Bram Stoker’s Dracula: Thirty Years of Impossible Love

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In that 1897 man was exploring the mysteries of the universe with physics, to glimpse the invisible energies that dominated the world. Electricity was now known, in a few years the first power plant would be born in the United Kingdom, while the Curies were beginning to study radioactivity and a whole world of dual possibilities.

For some time, however, science was seen almost as a kind of gill of magicat least in the minds of public opinion, which did not want to give up the exotic and the incredible. Bram Stoker’s Dracula after all it was successful as a novel also because it represented yet another surrender in the face of the forces of nature, the occult, spiritism.
It is these forces that attack Jonathan Harker (Keanu Reeves) since he goes to the castle of that strange noble, wrapped in a rich kimono, a fundamental element of a look that hides his gender and age in a disturbing way. And he, Dracula, became that dark entity out of desperationfor the loss of his beloved Elisabeta, who committed suicide believing him to have fallen in battle.

Wonderfully violent and sensual, gothic and dark, that incipit is Coppola’s first small, great revolutionwho transforms the former protector of Wallachia, from bad to cursed.
The difference is substantial, because while a villain acts by virtue of harming others by vocation, by nature, bewitched by the power of suffering, the accursed one, on the other hand, was sucked into the darkness against his willfrom a sudden and terrifying event.
the Bram Stoker’s Dracula it is therefore the story of a damnation that suddenly changes, becomes the search for a liberation. The instant he sees Mina’s portrait, Dracula stops being a demonreturns to being a man, dominated by the will to love, and consequently empathetic, as demonstrated by the doubt that assails him on the need to transform the girl into a vampire like him or not. However, Dracula remains a monster, he has no qualms about killing anyone he deems prey. Mina’s best friend, Lucy, is progressively bled to death and monstrously transformed.

The romantic metaphor of a hopeless rebellion

Bram Stoker’s Dracula initially made the vampire a predator rather than a conqueror of the opposite sex, as exemplified by the three wives (including the still novice Monica Bellucci) completely subjected to his power. Mind you though, when Dracula meets Mina he suffers the classic love at first sightdoes not see a prey, but the thrill of embracing a loved one, lost centuries ago. Does he seduce her using his dark arts? Yes and no. Because it is a fact that Mina in him also embraces a path by which he can renounce conformity, obedience to the bourgeois and conservative dictates of his time.
The film also owes much of its power to its being the story of a rebellionthat towards Victorian England, which was frivolous and violent at the same time, pervaded by a profound superficiality, in which the weak or different from the norm were tortured and marginalized.
Mina therefore stands as a symbol of the transformation of women. Yes, she marries Harker, but it is clear that when she has to do with Dracula, becomes a creature made of passion and instinctnot an unsuspecting prey destined to be lost in darkness.

Bram Stoker’s Dracula: Thirty Years of Impossible Love