Soporific adaptation from Canada’s Royal Winnipeg Ballet’s performance of Bram Stoker’s “Dracula,” the movie is a 75-minute silent musical, predominantly in black-and-white, using two pieces by Gustav Mahler.The execution is rather as simple as it sounds, a filmed ballet, but complicated by director Guy Maddin’s technological tinkering — everything from a changing colorless color scheme (the black-and-white will morph to blue, or green, or blue, or purple), to the touched-up addition of red for blood, haphazard and incessant editing, telescopic lens shots, etc. Relying on the stage performance alone, regardless of the short running-time, there is little interesting about watching Dracula, Lucy, or Nina, pirouetting and prancing within their milieu. As soon as Maddin begins playing around with the technical aspect (which remains a traceable link back to theatre: the scrims, the gels), the baggage begins to weigh down and subtract away the attention-to-detail of other pieces of the production (the film stock, the look of the performers, the cheapness that this looks of being made in).[Not to be bothered with.]
OFFICIAL SELECTION: 2003 San Francisco Film Festival. For more in the 2003 San Francisco Film Festival series, click here.
OFFICIAL SELECTION: 2003 Brisbane Film Festival. For more in the 2003 Brisbane Film Festival series, click here.
OFFICIAL SELECTION: 2003 Palm Springs Film Festival. For more in the 2003 Palm Springs Film Festival series, click here.
OFFICIAL SELECTION: 2002 Vancouver Film Festival. For more in the 2002 Vancouver Film Festival series, click here.