Dracula Film Analysis – Besson’s Love-Struck Reinterpretation of the Classic Horror Story is Ridiculous but Watchable

It’s possible there is no great enthusiasm for a new version of Dracula from Luc Besson, the French maestro for polished extravagance. Still, it has to be said: his opulently crafted romantic vampire tale boasts bold vision and flair – and with its B-movie charm, I might just favor to it to the recent, stately interpretation by Robert Eggers of Nosferatu. Odd details emerge, like a particular moment that looks like it presents a land border between France and Romania.

The Veteran Actor as a Clever but Weary Priest Tracking the Undead

Christoph Waltz plays a witty yet careworn man of the church pursuing the undead – it’s surprising he never took on this role before – who ends up in Paris in 1889 for the French Revolution centenary celebrations. The same goes for the sinister Dracula, enacted by the expert in grotesque roles Caleb Landry Jones using a distorted Eastern European tone reminiscent of the voice of Gru by Steve Carell in the Despicable Me films. It’s a role suits him perfectly.

The Plot: A Chronicle of Longing

Here’s the premise: Dracula has been restlessly roaming the world in torment for 400 years following his rise as one of the undead, a penalty for his irreligious grief following the loss of his wife, Elisabeta (a first film part for Zoë Bleu, the offspring of Rosanna Arquette). Dracula has sought relentlessly for some woman who could be the rebirth of his departed beloved. By cruel fate, the chosen woman is revealed as Mina (portrayed once more by Bleu), the demure fiancee of Dracula’s wimpish land agent, Jonathan Harker (Ewens Abid), who has recently been to the vampire’s estate to negotiate his land assets and the small picture of the charming Mina drew the vampire’s attention.

Besson’s Handling and Comic Flair

Besson structures Dracula’s flashback sequence of global roaming wearing flamboyant outfits confidently, and he willingly includes giving us funny bits reminiscent of Mel Brooks – for example the vampire’s constant unsuccessful tries to end his own life after Elisabeta’s death, along with absurd moments that result after Dracula applies to himself using a particular scent during the 1700s in Florence, which causes him to be compelling to the opposite sex. Ridiculous and watchable.

Dracula is on digital platforms from 1 December and in disc format starting the twenty-second of December. It will be shown in Australian cinemas from 5 February 2026.