jones speaking in a twisted regional dialect similar to the voice of Gru by Steve Carell from the Despicable Me comedies. It’s a role suits him perfectly.

The Plot: A Chronicle of Longing

Here’s the premise: the count has been restlessly roaming the globe in sorrow for 400 years since he became undead, a penalty for his faithless sorrow after the passing of his spouse Elisabeta (a first film part for Zoë Bleu, the offspring of Rosanna Arquette). Dracula has sought relentlessly for some woman who might be the return of his departed beloved. By cruel fate, the lucky lady proves to be Mina (portrayed once more by Bleu), the demure fiancee of the count’s timid estate manager, Jonathan Harker (enacted by Ewens Abid), who has recently been to Dracula’s fortress to review his real estate holdings and the small picture of the winsome Mina drew the vampire’s attention.

The Filmmaker’s Approach and Humorous Style

Besson structures Dracula’s flashback sequence of worldwide travels sporting extravagant attire with a sure hand, and he willingly includes giving us funny bits in the style of Mel Brooks – for example the count’s repeated and futile attempts to kill himself following Elisabeta’s passing, in addition to absurd moments that follow Dracula douses himself with a specific fragrance during the 1700s in Florence, that renders him irresistible to women. Outlandish but entertaining.

Dracula is available digitally starting December 1st and in disc format from December 22nd. It screens in Australian cinemas starting February 5, 2026.