Comparison of Stoker’s "Dracula" and Coppola’s "Bram Stoker’s Dracula" Introduction Bram Stoker’s Victorian-era novel, Dracula, has been re-imagined numerous times by filmmakers in the following century. This essay will critically compare Stoker’s novel with one of the more recent film versions of the Dracula story, Francis Ford Coppola’s Bram Stoker’s Dracula. The thesis will be argued that the critical differences between the fictional and the film versions of this story lie in how each represents the figure(s) of the hero and sexuality. As will be seen, in Stoker’s novel the representation of sexuality is conveyed with overtones of evil and horror that, it may be argued, reflect Stoker’s Victorian perspective on sexuality. As a result,...The end:
.....re of corrupt evil associated with taboo sexuality. In contrast, in a more permissive modern period, Coppola re-imagines the sexuality of the vampire as being fascinating and seductive rather than criminal and immoral. As a consequence, while Harker, Van Helsing and the Westerners are undeniably the heroic vigilantes of Stoker’s narrative, in Coppola’s version of the story they are largely repressed prudes who hunt down a tragic hero who only turned to evil out of excess of love for his dead wife and who, it is implied, is redeemed at the end of the film. Bibliography Coppola, Francis Ford, dir. Bram Stoker’s Dracula. Columbia, 1992. Hindle, Maurice. Introduction. Dracula. London: Penguin, 2003. Stoker, Bram. Dracula. London: Penguin, 2003.