WARNING! SPOILERS FOR ALL 3 EPISODES

As we enter a new decade, it seems appropriate that another adaptation of one of the most famous stories of all time is released. BBC’s latest attempt at adapting Bram Stoker’s legendary source material is at first a refreshing revamped (pun not intended) look at the legendary character, yet ultimately loses itself towards the final acts of the three-part series.

Coming from the creative duo of Mark Gatiss and Steven Moffat, the creators of the hugely successful Sherlock (2010), as well as Moffat, being a previous showrunner of Doctor Who (2005). Dracula is presented across three episodes, each lasting approximately 90 minutes the three parts are linked to one another surprisingly very loosely. This works as both a detriment for the show while also allowing the three episodes to work as three separate stories that are taking inspiration from the novel, rather than a straight-up adaptation.

Episode 1, Rules of the Beast, is perhaps the most faithful to the established beats that many other versions of set up before, with Johnathan Harker (John Heffernan) visiting the Count himself at his castle, as he slowly begins to fade away at the hands of the man who is only growing stronger as the days go by. Running parallel to this, we witness Harker reciting the story of his experience with the Count to sister Agatha (Dolly Wells), who is later revealed to be this version’s, Van Helsing. As Van Helsing, Dolly Wells is quick-witted and a suitable match for Dracula thanks to her constant humour, which at times can be a distraction from the more serious dramatic moments.

After attacking the Monastery, Dracula manages to corner Van Helsing before the episode ends on the cliff hanger.

The second episode titled Blood Vessel is perhaps the series’ highlight. As a stand-alone episode, it works brilliantly, coming across as an Agatha Christie tale set in the world of Dracula, but of course, the viewer is well aware what is going on as each of the crew aboard the ship if picked off one by one. The final moment of the episode sets up a potentially exciting final part, as after going down with the ship Dracula washes ashore to find he has awoken 123 years later to the present day.

Finally, The Dark Compass is sadly a waste of the potential that episode 2 concludes with. Dracula roaming the modern streets of London doesn’t so much come across as evil, more a comedic villain who is just trying to pass the time. Humour that once worked previously now feels forced and unneeded, resulting in scenes of Dracula trying to understand Tinder before his final unsatisfying face-off with Van Helsing, now a decedent of the original character played again by Dolly Wells. The sudden emergence of Dracula being misunderstood is not even remotely earned, every moment leading up to the conclusion presents him as nothing more than a monster who seeks nothing more than to kill, yet now he is written to be someone who only murders out of fear of death and his own superstitions.

Despite the messy ending, Claes Bang is able to give a fittingly monstrous performance as the legendary Vampire. Being able to deliver what could be incredibly cringing inducing dialogue, with over the top puns with an overabundance of wink-wink, nudge-nudge to the viewer, Claes doesn’t ever falter in the role, and ultimately is what kept me hooked during the weaker moments of the series.

Presenting the series across more than the 3 episodes provided would have hugely benefited the narrative, perhaps opting for a six part series running an hour long per episode,  as despite the vast run time it can all feel a bit rushed. Jumping 123 years to the present should come across as a clever re-imagining, instead, it feels like a desperate attempt to subvert expectations.

Dracula is a messy yet in parts hugely entertaining retelling of a classic horror tale, only just missing the landing on what could have gone down as a truly great adaptation.

Creators: Mark Gatiss, Steven Moffat
Stars: Claes Bang, Dolly Wells, Morfydd Clark
Kyle Gaffney
Latest posts by Kyle Gaffney (see all)