Dracula (1979)

R | 109 mins | Horror | 13 July 1979

Director:

John Badham

Writer:

W. D. Richter

Producer:

Walter Mirisch

Cinematographer:

Gilbert Taylor

Editor:

John Bloom

Production Designer:

Peter Murton

Production Companies:

Universal Pictures , The Mirisch Corporation
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HISTORY

       According to production notes in AMPAS library files, producer Walter Mirisch was inspired to remake Universal Pictures’ Dracula (1931, see entry) after seeing actor Frank Langella’s starring performance on Broadway in Dracula (New York, 20 Oct 1977), a revival of the stage play by Hamilton Deane and John L. Balderston. Langella’s groundbreaking re-interpretation of the old-world vampire also enticed director John Badham, who joined the project in early 1978. Like Langella, actor Bela Lugosi starred in the original stage play Dracula (New York, 5 Oct 1927) before re-creating the role on film.
       As explained in a 5 Jul 1979 HR article, Universal already possessed the necessary rights to produce a remake, as it owned the 1931 film and the 1927 stage play, which was based on Bram Stoker’s novel Dracula (New York, 1899). However, Mirisch and Badham were less interested in adapting the “dinosaur” text of the play and relied on the novel as the primary source of inspiration for their screenplay, as Badham explained in interviews for the 6 Aug 1979 Box and the 20 Jan 1979 Screen International. Several new elements were also introduced and certain characters altered. Most notably, Langella inspired a romantic interpretation of the story by presenting a sensual vampire who seduces his victims without menacing fangs or “wolf eyes.” The vampire hunter “Van Helsing,” played by Laurence Olivier, was rewritten as the father of “Mina,” providing the character with a new motivation for destroying Dracula after Mina becomes the first victim.
       Although the Dracula legend had long been a popular subject for ...

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       According to production notes in AMPAS library files, producer Walter Mirisch was inspired to remake Universal Pictures’ Dracula (1931, see entry) after seeing actor Frank Langella’s starring performance on Broadway in Dracula (New York, 20 Oct 1977), a revival of the stage play by Hamilton Deane and John L. Balderston. Langella’s groundbreaking re-interpretation of the old-world vampire also enticed director John Badham, who joined the project in early 1978. Like Langella, actor Bela Lugosi starred in the original stage play Dracula (New York, 5 Oct 1927) before re-creating the role on film.
       As explained in a 5 Jul 1979 HR article, Universal already possessed the necessary rights to produce a remake, as it owned the 1931 film and the 1927 stage play, which was based on Bram Stoker’s novel Dracula (New York, 1899). However, Mirisch and Badham were less interested in adapting the “dinosaur” text of the play and relied on the novel as the primary source of inspiration for their screenplay, as Badham explained in interviews for the 6 Aug 1979 Box and the 20 Jan 1979 Screen International. Several new elements were also introduced and certain characters altered. Most notably, Langella inspired a romantic interpretation of the story by presenting a sensual vampire who seduces his victims without menacing fangs or “wolf eyes.” The vampire hunter “Van Helsing,” played by Laurence Olivier, was rewritten as the father of “Mina,” providing the character with a new motivation for destroying Dracula after Mina becomes the first victim.
       Although the Dracula legend had long been a popular subject for film, the genre of vampire-themed features appeared to be particularly popular during the late 1970s, according to articles in the 14 Jun 1978 Var and the 15 Jul 1979 LAT. This resurgence was partly attributed to the commercial and critical success of the current Broadway production driven by Langella’s depiction of Count Dracula as a sex symbol, which attracted a new audience of adoring fans. In addition to the Universal remake, other notable releases in 1979 were Love at First Bite (see entry) and the German film Nosferatu the Vampyre directed by Werner Herzog, as well as low-budget features Martin (1978, see entry) and Dracula’s Dog (1979, see entry). Directors Roger Vadim and Ken Russell had projects in active development, and Paramount Pictures Corp. was planning to adapt the novel Interview with a Vampire (New York, 1976) by Anne Rice.
       Principal photography commenced in Tintagel, Cornwall, England on 16 Oct 1978, according to production notes. During the four-month shooting schedule, location work in Cornwall continued at Mevagissey and Saint Michael’s Mount. The production also utilized soundstages at Shepperton Studios in Middlesex, England and Twickenham Studios outside London, England. Filming was completed by mid-Feb 1979, as stated in a 16 Feb 1979 HR brief.
       The 6 Aug 1979 Box article mentioned a budget of $8 million.
       The opening day at New York’s Ziegfeld Theatre set a box-office record of $25,342, according to a news item in the 19 Jul 1979 HR. A 24 Sep 1979 Village Voice column considered the film a modest hit among the 1979 summer releases, on track to earn between $10 and $15 million.
       The film received the 1979 Saturn Award for Best Horror Film, presented by The Academy of Science Fiction, Fantasy and Horror Films. At the Ninth Annual International Festival of Fantasy and Science Fiction Films in Paris, France, the film was honored with the top prize, the Licorne d’Or, Frank Langella won best actor and John Williams was awarded best musical score, as reported in a 30 Nov 1979 HR brief.
      End credits include the following written statement: “Made at Shepperton Studio Centre, Shepperton, England; Twickenham Studios, London; and on location in Cornwall.”

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GEOGRAPHIC LOCATIONS
PERSONAL & COMPANY INDEX CREDITS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Box Office
6 Aug 1979
---
Hollywood Reporter
16 Feb 1979
---
Hollywood Reporter
5 Jul 1979
---
Hollywood Reporter
6 Jul 1979
p. 3
Hollywood Reporter
19 Jul 1979
---
Hollywood Reporter
30 Nov 1979
---
Los Angeles Times
15 Jul 1979
p. 45
New York Times
13 Jul 1979
p. 14
Screen International
20 Jan 1979
---
Variety
14 Jun 1978
---
Variety
4 Jul 1979
p. 24
Village Voice
24 Sep 1979
---
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION TEXTS
The Mirisch Corporation Presents
A Walter Mirisch/John Badham Production
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Prod mgr
Asst dir
2d unit dir
PRODUCERS
Exec prod
Assoc prod
WRITER
PHOTOGRAPHY
Dir of photog
Cam op
Addl photog
Addl photog
Stills photog
Cam asst
Cam asst
Gaffer
Grip
ART DIRECTORS
Prod des
FILM EDITORS
SET DECORATORS
Set dresser
Const mgr
Const mgr
Prop master
COSTUMES
Cost des
Cost supv
MUSIC
Mus comp and cond
Mus orch
SOUND
Sd mixer
Sd re-rec
Boom op
VISUAL EFFECTS
Spec visual eff
Spec eff
DANCE
Dances arr by
MAKEUP
Makeup
Hairdresser
PRODUCTION MISC
Visual consultant
Loc mgr
Loc mgr
Prod accountant
Horse master
Animal coord
Prod asst
Prod's secy
Asst to Mr. Badham
Casting
STAND INS
Stunt coord
SOURCES
LITERARY
Based on the play Dracula by Hamilton Deane and John L. Balderston (New York, 5 Oct 1927) and the novel of the same name by Bram Stoker (New York, 1899).
DETAILS
Alternate Title:
Dracula: A Love Story
Release Date:
13 July 1979
Premiere Information:
Los Angeles and New York openings: 13 Jul 1979
Production Date:
16 Oct 1978--mid Feb 1979
Copyright Info
Claimant
Date
Copyright Number
Universal Pictures, Ltd.
9 January 1980
PA54196
Physical Properties:
Sound
Recorded in Dolby Stereo®
Color
Colour by Technicolor®
Lenses/Prints
Filmed in Panavision®
Duration(in mins):
109
MPAA Rating:
R
Country:
United States
Language:
English
SYNOPSIS

In 1913, the Demeter, a ship based in Transylvania, Romania, encounters a gale off the coast of Whitby, England. Meanwhile, the storm provokes mayhem among patients at Billerbeck Hall, a sanatorium in Whitby overseen by Dr. Jack Seward. Lucy, Seward’s strong-willed daughter, goes to the ward to assist her father, while her frail best friend and visitor to the hospital, Mina Van Helsing, remains in bed to rest. However, Mina sees the distressed ship approaching, and she hurries to the beach where she witnesses the vessel crash as a wolf-like animal leaps on shore. She follows the creature into a cave and finds a man lying on the ground. The next morning during the salvage operation on the beach, Jonathan Harker, a solicitor who is also Lucy’s fiancé, arrives and learns that his client, Count Dracula from Romania, is the only survivor of the shipwreck. After Mina found Dracula in the cave, he was taken to nearby Carfax Abbey, which the Count recently purchased in a sale handled by Jonathan’s firm. With bewilderment, Seward and Jonathan observe the corpses of the sailors, whose throats appear to have been torn to pieces. That evening, Seward holds a dinner party at Billerbeck Hall to welcome the new neighbor. When the elegant Count arrives, he takes a particular interest in Mina, whom he calls his “savior.” In the parlor after dinner, Mina nearly faints from a headache. Seward suggests giving her laudanum, but the Count protests, claiming the drug will “pollute her blood.” As Lucy and the others observe with ...

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In 1913, the Demeter, a ship based in Transylvania, Romania, encounters a gale off the coast of Whitby, England. Meanwhile, the storm provokes mayhem among patients at Billerbeck Hall, a sanatorium in Whitby overseen by Dr. Jack Seward. Lucy, Seward’s strong-willed daughter, goes to the ward to assist her father, while her frail best friend and visitor to the hospital, Mina Van Helsing, remains in bed to rest. However, Mina sees the distressed ship approaching, and she hurries to the beach where she witnesses the vessel crash as a wolf-like animal leaps on shore. She follows the creature into a cave and finds a man lying on the ground. The next morning during the salvage operation on the beach, Jonathan Harker, a solicitor who is also Lucy’s fiancé, arrives and learns that his client, Count Dracula from Romania, is the only survivor of the shipwreck. After Mina found Dracula in the cave, he was taken to nearby Carfax Abbey, which the Count recently purchased in a sale handled by Jonathan’s firm. With bewilderment, Seward and Jonathan observe the corpses of the sailors, whose throats appear to have been torn to pieces. That evening, Seward holds a dinner party at Billerbeck Hall to welcome the new neighbor. When the elegant Count arrives, he takes a particular interest in Mina, whom he calls his “savior.” In the parlor after dinner, Mina nearly faints from a headache. Seward suggests giving her laudanum, but the Count protests, claiming the drug will “pollute her blood.” As Lucy and the others observe with skepticism, the Count hypnotizes Mina and eases her pain. Before the Count leaves, he dances with Lucy, and Jonathan watches with jealousy. In the middle of the night, Lucy leaves the bedroom that she shares with Mina and joins Jonathan in the garden for a secret rendezvous. While Lucy is away, Dracula enters the bedroom through a window and seduces Mina. The next morning, Lucy awakens to find Mina pale and struggling for breath. After Mina suddenly dies, Seward notices two puncture wounds on her neck and notifies her father, Professor Abraham Van Helsing, in Amsterdam, Holland. While Lucy is upset and feels responsible for leaving her friend alone during the night, Seward is baffled by the young girl’s death, since there was no sign of disease. After the funeral, Lucy accepts the Count’s invitation to visit the Abbey while Jonathan returns to London and Seward meets Van Helsing at the train station. During a candlelight dinner, Lucy is charmed by Dracula. He apologizes for intruding in her life, but Lucy does not mind and welcomes his kiss. Meanwhile, Van Helsing investigates his daughter’s mysterious death. When a baby is killed and the mother claims that the bloodthirsty murderer looked like Mina, the professor, who has an interest in the supernatural, becomes convinced there is a vampire in their midst. At the cemetery, Van Helsing tells Lucy that he has covered his daughter’s grave with a garlic plant to ward off “undead” creatures that drain blood from the living. Although Lucy dismisses such folklore, Van Helsing gives her a cross to wear. When they encounter Dracula at the gate, Van Helsing notices the Count’s interest in Lucy’s necklace. That night, Lucy takes off the cross before going to bed. When Dracula enters the room, she willingly allows him to seduce her and feed on her blood. The Count then offers his blood to her. Meanwhile, Van Helsing exhumes Mina’s grave and finds the casket empty. While searching an adjacent underground tunnel with Seward, Van Helsing is attacked by Mina’s undead being. As Seward subdues the creature with a cross, Van Helsing stabs his daughter with a wooden stake. Later that evening, Jonathan finds Lucy in bed with a faint pulse and fang marks on her neck. Since Jonathan is the same blood type as his lover, Seward is able to begin a transfusion immediately. Meanwhile, downstairs, the professor encounters Dracula and confirms that the Count is the vampire when Dracula’s image is not reflected in a mirror, and he recoils at the sight of Van Helsing’s crucifix. To destroy the vampire, Van Helsing and Jonathan sneak into the Abbey’s dark basement during daylight hours, expecting that Dracula will be asleep in his coffin. Van Helsing is surprised when the Count greets them and explains that he can move about in daylight hours, as long as he stays in darkness. Defiant, he reminds them that he is the “king of his kind” and that Lucy will be his greatest bride. As he transforms into a bat and strikes Jonathan, Van Helsing lets in a stream of light, causing the vampire to fly away. Back at the sanitarium, Seward locks Lucy in a cell, and Van Helsing warns Jonathan that she is not the same person, despite the transfusion. As Jonathan visits with his lover and is enticed by her charm, she tries to bite him with her new fangs, but Van Helsing rushes inside the cell and holds a cross against her, restraining her vampire tendencies. During the night, Seward, Jonathan and Van Helsing stand watch over Lucy at the sanitarium, but Dracula sneaks into her cell and takes her away. As the men search for the vampire, they realize that Dracula is attempting to escape England by boat, concealed in a crate. At the dock, Van Helsing and Jonathan commandeer a motorboat and intercept a ship bound for Romania. They pry open the crate to find Dracula and Lucy lying together inside. Jonathan restrains Lucy while Van Helsing prepares to drive a stake into the Count, but Dracula wakes up and uses the stake to impale Van Helsing against the wall. As the Count strangles Jonathan, Van Helsing summons his strength to fling a hook into the Count’s back. Jonathan then starts a crank and the Count is pulled upward by a rope and pulley to the top deck where he is burnt by the sun. Bathed in light, Lucy appears restored to her former self, but she smiles at the sight of Dracula’s cape fluttering in the wind.

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Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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