Featured Audience Ratings

• Alexander D

  
  1979 saw a decent adaptation of Bram Stoker's classic horror/romance novel. It's easy to admit that this version of DRACULA is seemingly less popular and less remembered than the same-titled 1992 film or even DRACULA 2000; but this one <i>deserves</i> the praise… More
  1979 saw a decent adaptation of Bram Stoker's classic horror/romance novel. It's easy to admit that this version of DRACULA is seemingly less popular and less remembered than the same-titled 1992 film or even DRACULA 2000; but this one <i>deserves</i> the praise it does not get. Though I'd have to say that without the performance from Laurence Olivier, this would have just been a bloody mess. Instead, it's rather well-acted, well-directed. (Maybe it wasn't <i>just</i> Olivier.) Well, to sum it up, DRACULA was enjoyable. Rent it--but remember: 1979, not 1992. 1979, not 1992. And not 2000. 'Nuff said, for sure.

• Lafe F

  
  The marketing was good, but it's so terribly dated now.

• xGary X

  
  Rather unfairly slated by critics, I actually think this is one of the better tellings of the count's story. Sticking quite closely to the literary source, and with a strong supporting cast of thesps it's much better than Coppolla's irritatingly self absorbed vanity… More
  Rather unfairly slated by critics, I actually think this is one of the better tellings of the count's story. Sticking quite closely to the literary source, and with a strong supporting cast of thesps it's much better than Coppolla's irritatingly self absorbed vanity project.

• Antony S

  
  Rather smokin' adaptation. This time round, The Count is played by Frank Langella, who not only tackles the material with aplomb, but looks considerably younger than Lugosi or Lee, altering his sense of threat somewhat, giving it an uncanny... boyishness. As future adaptations… More
  Rather smokin' adaptation. This time round, The Count is played by Frank Langella, who not only tackles the material with aplomb, but looks considerably younger than Lugosi or Lee, altering his sense of threat somewhat, giving it an uncanny... boyishness. As future adaptations were to explore, the sense of sexual threat is heightened here, giving the film a claustophic horror. This is aided by some marvellous sweeping camera work (cinematographer Gilbert Taylor worked on The Omen and frequently with Roman Polanski). The supporting parts are finely played too (Renfield is played to a T). Will always be in the shadows of Hammer and Browning's version, but definately worth a look.