Dracula: Dead and Loving It (1995)

PG-13 | 90 mins | Comedy, Horror | 22 December 1995

THIS TITLE IS OUTSIDE THE AFI CATALOG OF FEATURE FILMS (1893-1993)
You may also like these titles from the AFI Catalog of Feature Films, the most authoritative documentation of the First 100 Years of American filmmaking.
Full page view
HISTORY

The end credits include the following acknowledgements: "Clip from
Mutiny on the Bounty provided by Turner Entertainment Co."; "Clip from Premature Burial courtesy of Orion Pictures Corporation, All Rights Reserved" and "Filmed at The Culver Studios."
       The working title of Dracula: Dead and Loving It was Dracula: Dead and Liking It, as indicated in a 13 Jan 1995 HR article announcing the film as one of eight to ten movies to be financed by Castle Rock Entertainment following the company's acquisition by Turner Broadcasting System the previous year. "Liking" was later changed to "Loving" prior to release by co-financier Gaumont, as stated in a 17 May 1995 DV article. DV also reported that neither Castle Rock nor Gaumont would divulge how much each company contributed to the film's $30 million budget, although Castle Rock was said to have provided the majority of the financing. An 18 Aug 1995 Screen International article placed the budget at $25 million.
       Writer-producer-director Mel Brooks originally wanted Kelsey Grammer to star as "Count Dracula," according to a 6 Feb 1995 Var article. At the time, the actor was a much desired film comedy commodity thanks to his success on the television situation comedy Frasier (September 16, 1993--May 13, 2004, NBC). Instead, Grammer turned down the $3 million he was offered for the role to star in Down Periscope (1996, see entry) for about $2 million.
       A 2 May 1995 HR listing announced that the film would go into production on 8 May in Los Angeles, CA. Production notes in AMPAS ... More Less

The end credits include the following acknowledgements: "Clip from
Mutiny on the Bounty provided by Turner Entertainment Co."; "Clip from Premature Burial courtesy of Orion Pictures Corporation, All Rights Reserved" and "Filmed at The Culver Studios."
       The working title of Dracula: Dead and Loving It was Dracula: Dead and Liking It, as indicated in a 13 Jan 1995 HR article announcing the film as one of eight to ten movies to be financed by Castle Rock Entertainment following the company's acquisition by Turner Broadcasting System the previous year. "Liking" was later changed to "Loving" prior to release by co-financier Gaumont, as stated in a 17 May 1995 DV article. DV also reported that neither Castle Rock nor Gaumont would divulge how much each company contributed to the film's $30 million budget, although Castle Rock was said to have provided the majority of the financing. An 18 Aug 1995 Screen International article placed the budget at $25 million.
       Writer-producer-director Mel Brooks originally wanted Kelsey Grammer to star as "Count Dracula," according to a 6 Feb 1995 Var article. At the time, the actor was a much desired film comedy commodity thanks to his success on the television situation comedy Frasier (September 16, 1993--May 13, 2004, NBC). Instead, Grammer turned down the $3 million he was offered for the role to star in Down Periscope (1996, see entry) for about $2 million.
       A 2 May 1995 HR listing announced that the film would go into production on 8 May in Los Angeles, CA. Production notes in AMPAS library files described several of the film's special effects sequences. For the scene in which Dracula clings to and falls from "Lucy Westenra's" ceiling, actor Leslie Nielsen was suspended in a steel-reinforced carbon fiber pan that was manipulated by a complex pulleyweight system. Actor and co-star Peter MacNicol had knee and ankle locks holding them in place on trapeze bars for the scene in which they have a conversation suspended upside-down. To achieve the effect of "Mina Seward" dancing with an invisible Dracula, actress Amy Yasbeck first had to be spun around while standing on a "Lazy Susan-like disc," then be suspended by wires that were rotated by a "hydraulically driven mechanical arm going up to 20 miles per hour."
       According to the Screen International article, production wrapped on 26 Jul 1995.
       Reviews of the film were mediocre, but not outright negative, with critics such as Joe Lydon in the 18 Dec 1995 DV and Janet Maslin in the 22 Dec 1995 NYT noting that the movie had a few good laughs, but nothing more. More Less

GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
17 May 1995.
---
Hollywood Reporter
13 Jan 1995
p. 1, 62, 65.
Hollywood Reporter
2 May 1995.
---
Los Angeles Times
22 Dec 1995
p. 4.
New York Times
22 Dec 1995
p. 35.
Screen International
18 Aug 1995.
---
Variety
6 Feb 1995.
---
Variety
18 Dec 1995
p. 67.
CAST
NAME
CREDITED AS
CREDIT
Peasant couple in coach:
Ballroom guests:
Interns:
Villagers:
Ballroom dancers:
[and]
+
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
PRODUCTION TEXTS
Castle Rock Entertainment Presents
in association with Gaumont
A Brooksfilms Production
NAME
CREDITED AS
CREDIT
DIRECTORS
1st asst dir
2d asst dir
2d unit dir
2d 2d asst dir
Addl 2d asst dir
DGA trainee
PRODUCERS
Prod
Assoc prod
Assoc prod
Exec prod
PHOTOGRAPHY
Dir of photog
Addl photog
1st asst cam
2d asst cam
2d cam op
1st asst 2d cam
1st asst 2d cam
Cam loader
Chief lighting tech
Key grip
Video asst op
Still photog
Asst chief lighting tech
Set lighting tech
Set lighting tech
Set lighting tech
Set lighting tech
Rigging gaffer
Rigging elec
Rigging elec
Rigging elec
Best boy grip
Dolly grip
Key rigging grip
Rigging grip
Rigging grip
Rigging grip
Rigging grip
Cam cranes and dollies
Lighting and grip equip provided by
ART DIRECTORS
Prod des
Art dept coord
FILM EDITORS
Film ed
Asst ed
Asst ed
Asst ed
Negative cutter
SET DECORATORS
Set dec
Lead set des
Leadperson
Prop master
Asst prop master
Asst prop master
Set des
Sen model maker
Set dec buyer
On set dresser
Set dresser
Set dresser
Set dresser
Set dresser
Greens coord
Greens standby
Greens foreman
Standby painter
Const coord
Gen foreman
Labor foreman
Foreman
Foreman
Foreman
Foreman
Plaster foreman
Plasterer
Mold maker
Sculptor
Head paint foreperson
Paint foreperson
COSTUMES
Cost des
Cost supv
Cost supv
Key set cost
Cost
Cost
Cost for Mr. Nielsen
MUSIC
Mus ed
Asst mus ed
Mus playback
Mus rec at
Scoring mixer
Scoring crew
Scoring crew
Scoring crew
Orch
Mus contractor
Vocal contractor
Mus preparation
Player organ roll created by
SOUND
Prod sd
Prod sd
Prod sd
Sd eff by
Supv sd ed, Visiontrax
Supv sd ed, Visiontrax
Sd ed, Visiontrax
Sd ed, Visiontrax
Sd ed, Visiontrax
Sd ed, Visiontrax
Foley ed, Visiontrax
Supv ADR ed, Visiontrax
Asst sd ed, Visiontrax
Asst sd ed, Visiontrax
Apprentice ed, Visiontrax
Sd re-rec at
Re-rec mixer, Sony Pictures Studios
Re-rec mixer, Sony Pictures Studios
Re-rec mixer, Sony Pictures Studios
Rec, Sony Pictures Studios
Rec, Sony Pictures Studios
Eng, Sony Pictures Studios
ADR mixer, Sony Pictures Studios
ADR rec, Sony Pictures Studios
ADR voice casting
Foley rec at Joseph Luithly's and Steven Schear's
Foley artist, Sound World
Foley artist, Sound World
Foley mixer, Sound World
Foley rec, Sound World
Foley asst, Sound World
Dolby stereo consultant
VISUAL EFFECTS
Spec eff coord
Spec eff foreman
Spec eff foreman
Spec eff
Spec eff
Spec eff
Spec eff
Spec eff
Spec eff
Spec eff
Spec eff
Visual eff by
Visual eff supv, Dream Quest Images
Exec prod, Dream Quest Images
Digital eff supv, Dream Quest Images
Prod mgr, Dream Quest Images
Prod coord, Dream Quest Images
Motion control op, Dream Quest Images
Asst cam op, Dream Quest Images
Motion control tech, Dream Quest Images
Computer graphics artist, Dream Quest Images
Computer graphics artist, Dream Quest Images
Computer graphics artist, Dream Quest Images
Computer graphics artist, Dream Quest Images
Digital compositing tech, Dream Quest Images
Digital compositing tech, Dream Quest Images
Digital compositing tech, Dream Quest Images
Digital matte painter, Dream Quest Images
Digital matte painter, Dream Quest Images
Film scanning and rec, Dream Quest Images
Data management, Dream Quest Images
Visual eff ed, Dream Quest Images
Asst ed, Dream Quest Images
Animatronics and spec props by
Supv, Optic Nerve Studios
Supv, Optic Nerve Studios
Asst, Optic Nerve Studios
Asst, Optic Nerve Studios
Asst, Optic Nerve Studios
Asst, Optic Nerve Studios
Main title des
Titles and opt
Title backgrounds from
Title backgrounds from
Title backgrounds from
Title backgrounds from
The Marsden Archive
DANCE
Choreog
Asst choreog
MAKEUP
Make-up des/Dept head
Key make-up artist
Make-up artist
Key body make-up artist
Key hair stylist
Hair stylist
Wig maker
PRODUCTION MISC
Casting
Casting
Scr supv
Prod coord
Asst prod coord
Prod accountant
1st asst accountant
Asst accountant
Asst accountant
Set estimator
Transportation coord
Transportation capt
Loc mgr
Extras casting
Asst to Mr. Brooks
Asst to Mr. Brooks
Asst to Mr. Brooks
Asst to Mr. Schindler
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Casting asst
Casting asst
First aid
Craft service
Livestock coord
STAND INS
Stunt coord
Dracula double
Renfield double
Coach driver double
Stand-in
Stand-in
Stand-in
Stand-in
Stand-in
Stand-in
COLOR PERSONNEL
Col timer
SOURCES
LITERARY
Based on characters created by Bram Stoker.
AUTHOR
MUSIC
"El Choclo," written by Ángel Villoldo
"The Kaminsky Polka," written by Hummie Mann
"Artist's Life," written by Johann Strauss II
+
MUSIC
"El Choclo," written by Ángel Villoldo
"The Kaminsky Polka," written by Hummie Mann
"Artist's Life," written by Johann Strauss II
"Hungarian Dance No. 5," written by Johannes Brahms.
+
DETAILS
Release Date:
22 December 1995
Premiere Information:
Los Angeles opening: 22 December 1995
New York opening: week of 22 December 1995
Production Date:
8 May 1995--26 July 1995
Copyright Claimant:
Castle Rock Entertainment
Copyright Date:
21 March 1996
Copyright Number:
PA760198
Physical Properties:
Sound
SDDS Sony Dynamic Digitial Sound in selected theaters; Dolby in selected theatres
Color
Color by Technicolor®
Lenses/Prints
Filmed with Panavision® cameras & lenses; Prints by Technicolor®
Duration(in mins):
90
MPAA Rating:
PG-13
Country:
United States
Language:
English
PCA No:
33994
Passed by NBR:
No
SYNOPSIS

In 1893, Thomas Renfield, a solicitor from London, England, is traveling across Transylvania by coach. Arriving in a village as the sun sets, the driver refuses to transport Renfield any further during the night. When Renfield announces that he will have to continue on foot then to Count Dracula's castle, the villagers gasp in horror and beg him not to go. An old gypsy woman offers graphic detail about the evil habits of the vampires that live in the castle, but Renfield takes her warning as superstition. He also refuses to accept a cross the woman offers, but she smacks him in the face until he is forced to take it. Renfield presses on, arriving at the dingy castle in the middle of the night. Letting himself in, he is greeted by Dracula, who slips on a pile of bat guano and tumbles down the grand staircase. After leading Renfield to the dining room, Dracula signs paperwork that makes him the new owner of Carfax Abbey in London. Shuffling the papers back into his valise, Renfield cuts his finger. Watching the wound erupt into a small geyser of blood, Dracula licks his chops. Later that night, Renfield is awakened by two provocatively-dressed women with pale skin and fangs. They climb into bed and rub his body despite his protestations. An angry Dracula enters the bedroom and stops the women, then hypnotizes Renfield into becoming his slave. Dracula orders the solicitor to watch over his body during the sea voyage to London. At a London opera house, Dracula introduces himself to Jonathan Harker, Jonathan's fiancée, Mina Seward, and their companion, Lucy Westenra. Dracula and Lucy develop an immediate attraction. ... +


In 1893, Thomas Renfield, a solicitor from London, England, is traveling across Transylvania by coach. Arriving in a village as the sun sets, the driver refuses to transport Renfield any further during the night. When Renfield announces that he will have to continue on foot then to Count Dracula's castle, the villagers gasp in horror and beg him not to go. An old gypsy woman offers graphic detail about the evil habits of the vampires that live in the castle, but Renfield takes her warning as superstition. He also refuses to accept a cross the woman offers, but she smacks him in the face until he is forced to take it. Renfield presses on, arriving at the dingy castle in the middle of the night. Letting himself in, he is greeted by Dracula, who slips on a pile of bat guano and tumbles down the grand staircase. After leading Renfield to the dining room, Dracula signs paperwork that makes him the new owner of Carfax Abbey in London. Shuffling the papers back into his valise, Renfield cuts his finger. Watching the wound erupt into a small geyser of blood, Dracula licks his chops. Later that night, Renfield is awakened by two provocatively-dressed women with pale skin and fangs. They climb into bed and rub his body despite his protestations. An angry Dracula enters the bedroom and stops the women, then hypnotizes Renfield into becoming his slave. Dracula orders the solicitor to watch over his body during the sea voyage to London. At a London opera house, Dracula introduces himself to Jonathan Harker, Jonathan's fiancée, Mina Seward, and their companion, Lucy Westenra. Dracula and Lucy develop an immediate attraction. Later, in her bedroom in the Seward house, Lucy seductively undresses in front of her window when she spies Dracula watching from a building across the way. As Lucy climbs into bed, Dracula transforms into a bat and flies to her. However, Lucy sleepily closes her window in Dracula's face, sending him crashing to the ground. Returning to human form, Dracula crawls in through the window, but, before he can bite Lucy's neck, Jonathan and Mina's father, Dr. Seward, burst into the room to check out strange noises. However, they fail to see Dracula hiding by pressing up against the room's ceiling. After Jonathan and Seward leave, Dracula drinks Lucy's blood. The next day, Renfield, who is being kept at the sanitarium run by Seward, attempts to convince the doctor that he is sane. However, his arguments are unconvincing when Seward catches him eating insects and spiders. Later, Seward sees that Lucy is extremely ill with two puncture marks on her neck, so he seeks the advice of Professor Abraham Van Helsing, an expert in rare diseases. Examining Lucy, Van Helsing is convinced that she has been bitten by a vampire and will become one herself if she suffers another bite. That night, Lucy is moved to a downstairs bedroom and Jonathan hangs strands of garlic to keep the vampire away. When Dracula arrives, the garlic repulses him; he breaks Renfield out of the sanitarium for assistance. As Renfield removes the garlic from the room, he startles the sleeping girl. Lucy's screams beckon Jonathan and Seward and they have Renfield hauled back to the sanitarium. Dracula then uses mind-control to lure Lucy outside. Mina catches the vampire biting Lucy's neck and she screams, again bringing Jonathan and Seward running. Unfortunately, they are too late and Seward pronounces Lucy dead. As Van Helsing attempts to convince Seward that Lucy will rise from the dead, Dracula appears to offer his condolences for the deceased girl. After verbal sparring, Van Helsing suspects the count is the vampire. Meanwhile, in the Westerna family crypt, Lucy rises from her coffin and bites the neck of the cemetery's groundskeeper. Heeding Van Helsing's warning, Jonathan goes to the Westerna crypt where Lucy attempts to bite him, but, before she can, Van Helsing arrives and chases her away by holding a cross in her path. The men find her back in her coffin and Van Helsing convinces the squeamish Jonathan to drive a wooden stake through her heart. As Jonathan pounds the stake, Lucy's wound erupts into a fountain of blood, drenching Jonathan. Back at the Seward house, Dracula returns and attempts to lure Mina outside. When she can't follow his directions, he runs into the house and grabs her. Back at his Abbey, Dracula and Mina dance, then he bites her on the neck. The next morning, Mina is sexually aggressive toward Jonathan, who tries to remain chaste. Seward and Van Helsing burst in on the lovers and, after removing the scarf around Mina's neck, discover that the vampire has bitten her. They are still unsure, however, whether Dracula or Renfield is the vampire. That night, at a ball, while Dracula dances with Mina, Van Helsing reveals a large mirror that has been hidden behind a curtain. Since vampires cast no reflection, Mina appears to be dancing by herself, causing startled reactions from the guests. Dracula assumes their astonished looks are due to his fancy footwork, so he dances even more feverishly. However, as the dance ends, Dracula realizes he has been tricked and escapes out the window with Mina in his arms. After searching Carfax Abbey, Jonathan, Seward and Van Helsing find no trace of Dracula, so they release Renfield from the sanitarium to lead them to the vampire's new hideout, a church on the top of a cliff. The three men interrupt Dracula just before he's about to bite Mina again, and the vampire fights them off. As Dracula tries to bite Mina one last time, Van Helsing rips the boards off a sealed window, letting in beams of sunlight that burn the vampire's skin. Turning into a bat, Dracula flies into the rafters to hide. However, a careless Renfield opens a hole in the roof, letting in a final burst of light that causes Dracula to explode into flames and crash to the floor. Mina awakens and Jonathan carries her home. Renfield scoops up Dracula's ashes and traces a smiley face into them, then follows Seward as his new master. +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award
The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.