Lucy and the Beast: Unleashing the Horror of the Sexually Perverse

Lucy and the Beast:

Unleashing the Horror of the Sexually Perverse

Brynne Velia

     The scene in Bram Stoker’s Dracula in which Lucy has a sexual encounter with the werewolf-form of Dracula has several implications. The first, being the role of rape culture seen through Dracula’s complete control and dominance over Lucy, as well as his sexual exploitation of her. This leads to the other central idea conveyed in the scene: the fear, and therefore suppression of female sexuality in society. The exhibition of Lucy’s sexuality in contrast with societal expectations and the role of rape culture both contribute to the horrifying portrayal of sexual perversity throughout the scene. This scene marks the beginning of Dracula’s attempt to take over and sets the stage for similar encounters of sexual perversity later in the film.

     The scene begins with the camera low and angled toward the ground. Only the ground is in the frame and the frame is moving at a fast pace. These attributes give the impression that the point of view is that of something inhuman. Upon the beast’s arrival at Lucy’s house it becomes apparent that it is Dracula in the form of a werewolf. As Lucy is lured to the courtyard, her red dress flows in the wind. Parallelism between Lucy’s red dress and Dracula’s red robe at the beginning of the movie is noted. Red “is the color of blood” and “has a vibrancy that connotes life and sexuality” (Dika 391). The sensuality of the red colored dress paired with Lucy’s pronounced bosom immediately draw attention to the sexualization of Lucy and the apparent perverseness of the situation. 

     When Mina flees to Lucy’s room and notices her absence, Lucy’s cross is seen laying on her bed in the frame prior to Mina’s departure to find Lucy. There is something satanic about Lucy leaving her cross inside as she lured by Dracula to meet her fate. In addition, the fact that Lucy doesn’t respond to Mina’s calls gives the sense that Lucy is not in control of her own body. This plays into the idea of rape culture because Lucy is unconsciously lured by Dracula to the courtyard to have sex. The slow pacing of Lucy’s walk to the courtyard is seductive and arousing. The over-sexualization of Lucy’s walk with her dress blowing in the wind and her chest pushed outward emphasizes the temptation and allure associated with the perversity of expressing that which is ordinarily suppressed: female sexuality. In contrast, Mina is moving at a much faster pace which conveys the urgency of the situation and at the same time excites the viewer by maintaining the uncertainty if Mina will reach Lucy before she falls victim to Dracula. 

     As the sexual encounter comes to a close, Dracula bites Lucy’s neck, which is “a perversion of sexual intercourse” (Dika 392). This contributes to the theme of the suppression of female sexuality and the perverseness of its unveiling. Lucy’s “resplendent purity, meekness, and nobility… are only a cover for the fear that female sexuality inspires” (Dika 393). The horror of the scene is established through Dracula’s sexual exploitation of Lucy and his complete control over her. As well as, the discomfort generated by the over-sexualization of Lucy and the exposure of female sexuality. 

Works Cited

Dika,Vera. “From Dracula – with Love” The Dread of Difference: Gender and the Horror Film.

     Barry Keith Grant, Ed. Austin: University of Texas Press, 1996. 388-400.