![]() ![]() It seems like Coppola loses a grip on his characters and plotting very early on. The heroine's fiancée (Keanu Reeves) writes to her from Transylvania, asking her to depart at once to marry him in a matter of one or two scenes she has suddenly traveled a vast distance and is standing at the alter prepared to wed. Many story links are completely nonsensical and people appear and disappear at whimsy. But, unfortunately, after a while his emphasis on style over content begins to eat away at the film's other strengths - the relationship between the heroine (Winona Ryder) and Dracula (Gary Oldman) is weak. Coppola's backlighting and use of shadows is creative and unique. The hazy film-making is visually satisfying, and some of the special effects are - simply put - amazing. Coppola returned thirteen years later and created a similarly haunting and poetic so-called "masterpiece," a supposed truthful adaptation of Bram Stoker's Dracula tale - when, in fact, the truth is that this movie is no more faithful to Stoker than the (superior) Universal Pictures original. "Apocalypse Now" worked due to its hazy, surreal vision of a hellish world. ![]()
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