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Dracula


In the opening scenes when Vlad returns from battle to find the lifeless body of his wife, Elisabeta, he gains the sympathy of the audience. When he plunges his sword into the stone cross and he drinks the blood that begins flowing from it the sympathy quickly changes to fear because he has openly denounced God. To a majority of people in our culture today denying God is the worst of all possible evils. This sacrilegious act establishes him as the villain and his quest for his true love takes on a greater meaning. By denouncing God and turning his back on a life-time of service to the church it becomes apparent that he will stop at nothing to be with her. Vlad has entered a realm where few have ventured and he was motivated by his eternal love for a woman. Because people have a natural desire to love and to be loved perhaps Coppola's vision of Dracula is more of a romance than a horror film. In fact, it may actually work best as a love story. .
             The movie captures the essence of the romance without making it the sole force of the film. One can not help but feel sympathetic toward a man who lost not only his wife but also the spiritual beliefs that he was willing to wage war for. When Dracula sees a photograph of Harker's fiancée Mina Murray he can't help noticing that she looks exactly like Elisabeta. Flashbacks to Dracula's past suggest that Mina may in fact be Elisabeta reincarnated. As he looks at the picture and weeps the romantic notion that love lives for eternity is reinforced. At this point Dracula is looking less like a villain and more like an injured victim of circumstance. Common sense tells you he is not human, he is among the undead, yet his weeping indicates that he still has at least one human quality, emotion. When he imprisons Harker in his castle and travels to London to find Mina and reclaim her love it creates mixed feelings and a sense of uneasiness. There is a definite fear for Harker's safety but on the other hand there is the human need for love to win over adversity.


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