Dracula: Pages from a Virgin's Diary

I really had no idea what to expect coming into this film. I had heard basically nothing about it other than it's good ratings, recommendation from Ebert, and I have been interested for a while now in Guy Maddin. This is my first time watching one of his films and I am borderline speechless. I didn't know he primarily works in the silent genre and to top that, this film is entirely a ballet. Filmed in mostly black and white with silent era techniques, Maddin creates and eerie mood with this take on Brom Stoker's classic novel. I've never seen anything quite like it. It sometimes looks like it from the silent era. It's impressive. My one complaint is the jumpy nature of the camera. I was sometimes focused on his dizzying camera work than what was going on, but still a very refreshing and awakening experience.

What an absolute thrill, from start to finish, just experiencing the `artistic conception' of this reverent homage to silent film, featuring Canada's Royal Winnipeg Ballet, a stunning performance by Zhang Wei-Qiang as Dracula, and the brilliant production design of Deanne Rohde. Once again, Guy Maddin has created a unique, conceptualized universe all his own; there's nothing else in cinema quite like his eerie, dreamlike imagery. This film is immersed in the thundering power of Mahler's `Resurrection' 2nd Symphony, a work which itself features an ascension from all things human and earthly, and rises into the glorious heavens, a transcendent experience which, musically, grounds this film. From this theme, we add vampires, whose lust for blood promises life everlasting. The performance of Zhang Wei-Qiang dominates throughout, as he is easily the most fascinating stage personality, filled with a mesmerizing ability to seduce and ultimately possess his willing screen sirens, and while I can't speak for anyone else, I always root for him against his puritanesque nemesis, Dr Van Helsing, the leader of the repressed gang of vampire slayers. Ballet director Mark Godden choreographed the ballet adapted by Maddin for this film, so there is constant motion on screen. All this is done in image and in dance, with exaggerated gestures and with an extreme grace in movements, magnificently sensuous and macabre, shrouded in fog and black and white shadows, with only the tiniest color tints. Each frame, by itself, is a still masterpiece; the imagery is that overpowering. But when put in motion by such gifted hands as Maddin's, the film experience is indescribable, but unforgettable.

I had the pleasure of witnessing the world television premiere of this wonderful film last night. It had been a five-year wait since Maddin's last feature length effort, the disappointing "Twilight of the Ice Nymphs", so I waited with baited breath. It is with great satisfaction that I announce that Maddin is back in full form with his fifth feature, and twenty-second film over all. Told in Maddin's trademark, fever dream style, the film harkens to the cinematic days of yore (mostly in black and white, no spoken dialogue, only titles), and yet is at the same time fresh, intelligent, and energetic. Maddin fans will not be disappointed. Fans of the 1998 Royal Winnipeg Ballet, from which this film was adapted, might be surprised to see what Maddin has done. He has seamlessly blended the ballet with the narrative action, so neither distracts or takes away from the other. This is no "filmed ballet" (see Nureyev's 'Romeo and Juliet'). The camera moves freely, and Maddin's use of different film stocks and depth of field create an otherworldly atmosphere. Possibly the best way to enjoy this film however, is as a fan, or at least connoisseur, of the Original Bram Stoker novel on which both the film and the ballet are based. Maddin remains 100% faithful to the story. All the characters and event in the book are here, although Maddin is able to compress the information to its barest essentials (Jonathan Harker's invitation to Castle Dracula, his imprisonment, and subsequent escape, is told in one delirious, incredible montage lasting less than a minute). However, Maddin subverts the themes (or perhaps brings out the dormant themes) of the original to create a whole new take on the book. Dracula fans should find this fascinating. Of course, I've lavished all this praise on Maddin, but I must give credit where credit is due. The dancers (whom Maddin did not cast, as they were all in the original stage production) wonderfully evoke their characters without dialogue, through dance alone; something were not used to seeing in film. As I have said before, the dance and filmic elements work in perfect tandem. All in all this film gives us something new as Maddin lovers, Ballet lovers, Dracula lovers, or all three. It is a feverish orgy of the best things art has to offer. Bravo! Encore!

At the end of the 19th Century, immigrants come into England, not all of them gentle. One such immigrant is the evil Dracula who claims his first victim, Miss Lucy Westenra. Her three suitors call for help from Dr Van Helsing, but it is too late and she turns to vampire. They set out to kill her for good, but can they prevent Dracula claiming his next victim - Westenra's cousin Mina?

As part of my approach to films, I try to not just watch the big new releases or the well known smaller films, but I'll give things a try even if I know little about them but they sound OK. I'll admit that I have been burnt by this on many occasions but this time it worked out for the best. I'm not a big ballet fan, but I enjoyed this film as it mixed the ballet into a story that was told very easily though dance and closed captions. The fact that it was a very cinematic ballet really helped me get into it - the film's style is a homage of sorts to silent film, in it's filming, caption cards and whole look. I like this and it made it more interesting to me. Even the exaggerated looks on he casts' faces reminded me of the silent movies.

The actual ballet in the film is mixed. Some scenes are excellent and flow so very easily, the best by far being Dracula's final dance with Mina. However other parts are not so strong and the motion is not well captured by the camera, which itself seems to want to get in on all the motion and doesn't stay still long enough to really let the eye take in the movement. Happily this is the minority of the scenes as most of it is very nice to watch.

The direction of the ballet is good, but so is the direction of the film. The style captures the silent era well but also has enough clever touches in it to keep it fresh. The tinting of frames and selective use of colour make for interesting flourishes without over doing it. The cast also do reasonably well but are mixed. Zhang is magnificent in both his portrayal of Dracula and his ballet. Most of he rest of the cast do well, but only Birtwhistle (Westenra) and Moroni (Helsing) really stand out for their skills and characters. The support has no weak links in fairness and everyone does what is required of them.

The bottom line is, if you don't like ballet, then you probably won't like this film. If you do like ballet and also like cinema then you should take something from this. For me, I enjoyed the ballet as part of the story telling process but also got a kick out of seeing a silent movie version of Dracula done with modern touches.

Lucy Westernra is engaged to marry Lord Arthur Holmwood. However, an evil comes out of the east. She is bitten by Dracula. Vampyr-hunter Abraham Van Helsing arrives to clear out her polluted blood. Mental patient Renfield's escape leads to a massacre. Dracula reanimates Lucy. Van Helsing and the men hunt for Lucy and then finally Dracula himself.

Filmmaker Guy Maddin continues his experimentation. This is mostly black and white with splashes of bright colors. It is a silent film with many of its conventions such as title cards and era appropriate special effects. The ballet dancing can be hypnotic. The story follows the traditional Bram Stoker's Dracula with its xenophobia. It is definitely not for everyone and my fascination with the movie does wear out in the second half. Nevertheless, this is a worthy experiment.