Utterly magical and funny, the three-part Dracula series of the BBC and Netflix revitalise a literary star who has a foot inside the tomb for years.
That was to be expected, however, considering that the show was co-created and composed by Mark Gatiss and Steven Moffat, the duo behind the Sherlock resurrection that turned Benedict Cumberbatch into a Hobbit.
Gatiss and Moffat sneak at the installment of Dracula — in a reference to Sherlock — at least,' a detective in London', temporarily hinting at a crossover that might be too tantalising for its own good. Throwaway references apart, there are definite parallels to be drawn between the two shows, especially with respect to this spirit that is that they share. A return is, made by Many memorable lines, largely from the classic 1931 film starring Bela Lugosi. After welcoming the Jonathan Harker Count Dracula turns Harker's offer to join him for a chat. "I never drink..." he says, and after a perfectly timed pause continues." . .Wine."
Dracula: Official Trailer - BBC
Celebrity Claes Bang not only seems an awful lot like Lugosi, but he also makes the decision to play with the character with a twinkle in his eye. You can feel his glee when he is allowed to sink his teeth into some of the most renowned lines of Lugosi as Dracula, when he is. "Listen to them," he says wistfully,"children of the night, what music they make." The situation in which these words are uttered could not be more different. Because there's a lot that the trailers have skilfully avoided revealing you have to beware of spoilers. Nothing amazed me more, although the identity of a few nuns questioning Harker in episode one is exposed with the boom. Neither can be discussed by us here.
Near 90 minutes, the three episodes operate Much like Sherlock long, allowing Moffatt Gatiss, and the three directors who've been tasked with helming the time. Plus it can get a bit glacial. Although the Agatha Christie-esque episode two, that unfolds like a claustrophobic murder mystery aboard the boat Demeter, feels overly isolated from the remainder of the plot, it takes a little while for the arrangement of episode one to justify itself. There's little without ruining some of the surprises I can disclose about the third episode. But it's by far the most imaginative of the lot, together with director Paul McGuigan harkening back to choices and the use of matte paintings as backgrounds.
Nonetheless, it's the humour that sets Moffat and Gatiss's Dracula including director Francis Ford Coppola's hilariously over-the-top 1992 film, besides the dozens of adaptations that are elderly. It is frightening, without ever being ridiculous itself, but the series is aware of a number of the ridiculousness of adaptations.
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DRACULA's Text & Audible Books on AMAZON