The South Bank Show: Dracula

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While illustrating Dracula earlier this year I was listening to Wojciech Kilar’s soundtrack to Francis Coppola’s Dracula to sustain the vampiric mood. I also watched Coppola’s film again, it’s an adaptation I enjoy a great deal despite its flaws. (This post detailed some of the plus points.) The South Bank Show‘s programme devoted to Dracula on page and screen was broadcast in early 1993, timed for the opening of Coppola’s film in the UK. I watched this when it was first shown, and remembered it being a good one but neglected to go searching for it back in January. I also remembered it being more about Coppola’s film than it is, although there’s still enough to make it a substantial promo piece.

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The territory here may be familiar but the evolution of Stoker’s novel is contextualised by some expert commentators—Leonard Wolf, Elaine Showalter (with a copy of Bram Dijkstra’s Idols of Perversity at her side) and Christopher Frayling—while discussion of the film adaptations includes Christopher Lee, Francis Coppola, James V. Hart (the screenwriter of Coppola’s film), Gary Oldman, Winona Ryder and others. Among the film clips there are several scenes from Count Dracula, Gerald Savory’s 1977 adaptation for the BBC. This is surprising since The South Bank Show was screened by the BBC’s rival, ITV. But Savory’s Count Dracula is still the most faithful screen adaptation that I’ve seen (and possibly the most faithful to date) so it’s a worthwhile choice, and one whose naturalism makes a sober contrast to Coppola’s Sturm und Drang.

Previously on { feuilleton }
Illustrating Dracula
Illustrating Frankenstein
Dracula and I by Christopher Lee
The Dracula Annual
Nightmare: The Birth of Horror
Albin Grau’s Nosferatu
Count Dracula
Symbolist cinema

Symbolist cinema

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Symbolist? Arguably. Decadent? Certainly. Watching Francis Ford Coppola’s Dracula (1992) again this weekend I thought it worth making note of some of these resonances. The real age of Symbolist cinema was the Silent Era from around 1910 onwards, something I discussed in more detail here. That being so, several films made since can be taken as Symbolist (more usually Decadent) productions even if this was never their original intention. Kenneth Anger‘s Magic Lantern Cycle comes immediately to mind, so too Sergei Parajanov’s The Colour of Pomegranates.

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Bram Stoker’s novel was published in 1897 at the ebbing of the fin de siècle but vampires and vampirism were already recurrent Symbolist themes. Aesthetic magus Walter Pater wrote of the Mona Lisa in 1893, “She is older than the rocks among which she sits; like the vampire, she has been dead many times, and learned the secrets of the grave…” Dracula almost demands a Symbolist interpretation, and for now Coppola’s production is the closest we get. I’ve found this makes the film more satisfying in a way: you can ignore the shoddy performances by secondary characters and concentrate on the decor and details (and the tremendous score by Wojciech Kilar). Some of the following screen grabs argue my point.

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Oh look, peacock feathers. I loved the artificiality of this film, the excessive palette, the obvious models and miniatures, the layering of images. The dissolve from a peacock feather to Jonathan Harker’s infernal train journey is a great moment.

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