The Metamorphosis of the Queer Monster in Francis Ford Coppola‘s Bram Stokers Dracula
Since its release in 1992, Francis Ford Coppola‘s Bram Stoker‘s Dracula has made a deep impression upon the vampire community, or more likely left an infamous hole in it. Critics received Coppolas movie with closed fangs. To Fred Botting, Bram Stokers Dracula is ‘The End of Gothic’, the final metamorphosis of a faltering convention into some strange and alien form that destroys all of Gothics power. Stokers novel brought to greatness a war between the establishment of gender roles, threatened by the overtly (homo)sexual presence of Count Dracula, who turned women into harlots and men into sissies, before Abraham Van Helsing and his Crew of Light end Counts reign of terror to reaffirm their own faltering masculinity. Coppolas version creates a new heterogeneous blend of the corrupted legends of Prince Vlad the Impaler woven together with the literary Dracula within a Harlequin Romance format. The homoerotic undertones of Stokers novel disappear under the overly-exaggerated romantic quest of Coppolas new vampire.