Press archive
Bram Stoker’s Dracula: a love letter to moviemaking
3 October 2018 · Esquire
Estate summary
Dom Nero argues that Coppola’s Bram Stoker’s Dracula is as much a celebration of filmmaking as a Gothic horror story. He connects its shadows, elaborate designs and in-camera effects with silent cinema and the work of Murnau, Cocteau and Charles Laughton. The essay places the film’s theatrical excess alongside later director-led horror, including The Witch, Hereditary, The Shape of Water and Crimson Peak. Nero finds its handmade illusions and attention to physical detail central to its continuing force, and offers an unusually sympathetic reading of Keanu Reeves’s performance. His account is a critical appreciation of Coppola’s film, rather than a claim that its romantic narrative reproduces Stoker’s intentions.
Original source
Read the archived publisher page. Its availability and content may differ from the publisher’s current website.
Read the archived article ↗Link checked 7 November 2026. Publisher pages open in a new tab.
Saved archive record
The title, date, source details and any Estate summary above are saved on this website, so this record remains available if the publisher’s page changes.
A full copy of this article is not currently held here. Original scans and full texts will be added where available and permitted.
