Ok, overall, I liked it. They pulled some cute camera tricks (the miving shadows were first used in the vampire film Vampyr, back in 1931, even if Sergio Aragones thinks he invented it). Nobody else had the guts to show Lucy’s Texan suitor, or to adhere so closely to the book. Dracula’s brides were made threatening and sexy, for once.
Lepnard Wolf, author of “The Annotated Dracula” and “The Essential Dracula”, thinks Coppola’s version is great. Not surprisingly, Wolf was technical advisor for the film.
David J. Skal, author of “Hollywood Gothic” (the definitive book on Dracula films), as well as “The Monster Show” and “V is for Vampire”, hates it, saying that it took Stoker’s Darwinian villain (with his Lombroso criminal featues), and tried to turn him into a suave ladies’ man and a tragic hero. The subplot about Dracula’s seeing his re-incarnated bride in Mina Murray/Harker does not appear in Stoker’s novel, or any version of Dracula before the version starring Jack Palance, written by Richard Matheson, and roduced by the guy wo did Dark Shadows. Matheson apparently lifted it from the Universal version of The Mumy (they even re-used this in the recent Mummy remakes!) You’d think Matheson would’ve known better, but I guess he wanted to make Dracula’s motions sympathetic and comprehensible. Coppola, too, I guess. Skal, for what it’s worth, thinks the BS version with Louis Jordan the best. I think that version as boring (which, alone, puts Copp0ola’s version ahead). For my money, the best and truest version was Jess Fanco’s 1970 Count Dracula, starring Christopher Lee. The first half, at least, is more faithful than any other version.
Anthony Hopkins’ Abraham van Helsing was over-the-top, but maybe that’s the way to play him. Gd knows Edward van Sloan’s version in the original 1931 version was too reserved. Van Helsing needs to be a "character. Coppola is also the only one I can think of who ignores the image from Nosferatu and has Count Dracula walking around London in daylight. He also tried to duplicate, so far as he could, the novel’s multimedia sense.
Overall, I’m mre tolerant of it than most critics. [BDracula** is a hell of a bok to try to adapt – it’s filled with scene changes and caracters that pop up out of nowhere, for no obvious reason. Plays and films almost inevitably combine characters and telescope events, but Coppola virtually embraced all of this chaos.
Hell, I’ll even live with Keanu Reeves’ acting and disappearing accent.