Archive for Vlad Tepes

Vlad to the Bone

Posted in FILM, literature, Mythology with tags , , , , , , , , , , , , , , , , , , on February 5, 2018 by dcairns

Welcome back to Watch Bram Stoker’s Dracula with director Francis Coppola, in which Fiona and I watch BRAM STOKER’S DRACULA with director Francis Coppola.

We were talking about the intimations of homosexuality in the novel, and how the movies occasionally make this apparent. And, interestingly, the first line of the IMDb’s short plot synopsis reads “The centuries old vampire Count Dracula comes to England to seduce his barrister Jonathan” while the second line continues, “Harker’s fiancée Mina Murray and inflict havoc in the foreign land.” There it is — the flash of gay ankle followed by the chaste covering-up.

Now, let’s all don our pink shirts and join Uncle Francis.

I think a positive thing is that we told it as a love story. 

Coppola credits screenwriter James V. Hart (PAN) for “finding” the love story and “weaving it in,” and “finding” is in fact a very good word here as he’s swiped the reincarnation idea from Karloff’s THE MUMMY. But Coppola is talking about the story of Vlad Tepes’ love who killed herself.

I liked Sadie Frost, she was a very nice girl and appealing and pretty and sexy. I was sort of surprised […] we haven’t seen much of her.

We see quite a lot of her here. Including a huge close-up that doesn’t do her neck-wound make-up any favours, followed by a dissolve through the puncture marks to a wolf’s glowing eyes, which must be the worst transition ever (beating the cut to Jeff Goldblum yawning in THE LOST WORLD: JURASSIC PARK by a lupine whisker). Van Helsing himself, Antony Hopkins, once cautioned against attempting humour in a segue (in SILENCE OF THE LAMBS) but I think he’s wrong. What one shouldn’t do is attempt a completely ludicrous segue without any trace of humour.

Rarely is a movie shot 100% in the sound stage and I think this is.

Well you ought to know. (Later, Unc Fran will admit that it wasn’t.)

Clearly Lucy is being affected by her encounter with Dracula and has been affected in a way and infected I should say because she has the metaphoric blood of a vampire in her, which means that she too will be a vampire.

And by “metaphoric blood,” I suppose we mean cum.

Here was a scene in which we tried, Roman and I were very pleased to do this, tried to portray an early nickelodeon and on the screen are some very early motion pictures

And we get TRAIN APPROACHING A STATION — sometimes called the first horror film due to the consternation it inspired in audiences — appearing in synch with Oldman. Only it seems to be being projected in negative — which connects it to the literal Phantom Ride in Murnau’s NOSFERATU (for which Murnau must have had Graf Orlok’s black carriage painted white, and the black horses replaced with white ones).

The supposedly early porn doesn’t convince — wrong body types — and the assumption that such films were screened openly, with ladies present, rather than at secretive “smokers” shows how the movie really doesn’t get Victorian England. Looking more closely, there’s a suggestion that the porn is showing in a back room, curtained off, but it’s a mere dolly-ride away for Mina and the Count. In principle it could be a nice metaphor for him taking her to the dark side (of the cinema).

This shot, of Dracula literally sweeping her off her feet of course was a mechanical effect, he takes her and then they’re on a little trolley that is pulled. It was interesting, when I did this shot with her, just to show the kind of kid that Winona was, she looked at me, I mean she was a little too smart for her own good in a way, as a kid. She said, “Well, I’ve already done this shot once,” ’cause this was a tricky set-up, they had to step onto this moving thing, I said “Oh really?” she said “Oh yes, I did it with Tim Burton.” But I have always felt that Winona had a deeper well of talent than she was willing to dip into.

Nice back-handed comment, and strange segue. Coppola is apparently still smarting from the suggestion that Burton had anticipated him in any way. It’s clear that she was a touch resistant to his direction, including that one time he yelled “YOU WHORE!” at her to help her get into character. I have to assume that, since she got him the job in the first place when his career was pretty ice cold, it wasn’t that she didn’t want to be directed by Francis Ford Coppola, she just didn’t want to be directed LIKE THIS by THIS Francis Ford Coppola.

I want to give Uncle Francis credit where it’s due (family loyalty) but I’m on Winona Ryder’s side here.

Don’t ever try this with a wolf, by the way. This is not something that you wanna do. Again, it’s used to show Dracula’s seduction of Mina, the sensuality that lay under the skin of the vampire legend, it’s so confused with sex and romance and love and death, the two sometimes are difficult to separate.

“Well, that’s not two things, Uncle Francis, that’s a whole long list of things,” objects Fiona. She’s right, I counted them, that was definitely either four or six things.

LOVELY transition!

Now we introduce essentially a new character, Doctor Van Helsing.

Yep, definitely new. Though he did narrate the captain’s log montage earlier.

One of the good things about James V. Hart’s script (and there ARE good things) is that the writer is aware of lots of different resonances the vampire myth has, and has researched the period enough to find things that connect with the Victorians and also with those of us watching in 1992. In Van Helsing’s lecture we get stuff about the spread of syphilis which we can easily connect to vampirism and thus to AIDS. The bad thing about this is that he just sticks it in, in the form of a lecture. It’s inelegant, but I’m still kind of glad it’s there.

Cut to Keanu Reeves looking thoroughly drained.

“Shagged out… after a long squawk,” says Fiona. And then: “You don’t have to be naked to drain somebody’s blood,” she says, referring to the naked, smoochy Bellucci girls.

“But it helps,” I suggest.

Watching this with the commentary, sometimes you’re mainly focussing on what Uncle Francis is saying, sometimes on the pictures, and it feels like when you miss bits of plot it’s because the movie really isn’t interested in those things. For instance, somehow Keanu is going to escape from Castle Sitting Down Dracula. But I have no memory of how he does it. Doesn’t he sort of jump out a window and then land back in England?

Hopkins turns up in a shot which seems to be nodding towards THE EXORCIST, which may be a bit on the nose, but so’s everything in this film. Apart from Sadie Frost, who’s bit on the neck. Coppola explains that his big idea was that anyone who’s devoted his life to the study of vampires must be a bit crazy, so he instructed Hopkins to play it that way. “Whadda LOON!” Coppola guffawed on the set after one particularly fruity take.

I think Coppola’s logic is sound, but that this is still not a good way to play Van Helsing. I think Edward Van Sloan’s method was fine. Peter Cushing’s was brilliant. Jack MacGowran, playing a variant on the character for Polanski, was just fine in context. The character seems a great way to explore, consciously or not, the unpleasantness of being in thrall to medical professionals, and there’s a touch of that here. But it’s dissolved in a welter of ham theatrics.

Coppola credits the big window Gary Oldman shows up at to THE BITTER TEA OF GENERAL YEN. I like how he’s basically providing the whole filmography of influences for us. It’s a good reference, since the dream sequence in Capra’s film also seems to refer to the idea of the vampire seducer from the East. It is quite a 1930s-esque window, though, but they get away with it.

We brought in a singer, a vocalist, named Diamanda Galas to provide some very orgiastic and other feminine sounds of intensity to help us with this sequence.

“She’s only a child!” exclaims Van Helsing, which might not be my first reaction to a tits-out Sadie Frost, but we’re all different, which is one of the themes of this film anyway. He prescribes an immediate transfusion, which is of course risky as doctors at the time hadn’t figured out blood groups. He gets every male in the neighbourhood to transfuse into Sadie and miraculously they’re all the same type (Type O). Sadie’s type. (In fairness: I think that’s the way it is in the book. Coppola once shows the Dread Pirate Roberts donating, albeit without a blood test. But I’m assuming Withnail and the Rocketeer also get in on the act. The more the merrier.)

Interestingly, blood transfusion, another example of modern technology at the time, and we did it as authentically as we knew how, we tried to find out how did they do transfusions, and we did it the way they did, however, shows what a pansy director I am, it wasn’t really a transfusion, it was just a movie scene, however, the great director Clouzot, in one of his movies actually had the character get a blood transfusion and the actor showed up and they began to shoot the scene and he had brought a doctor and they did a real blood transfusion while they were shooting, and so I realise I’m not as I like to think I am, and Damn, why didn’t I have it be a real transfusion? and Clouzot was Clouzot and I don’t think I would have gotten away with it.

“He would have liked to, though,” suggests Fiona.

Clouzot transfused Bernard Blier in QUAI DES ORFEVRES, and did it again to Brigitte Bardot in LA VERITÉ, or at least he certainly had the needle in her arm. And, having gone that far, I think we all know he would have kept going.

Bad nipple continuity here: Sadie’s bosom has a strange now-you-see-me-now-you-don’t approach. The trick with getting away with continuity errors is to calculate where the audience is looking. Hard to see how anybody could miscalculate the centre of attention when Sadie is writhing about in what I believe is known as deshabille.

Coppola starts to tell us about Byron and Shelley and the Villa Deodata set in his own unique manner ~

Now these people in those days were sort of like the equivalent of, you know, Snoop Doggy Dog. They were the hip people of the day, as when I was young it would have been Jack Nicholson and Michelle Pfeiffer and what have you, going off to Switzerland.

BWAHAHAHA I just can’t

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Vlad to meet you, hope you guessed my name

Posted in Fashion, FILM, Mythology with tags , , , , , , , , , , , , on January 16, 2018 by dcairns

Good morning, I’m Francis Ford Coppola and I’m speaking to you from the Bohemian community of North Beach, and I’m going to talk to you a little bit today about my connection to Dracula.

Not really, of course! I’m not Francis Ford Coppola, I’m not actually speaking to you from North Beach (never been, no idea how Bohemian it is), and I have no actual connection to Dracula. But I was thrilled to see that the DVD of Francis Ford Coppola’s BRAM STOKER’S DRACULA has a feature on the menu labeled Watch BRAM STOKER’S DRACULA With Francis Coppola. Nothing could thrill me more that to watch this beautiful, silly film, in the company of its director, though I suppose I’m slightly afraid that he’ll call me a whore to help my motivation, as he did to Winona Ryder. But I can take it!

How is this visionary illusion created? First, by an apparition of the Great Man in a violently pink shirt, appearing before us as if from the tomb. He talks at you from the screen, as if he can really see you. He knows it’s morning!

At 1:19 we get Uncle Francis’s first factual error when he says that John Carradine plays Dracula in FRANKENSTEIN MEETS THE WOLF MAN. But kudos for being bold enough to admit that Carradine was his favourite screen Dracula. That’s just insane. But already BSD is making more sense to me.

So join with me on this adventure, I will tell you some of my thoughts concerning why I made it in the way I did

How I Did It by Victor Frankenstein

and hopefully share those experiences with you.

Then he goes away and the film plays, but his disembodied voice continues to eerily comment on the action, as if he were sitting beside you in the darkened auditorium, ruining his own movie. Oh no, if he calls me a whore in this setting I’m not sure I could handle it. I confess, I mainly wanted to join Uncle Francis on this adventure to see how long it would take him to say something funny, and he already has before the commentary even started.

Did you know that in the original Columbia Pictures logo it was Irene Dunne that was photographed standing there holding the torch?

WOW! Literally the first line, spoken over the logo, is a factual error! Though it’s nice to get an Irene Dunne reference into a Dracula film. THE AWFUL TOOTH? And I guess an Evelyn Venables reference wouldn’t have the same cachet.

Uncle Francis launches into a history lesson at this point. I don’t know as much as he does about this time and place — the backstory of Vlad Tepes — but I’m going to assume he’s making one Irene Dunne-type mistake every eight seconds, if that’s OK with you.

I love the imagery in this sequence, though it’s slightly uneven — maybe TOO MUCH BEAUTY? But hats off to the shadow puppetry. Bold. Taps foot waiting for Uncle F. to say something I can fact-check.

This prologue was pretty much created after the fact by my son Roman

Okay, that’s nice to know. Hats off to Roman and filmmaker/VFX artist/titles guy Gary Gutierrez.

Sudden sound change and Uncle Francie launches into a sentence that sounds like a continuation of a missing thought —

So when the young actress Winona Ryder

Glad he’s explaining who she is.

came to see me and the purpose of our discussion was really about the fact of how she had dropped out of working on GODFATHER III, you know

I think Winona may have had an ulterior motive in arranging that meeting.

Winona was supposed to play the young daughter of the GODFATHER III story and when she came she didn’t feel well and she basically withdrew from the film leaving me in a tough spot for GODFATHER III.

But I’m not bitter. I’m definitely not going to call her a whore.

Much later we talked about it and I didn’t want to have a grudge against a young person so I tried to be nice to her and say “Yes I understand what happened,”

I’m a bad person for finding all this funny. I in no sense foresee this relationship turning sour owing to Francis’s subconscious rage at the young whore actor Winona Ryder.

and she said, “Well, good, because I have this script of DRACULA, would you consider doing it?” and of course that was a magic word to me

Maybe the trouble with this sequence — and the film as a whole (or one of them) — is that it’s full of beautiful shots that don’t necessarily cut together, and these shots are quite extreme — they all feel like CLIMAXES — and they break into much more conventional coverage and create an odd, stop-start effect, rather like me with the pause button transcribing Uncle Francis Ford Coppola’s words of wisdom.

I agreed to do it, it was really sort of putting my life back together after some of the big financial setbacks that I had had, which was what led me to make the third GODFATHER and the DRACULA picture and kind of stabilise my life at that time when it had been pretty rocky.

This works particularly well as a commentary while a visibly inebriated Gary Oldman is pledging his soul to the Devil and drinking from a golden goblet of stigmata-juice. I’m running out of hats to take off but this astonishing frankness deserves a fresh head-baring.

Still on the prologue and costume designer/genius Eiko Ishioka gets a mention. After the young actress Winona Ryder and son Roman, but still, prominently up there, which is good. Now it’s late, and I have an edit tomorrow, so I’m going to have to say

TO BE CONTINUED