Instead, he created a travesty, a work so woefully misguided and devoid of legitimate scares that you wonder is the old man has lost his knack. Argento, who collaborated on the script and cast his daughter Asia in one of the main roles, clearly believed he was making a revisionist look at the lovelorn monster and his never-ending (or dying) quest for his former fling. Even when Jonathan Frid fanged his way through the camp classic soap opera Dark Shadows, the vampire was never this tedious, or toothless. They had reason to be.Įven when gussied up like a ’70s Aramis ad ala Frank Langella, Dracula has never been this dull. However, those who’ve seen his recent work, or better yet, sat through his previous take on a treasured property ( The Phantom of the Opera) were wary. So the announcement that Dario Argento, the genius behind such landmark movie macabre as Suspiria and Inferno, as well as the Master of the Italian crime thriller known as the giallo ( The Bird with the Crystal Plumage, Profondo Rosso) was tackling Bram Stoker’s bread and butter, there was some considered rejoicing.
With the vampire mythos languishing somewhere between a bad romance novel and a silly after-school special, fright fans had been hoping that one of the genre’s masters could bring the unfairly compromised neckbiter back from the verge of horror film pointlessness.
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