Dracula: Pages from a Virgin's Diary

Quite unique and very stylish interpretation of the legendary Bram Stoker-tale, shot by one of the most gifted (yet regretfully underrated) fantasy-directors of all time; Guy Maddin. There isn't much to say about storyline, as the film loyally tells the myth of Dracula as we all know it. The originality here is Mark Godden's ballet adaptation of Stoker's novel and the fact Maddin films it as a very stylish, neo-silent play with a very limited amount of sets and a Chinese actor in the role of Dracula. Of course, several sequences have been removed in this film (like Harker's journey through Transylvania) and others have been modified (it is in fact Lucy who's the main character, not Mina) but what Maddin adds truly makes up for this. This is a very beautiful film to look at, with a staggering use of color-shades and musical guidance. I never ever thought I would say this but the ballet performances are mesmerizing and – if ballet always looks like this – I urgently have to attend more recitals! With his third best film to date (after "Tales from the Gimli Hospital" and "The Saddest Music in the World"), Guy Maddin brings wonderful homage to classic and silent cinema. It's really encouraging to see that films like this are still being made in this day and age. Highly recommended!

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.

It's definitely true that when you know absolutely nothing about this movie beforehand, it might come as a bit of a shocker. It's a ballet version of the Dracula story and if that wasn't already enough originality and strangeness, it's also shot in a silent movie style.

Actually, I already was familiar with some of Guy Maddin's other work, so I sort of knew what to expect from this movie already. He's a director that loves to shoot his movies in a very stylish and old fashioned style, often from the silent movie era. But it's not like he just mimics the style, he makes it completely his own. It's like he's always giving his own free interpretation of the genre and completely reinvents it instead. Saying that this movie is done in an old fashioned style does not mean you could compare it to older movies as well. It's very much its own thing, which is also the foremost reason why this movie works out so well.

Basically the foremost reason why this movie is such an intriguing and perfectly watchable one, are its visuals. It's a spectacular movie to look at, even though it's almost entirely shot in black & white. The camera-work is very innovative and also helps to keep the movie going at all times.

It was also quite interesting to see the familiar story being told for most part from the viewpoint of the Lucy Westernra character. This was actually a very good idea in my opinion, since her character perhaps goes through the biggest transformations and is one of the more interesting, yet mostly ignored, characters from the Dracula story.

What also was quite interesting was seeing an Asian in the role of Dracula. It sounds odd but it actually was something that worked out quite well. Wei-Qiang Zhang, as it turned out, was a very charismatic choice, for the role of the well known and much portrayed blood sucking count.

And as far as ballet goes; this movie does mostly a good job at keeping things understandable and not all about its dancing and exaggerated expressions from its actors. But I should probably say that if you aren't familiar at all with the Dracula story, you probably will still have a hard time following the story in this movie. But then again, who isn't familiar with the Dracula story now days?

I should also probably admit that if the movie would had been any longer, I would had had a hard time finishing it. The movie as it is at times feels sort of overlong already, even while its only 73 minutes short. Watching a completely silent movie, with dancing characters, gets a bit of an endurance test after a while I guess but it still remains an ultimately rewarding movie, by the end.

Visually and technically speaking, its a great and interesting, original movie, that might not keep everybody constantly interested though.

7/10

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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.

I am completely revising my must see list after watching this. I know only one other of Maddin's projects, his "Saddest Music in the World" of the next year. I rated that in my category of films you must see.

The rules of that list are that no more than two films per year, nor no more than two per filmmaker can be on it. This almost bumped "Talk to Her" off that list. It may yet. Let me advise you now that this is powerful and important stuff, the only successful marriage I know of literature, dance and film. In fact I know few that successfully integrate any two, much less masterpieces in each medium.

The story itself is greatly enriched: all the most terrifying horror is beautiful, and this is: an arc of desire across your life for that hour and a half. Where the original was only about sex, this is written larger to race, money, power and all in an erotic context that transcends sex. You'll notice when seeing this that it is more true to the book than any other filmed version.

Now just think for a moment about this: Dracula has been filmed by Murnau, Browning, Warhol, Herzog, Franco, Coppola and herds of lesser lights. No where has the scope been this broad and sharp.

(The device of the diary has been changed from the detective's to the virgin's, a master concept that indicates the deep thought that went into this. Exposure to that diary makes the girlfriend sex-crazed, for instance, as if the art itself were the infected blood.)

The dance. The choreographer has put together something that is remarkable, even seen merely as a ballet. It uses Mahler's music, by the way. That music is usually so overtly ripe it smells of selfish world conquest. It says something that here it seems merely supportive, that what you see on the screen is bigger.

So the choreography affects powerfully but what matters is the cinematic rendition. This is far more evocative as filmed ballet than a live performance can ever be, because we are allowed to have our eyes dance as participants. When a character's eyes flutter and question, ours do too. When the dance suggests a motion, it is us that completes it or gives it a resting place. The integration of choreography and cinematography is the best I have ever had in my life: beyond the sheer energy of "Red Shoes" to intimacy.

But it is the other cinematic qualities that make this unique. Dracula is a powerful story only because it evokes notions of the past that have power to awaken and live in our souls. Those notions are like the vampire and carried by him in the story. Once we touch them -- have sex with them, we are infected, transformed.

How to convey that cinematically? Why by evoking old film techniques as the story did literary ones. (Today that evocation by hacks is inaptly called "gothic.") So we have a silent film. Actually a postmodern comment on a silent black and white film. Lots of reminders of the camera in cropping and Vaselined lenses. Occasional tinting (blood and lucre), overtly theatrical sound effects, wobbling when we have to move quickly (or die).

The gauzy camera lens is made three dimensional with fog that extends the blur as the camera motion is also made three dimensional by the moving crowd. The whole thing has a phrasing and rhythm that is so well integrated among the dance, light, camera, story and music it is as if the things coevolved from the big bang.

Whoever did the art design deserves a reward. The sets are organic and in the last half in the lair, overtly vaginal -- so overtly it shocks. It must have been drawn at the same time as the choreography.

There's sex and beauty and seduction here. Be seduced my friends. Succumb. Art requires seduction and in the process some infection of urges. It is all about the dance -- Succumb, dance, die.

Ted's Evaluation -- 3 of 3: Worth watching.