By the end, you'll wonder why all films aren't made this way.
Dracula: Pages from a Virgin's Diary (2003)
Tomatometer
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Reviews Counted:58
Fresh:50
Rotten:8
Average Rating:7.4/10
Consensus: Guy Maddin's film is a richly sensuous and dreamy interpretation of Dracula that reinvigorates the genre.
Theatrical Release:May 14, 2003 Limited
Synopsis: This silent, black and white film, adapted from the Royal Winnipeg Ballet's interpretation of Bram Stoker's DRACULA, is Guy Maddin's dramatic masterpiece. It is an atmospheric, gothic work full of... This silent, black and white film, adapted from the Royal Winnipeg Ballet's interpretation of Bram Stoker's DRACULA, is Guy Maddin's dramatic masterpiece. It is an atmospheric, gothic work full of dance and eroticism, accompanied by Gustav Mahler's music. Clearly a modern film that has been styled to mimic the earliest works of cinema, DRACULA: PAGES FROM A VIRGIN'S DIARY is grainy and its light is often distorted. It uses large, emphatic title cards that introduce the characters, give loose plot structure, and serve as ironically comic punctuation to the action. There are sound effects that bring reality to some of the more gruesome vampire-hunting sequences. And there are moments of color--for instance, when blood is crudely drawn from the arm of the victim's fiance into a large antique tube, or when Dracula tosses his bright green dollar bills into the air. The film is divided into two chapters dedicated to Dracula's two victims. In the opening sequences, Lucy (Tara Birtwhistle), a pale vampy creature clad in a white gown, flirts with three suitors, but abandons all of them to welcome the elegant and seductive Dracula (Zhang Wei-Quang) into her arms late at night. After Lucy has passed, the focus turns to a more virginal, demure victim: Nina (CindyMarie Small). Pursuing the demon are a group of forthright men bearing stakes, garlic, crosses, and other tools of the trade. With DRACULA, Madden has created a truly inspired work that successfully combines ballet, film, and horror. [More]
Starring: Zhang Wei-Qiang, Tara Birtwhistle, CindyMarie Small, David Moroni
Starring: Zhang Wei-Qiang, Tara Birtwhistle, CindyMarie Small, David Moroni, Johnny Wright, Stephane Leonard, Matthew Johnson, Keir Knight, Brent Neale, Stephanie Ballard
Director: Guy Maddin
Director: Guy Maddin
Producer: Vonnie Von Helmolt
Composer: Gustav Mahler
Studio: Zeitgeist Films
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Reviews for Dracula: Pages from a Virgin's Diary
One of the most bizarre and extraordinary dance movies you'll ever see.
As lifeless as a Masterpiece Theatre broadcast, broken up by pirouettes and pliés instead of Alistair Cooke's droning.
Amplifying the story's eroticism, Maddin cleverly transforms Stoker's timeless tale into an allegory about both Victorian sexual oppression and xenophobia.
A dance version that gorgeously captures the Royal Winnepeg Ballet's artistry while razzing the xenophobia and carnal hysteria underpinning Bram Stoker's story.
The visual style is at once deliberately archaic and slyly postmodernist, slinky and sensuous from first frame to last.
Though it sounds like an offbeat idea even for horror fans, the tech work is so well done that it could disarm unwary buffs attracted by the campy title.
A master conservationist and expert image-maker, Madden reimagines Bram Stoker’s classic text as a feverish vision of Christian angst and cultural invasion.
Maddin is an image-maker first and a storyteller second, and most of the fun in watching Dracula is sharing the high he feels in building such giddy, gauzy atmosphere.
Far from gimmicky, it's as personal and unreserved as filmmaking gets.
It's one thing to revive Dracula from the dead -- anyone, from Herzog to breakfast cereal companies, can do that -- but it's something else entirely to make him rock the house like this.
Loving, nostalgic caricature of old film styles and genres while adding ... humorous wit and a touch of surrealism.
Relying on the stage performance alone, there is little interesting about watching Dracula, Lucy, or Nina, pirouetting and prancing within their milieu.
Overtly erotic, willfully archaic, often inspired, uncannily affecting, and beautifully convulsive.
It will no doubt leave ballet fans somewhat nonplussed, but this evocative danse macabre is an unusually insightful addition to the Count's long list of cinematic appearances.
Maddin follows the time-tested PBS route, giving the dancers a stage instead of a film set and using cornball dissolves and fog machines.
Maddin's Dracula will entrance you with its first few flickering frames and then hold you there spellbound until its climatic dance of death.
| Tomatometer Percentage | Movie |
|---|---|
| 44% 44% | Night at the Museum: B… |
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| 36% 36% | Angels & Demons |
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| Tomatometer Percentage | Movie |
|---|---|
| 88% 88% | Inglourious Basterds |
| 78% 78% | The Hangover |
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