Dracula (1979)

64% of critics liked it
(11 reviews)
52% of users liked it
(9,305 ratings)

In the late '70s, Frank Langella starred in the hit Broadway play Dracula, written by Hamilton Deane and John L. Balderston. Langella's charisma and the surreal, black-and-white sets designed by cartoonist Edward Gorey were the chief outstanding features of the play, which was otherwise… More In the late '70s, Frank Langella starred in the hit Broadway play Dracula, written by Hamilton Deane and John L. Balderston. Langella's charisma and the surreal, black-and-white sets designed by cartoonist Edward Gorey were the chief outstanding features of the play, which was otherwise undistinguished. While this film production of the play boasts performances by stage veterans Lord Laurence Olivier and Donald Pleasance, as well as Frank Langella as the suavest of counts, it was neither a critical nor a box-office success, doubtlessly because expectations ran too high. One highlight of this production is its skillful use of special effects. The standard story of Bram Stoker's original novel is re-created here: the undead count arranges to move from his home in Transylvania to Whitby, and once there, a reign of terror begins. He is opposed by the canny Doctor Van Helsing (Laurence Olivier), who eventually triumphs. ~ Clarke Fountain, Rovi

Rating, Runtime: R, 1 hr. 50 min.
Directed By: John Badham
Written By: Bram Stoker, Hamilton Deane, W.D. Richter
Genres: Horror, Romance, Art House & International

In Theaters: Jul 20, 1979 Wide
On DVD: Oct 10, 2000

Critic Reviews

Brian Holcomb, Kinetofilm
This is sort of a Saturday Night Fever version of the story with a stylish, afro'ed Langella walking around with an open shirt looking for girls to take to his Castle Disco.
Rob Gonsalves, eFilmCritic.com
Granted, it's staged and composed like Masterpiece Theatre.
Chuck O'Leary, Fantastica Daily
The casting is right on target and the atmosphere fittingly eerie in director John Badham's suspenseful, handsomely-mounted 1979 version.
Ken Hanke, Mountain Xpress (Asheville, NC)
Nice production values, but that's about it
Scott Weinberg, eFilmCritic.com
Just doesn't fly.

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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 deserves 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 deserves 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 just 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.