![]() ![]() So it should come as little surprise that, in the film, the sexually available Lucy is Count Dracula’s (Gary Oldman) first victim. The difference is evident in everything from their comportment to the very clothes that they wear. ![]() The film is definitely a bodice-ripper, literally so on several occasions, that unabashedly traces out the arc between sexual repression and erotic liberation.īram Stoker’s Dracula offers a study in sexual contrasts between the (at least verbally) wanton and aristocratic Lucy Westenra (Sadie Frost) and the buttoned-down working-class Mina Murray (Winona Ryder). ![]() Coppola’s film unspools like an erotic nightmare, dredging up all the pent-up and sexually charged energy that roils (sometimes barely) below the surface of Stoker’s novel. This isn’t a staid literary adaptation of the Merchant-Ivory variety. Francis Ford Coppola certainly brought the operatic intensity that was evident in his previous film, The Godfather Part III, to Bram Stoker’s Dracula. ![]()
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