J'ai vue pour la première fois ce film d'épouvante quand j’étaie enfant, ça m’avait très impressionnée , un superbe film ,merci pour la magie du DVD.

Bram Stoker's novel Dracula has a strange relationship with cinema. Full of pompous Victorian moralising, frequently stagnant prose and moments of cheesy melodrama, it nonetheless contains some very compelling scenes and ideas.This paradoxical nature: baggy prose blended with visual imagination offers challenges and opportunities for film-makers.Herzog's approach must be one of the strangest. He turns this novel, which glorifies the Western middle class and turns it into a quasi-Nietzschian fairytale.What makes this approach even more ironic is that much of the first half feels like a Herzog documentary. Bruno Ganz (who would later achieve fame for his portrayal of the charismatic yet demented Adolf Hitler) practically sleepwalks in his role as Jonathan Harker. He leaves 'Wismar' and travels to the carpathians, where the characters often speak in poetic epigrams, which contrast with the dim scenery. Castle Dracula is not full of monstrous life-forms and gothic interiors but a whitewashed necrotic castle which feels more Brs Grimm than Orientalist.Harker is trapped in this castle whilst Dracula travels to Wismar by boat, killing the crew in the process. Again, this section (which has great dramatic potential) is shot in a strangely flat style adding to the documentary feel.The journey by boat bridges the narrative, which then focuses on Harker's wife Lucy (sic) acted by Isabel Adjani (another generally esteemed actor, who also seems practically somnambulent) and a plague that comes to a town of Wismar. This town, evidently in the Netherlands, is a strangely surreal location which becomes stranger as there are mass funerals and animals start to occupy the city centre as the dying inhabitants dance and feast in the square.Finally Lucy tempts Dracula to his death and 'Nosferatu' ends with a superbly hallucinogenic image of Harker galloping over a stormy beach.This film certainly is not for all audiences. Those who want an action adventure will find this film slow paced and lacking gore and violence. Personally, I wouldn't even entirely reject the criticism that this film is too long and slow. However, it is also a masterpiece of set design and visual imagination. Whilst the good cast is generally wasted, Kinski is superb as Dracula.I personally found this film best appreciated not so much in its own but as a part of the varied career of Werner Herzog. That this is the work of the man who produced Aguirre and The Enigma of Casper Hauser somehow made it more enjoyable to me.

La compre pensando que traia los subtitulos en ingles (asi venia en las especificaciones tecnicas bajo la caratula),pero no...solo trae audio en ingles,sin subtitulos ni extras.Hay ediciones seguramente mucho mejores...

I found this movie to be a bit bizarre at times, almost like a music video in the way that its shot and also with some of the classical musical interludes, its an excellent tribute to the original black and white production which introduced Count Orlok to the world.The story is that of Dracula, indeed Renfield, Johnation Harker, his betrothed, Van Helsing and The Count are all featured, however it has more in common with the earlier feature which used elements of the Dracula tale but was its own story. While the story contains some of the greatest elements of Harker's encounter with the Count his first night in Castle Dracula, including his accidentially cutting himself and the Count sucking the wound, it doesnt feature his seeing Dracula crawling down the walls of the castle or any vampire brides and Harker is contaminated with vampirism himself unlike Stoker's novel. It does feature his seeing the Count load up coffins of earth onto a cart and get into one himself, like the earlier 1921 black and white feature.Its a pretty chilling feature, the character of the vampire being the alternative to the sauve, noble man as typified by Bella Lugosi's Universal Studios archetype and exemplified by the modern day Vampire as X-man like superhero. The vampire in this tale is a decayed, creepy, perverse figure, spreading disease, appearing like a plague rat. This is one of the greatest portrayals of the vampire as gasping, grasping, blood craving revenant I've ever seen, the creepy movements with which he is portrayed, by turns tired, slow, lurking and lurching and then moving quickly, irresistably and over poweringly. There is also some really great camera trickery/shots which feature the shadow of the fiend on a wall reflected in a mirror but his prescence itself being abscent as he has no reflection himself. All of which leads the viewer to really experience the hairs on their neck standing on end and really not wanting to tangle with the creature, something that virtually none of the modern day vampire features, with the possible exception of some scenes in Del Toro's Cronos ] or ].However, the horror is not simply generated by the vampire, the creature itself, despite being pure of heart or innocent by the end of the feature the cast are all destroyed or dead! There isnt really any defence against the fiend, foreknowledge is insufficient, love is insufficient, hope is insufficient, self-sacrifice? Not enough, the evil is insurmountable and the transformation of one of the innocent, good charaters into a villain through gradual corruption is done exceedingly well. I also thought that towards the end with the body count rising exponentially leaving just a handful of people alive the idea that the local officials would cling so tenatiously to the rules of conventional conduct and expectations, pretty much assuring their own doom was an eerie twist and at this stage some of the set scenes and developments would fit the genre of apocalyptic film.An unnervingly weird horror feature which I recommend to all fans of classic vampire horror, that's vampires as unambiguously evil, and eerie, unnerving viewing.

Un tempo contemplatif, une authenticité loin de tout romantisme à l'américaine (même si je respecte grandement les Dracula de la Hammer), une atmosphère étrange et palpable et quelques détours par le surréalisme font de ce remake de Murnau une adaptation à la fois très fidèle, mais aussi très étrange du Dracula de Bram Stoker.Un film envoûtant, rendu d'autant plus fascinant par la présence magnétique d'un Klaus Kinski à la frontière entre l'homme et la bête, capable de muter du petit être fragile et démuni en prédateur assoiffé de sang frais avec la rapidité d'un félin. Une performance à la démesure et à l'image de la folie de cet acteur hors normes, qui tient là l'un de ses plus grands rôles!