In Bram Stoker’s
Dracula, there are several instances in which elements of drama and romance
are woven into the dominant horror aspect of the film. In fact, these instances
are so numerous, one could argue that romance is the focal point of the film rather
than horror. As Altman describes it, “Genres are not just post facto categories,” but instead “part of the constant
category-splitting/category-creating dialectic that constitutes the history of
types and terminology” (Altman 65). Genre is fluid and subject to change
depending on historical context and the interests and desires and expectations
of the audience who will see the film. The costumes, sets, lighting, etc. of
one film, although they may offer some inspiration, do not set a concrete
precedent for future films (of the same “genre”) to follow.
Returning to the idea of romance being the dominant genre
over horror in Dracula, we can
observe elements of romance right from the beginning and at the end of the film
as well as see it scattered generously throughout. Romance and horror in Dracula combine to not only emphasize
one another through contrast but to create an emotional dissonance within the
viewer. Remembering Robin Wood’s variations of the other, Dracula can certainly
be described as otherness. Although there are times where he appears to be a
well-dressed gentleman, the viewer knows this to be a guise to conceal his true
“vampiric” form. Despite this fact, the viewer can’t help but identify with Dracula’s
occasional human-like qualities. These include emotion and desire for affection
and intimacy
It is established within the first five minutes of the film
that he is a man who did, in fact, experience and lose love. We are later reminded
of this when John visits Dracula at his castle. Dracula is dressed
extravagantly in a brilliant, red robe and his countenance is white and his
hair almost-comically coiffed. Despite his highly unusual and unnatural
appearance, the viewer can still sympathize with him when he exhibits emotion
and vulnerability upon looking at a photo of Mina. For a moment, we take pity
on Dracula and empathize with his heartbreak. However, we are drawn back to the
reality that he is indeed a monster as he leaves John to be raped and fed upon
by his brides
This same pattern is later exhibited when Dracula is weeping
over losing Mina to John. While his face appears beast-like, it is stained with
tears (and presumably blood). Once again, despite his frightening appearance, the
viewer may feel pity for the vampire, but we are reminded of his powers and his
lack of morality as he sadistically murders/transforms Lucy in a fit of
jealousy, remorse, and rage. The scene constantly cuts back and forth between
Lucy’s murder and John and Mina’s wedding, further establishing the motive
behind Dracula’s actions (which was his fleeting and dubious opportunity to
find love). Even in the ending scene, Mina kills Dracula and frees him of his
curse as an act of love. Granted, we aren’t sure if it was genuine love or just
the works of Dracula’s trance-inducing powers. Romance is a major component of Bram Stoker’s Dracula. However heinous
and atrocious his actions are, almost every one of them is fueled by his desire
to reunite with his beloved Elisabeta, even if it means killing the loved ones
of her reincarnated soul.
Works Cited
Wood, Robin, and Lippe, Richard. "The American
Nightmare." Essays on the Horror Film. Ed. Andrew Britton. Toronto, 1979.
25-32
Altman, Rick. Film/Genre. London: British Film
Institute, 1999. 62-68 Print.
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