Dracula Film Analysis – Luc Besson’s Romantic Revamp of the Timeless Gothic Tale is Ridiculous but Engaging

Maybe audiences aren’t clamoring for a fresh take of Dracula from Luc Besson, the French maestro for stylish excess. However, it’s worth noting: his opulently crafted vampire romance has ambition and panache – and in all its Hammer-y cheesiness, I’m not sure I wouldn’t prefer compared with Eggers’s dignified recent take of Nosferatu. A few strange elements appear, including one shot that looks like it presents a territorial boundary between France and Romania.

Christoph Waltz as a Clever but Weary Priest Tracking the Undead

Christoph Waltz portrays a humorous yet burdened man of the church pursuing the undead – I can’t believe he hasn’t played this role before – who ends up in Paris in 1889 to mark the 100th anniversary of the French Revolution. Likewise present is the evil Count Dracula, played by the body-horror veteran Caleb Landry Jones using a distorted Eastern European tone reminiscent of Steve Carell’s Gru of the Despicable Me series. This character suits him perfectly.

The Story: A Chronicle of Longing

The plot unfolds as follows: the vampire lord has wandered endlessly the globe in torment for 400 years since he became undead, a penalty for his faithless sorrow after the passing of his wife, Elisabeta (an inaugural screen appearance for Zoë Bleu, Rosanna Arquette’s child). The count has sought relentlessly for some woman who could be the reincarnation of his departed beloved. Unfortunately, the fortunate female proves to be Mina (also Bleu, of course), the modest betrothed of the count’s timid estate manager, Jonathan Harker (played by Ewens Abid), who just traveled to the count’s castle to discuss his land assets and the small picture of the lovely Mina caught the count’s hooded eye.

Besson’s Handling and Lighthearted Touch

Besson arranges Dracula’s second-act backstory of international journeys sporting extravagant attire with a sure hand, and he is not above providing humorous scenes in the style of Mel Brooks – such as Dracula’s ongoing failed efforts to end his own life post-Elisabeta’s demise, in addition to comical sequences that occur when Dracula sprays himself in a certain perfume in historic Florence, which causes him to be irresistible to women. Outlandish but entertaining.

Dracula can be streamed online from 1 December and for physical purchase from December 22nd. It plays in Australian cinemas from 5 February 2026.

Rita Jenkins
Rita Jenkins

A financial strategist with over a decade of experience in wealth management and investment planning, dedicated to empowering others.