Reflections of a Broken Nightmare

Dracula Through a Cracked Mirror

New Nosferatu climbed ratings with its important theme about the consequences of sexual abuse.

We are aware that horror films rarely get any recognition, making Nosferatu’s Oscar nominations even more significant.

Makeup and Hairstyling (competing with The Substance)
Cinematography Jarin Blaschke (working with Eggers in the past — The Lighthouse, The Northman, The Wytch)
Production, Design Craig Lathrop (production designer), Beatrice Brentnerova (set decorator)
Costume Design Linda Muir (lost to Wicked justifiable)

At least this movie stayed with me.

That’s why it’s hard to believe another film exists with a similar character but destroys the idea of a well-made production.

Not Even Garlic Could Save This

Dario Argento, a legendary filmmaker known for his gore movies, brutal classics like Suspiria, Deep Red, and Phenomena, delivered absurdly bad Dracula.

A famous director made his career on Giallo, the Italian genre blending murder mystery, gore, and psychological thrills.

This style was famous for its lavish set design with vivid, bold colors and almost dreamlike surrealist surroundings.

At the basic level, movies from this category are full of nudity, sexual references, and psychosexual desires designed into the character’s personality, following other forms of psychological madness.

The most common combination is masterfully merged horror and suspense, creating unforgettable nightmares.

Keep in mind the ballet school sequences — Suspiria!

But Dracula?

Despite Argento’s reputation for crafting visually striking and intense horror, this film fails on nearly every level.

It feels like it was a parody of everything that once made Argento great.

His vampire—ish lacks the eerie of Suspiria (chills we felt during night and mirror scenes), the tight storytelling from Deep Red, shoving us in the back, and the unsettling atmosphere of Phenomena.

Instead, it drowns in semi—lifeless performances, awkward effects, and a script that drags forced (un)erotic composition rather than terrifies.

It’s almost shocking that a director with such a distinct, influential style created something so uninspired.

Giallo’s Ghost: A Horror That Never Was

Some enthusiasts argue that Argento didn’t fail, insisting that his Dracula was always intended as a deliberately campy tribute to Hammer Horror films.

Whether we agree with this assessment or not, the film is supposed to embrace the spirit of Christopher Lee’s 1958 portrayal.

The same performance where bloodsucking and bodice-ripping were interchangeable pastimes, punctuated by encounters with alluring virgins.

Nonetheless, this defense fails to justify the film’s glaring flaws.

Unlike Hammer’s productions, which were trying to balance their over-theatricality with genuine tension and craftsmanship, Argento’s Dracula lacks both charm and coherence.

When the Master Lost His Touch

→ What shocked me the most was Argento’s casting choice — Thomas Kretschmann as Dracul!

Known for his cold-hearted performance as Captain Wilm Hosenfeld in The Pianist,
The enigmatic Nikopol in the industrial pagan Immortal
Appearances in horror films like Resident Evil, Blade, and Infinity Pool
He even joined the Marvel universe in Avengers: Age of Ultron
Starred in Deliver Us, a chilling religious thriller
His German productions and King Kong remake further solidified his credibility.

Given this extensive resume, it is shocking that he agreed to play Dracula in this abysmal adaptation.

Moreover, Kretschmann foolishly was trying to channel Oldman’s existential take on the character, but Argento’s lackluster script offered no philosophical depth to support such an approach.

Right behind him, Rutger Hauer, a powerhouse of charisma and intensity, could not salvage the disaster either.

Despite his unforgettable performances in Blade Runner and Ladyhawke, he struggled against Argento’s weak narrative, turning Van Helsing into a rambling old man instead of the sharp and determined vampire hunter audiences expected.

The Vanishing Protagonist

Argento completely dismissed Jonathan Harker as a main character, reducing his role to an early casualty.
This decision shifts the narrative focus to Mina, who embarks on a journey to find both her missing husband and herself.
Her travels lead her to her friend, Lucy Kisslinger, only to discover that Lucy has already fallen victim to Dracula, transforming into a vampire (once again).
Meanwhile, Dracula fixates on Mina, believing she resembles his long-lost wife — though the resemblance is barely noticeable.
In an attempt to introduce a fresh element to the story, Argento reimagines the villagers’ relationship with Dracula. Rather than living in fear of him, they willingly collaborate, offering victims in exchange for his so-called protection.
This dynamic could have added a layer of moral complexity to the film, but Argento didn’t succeed.
The villagers’ motivations remain shallow, and the concept is ultimately underdeveloped, leaving viewers with more questions than intrigued.

Unfortunately, endings have never been Argento’s strong suit, and this adaptation is no exception.

In the final moments, Dracula’s spirit rises from the ashes, morphing into a wolf in what is meant to be a poetic farewell.
Instead of delivering a haunting or thought-provoking conclusion, the transformation feels more like an afterthought, leaving audiences unsatisfied and again unimpressed.
Argento sought to capitalize on new technology, emphasizing CGI effects, gore, and star power to elevate the film.
His inability to assemble a competent production team doomed the project.
The lack of cohesive direction left the remaining crew scrambling to salvage the production, but their efforts resulted in a final product marred by inconsistent effects and uninspired performances.
CGI, meant to enhance the supernatural aspects of Dracula, instead showcased its limitations. The overuse of poorly rendered digital effects distracted from the horror rather than amplifying it.
Scenes that should have been eerie and immersive instead appeared laughable, undermining the film’s intended tone.

Although Argento’s Dracula was meant to be an affectionate homage, it comes across as a misguided parody.

The eroticism feels forced, the horror absent, and the suspense nonexistent. The film’s pacing drags, relying on overlong sequences that fail to build tension or deliver meaningful payoff.

More than a tribute, Dracula feels like a pale imitation of superior films, missing the very elements that once defined Argento’s genius.

Compared to The Room, which gained cult status due to its sheer absurdity, Argento’s film floundered in mediocrity.

Without a strong creative foundation or technical execution, it became an unmemorable entry in the director’s filmography — one that neither horror fans nor Argento enthusiasts could embrace.

References:

Bramesco, C. (2018). A Beginner’s Guide to Dario Argento. [online] Vulture. Available at: https://www.vulture.com/2018/09/a-beginners-guide-to-dario-argento.html [Accessed 24 Oct. 2023].

British Film Institute (2017). Where to begin with giallo. [online] BFI. Available at: https://www.bfi.org.uk/features/where-begin-giallo [Accessed 24 Oct. 2023].

Sobczynski, P. (2013). Dracula 3D movie review & film summary (2013) | Roger Ebert. [online] https://www.rogerebert.com/. Available at: https://www.rogerebert.com/reviews/dracula-3d-2013 [Accessed 26 Oct. 2023].