I think my professor put it best when he said, “Dracula is either really good or really sh*tty.” Okay, yes, I’m paraphrasing, but only a little. Charles Macaulay’s Dracula is a crazy-eyed, racist psychopath with the kind of English accent that involves rolling “r” sounds a lot, in this classic Blaxploitation horror film from director William Crain. He’s the vampire (and a real white supremacist one at that) who turns our hero, Prince Mamuwalde, into the vampire Blacula. Even though Macaulay’s Dracula is really there for exposition and thematic work, he’s on this list. (Though if you’re wondering where Blacula, himself, is on this list… don’t worry! Keep scrolling!)

Because of the many strange and supernatural events which take place in the novel, characters often question whether they might be going mad and imagining things. When Harker reunites with Mina after escaping from Dracula’s Castle, he does not know whether or not he can trust his memories: “I do not know if it was all real or the dreaming of a madman.” The character of Renfield, an inmate in Dr. Seward’s asylum, further reinforces how madness can make it difficult to see Dracula’s evil schemes at play. When Seward overhears Renfield saying “I shall be patient, Master. It is coming—coming—coming,” Seward assumes the man is raving mad, when Renfield is actually speaking with Dracula and foreshadowing the dangers to come. Seward even doubts his own ability to think logically, wondering “if my long habit of life amongst the insane is beginning to tell upon my own brain.” Confronted with an evil that seems impossible to understand, characters find it easier to believe they might be going insane and that their problems are entirely internal. Fear of Outsiders Brace yourself, because there are a lot of characters and POV switches. Again, most of what they were saying wasn't all that interesting, so it made me doubly happy that I decided to go with the audiobook version of Stoker's tale. Though Stoker begins his novel in a ruined castle—a traditional Gothic setting—he soon moves the action to Victorian London, where the advancements of modernity are largely responsible for the ease with which the count preys upon English society. When Lucy falls victim to Dracula’s spell, neither Mina nor Dr. Seward—both devotees of modern advancements—are equipped even to guess at the cause of Lucy’s predicament. Only Van Helsing, whose facility with modern medical techniques is tempered with open-mindedness about ancient legends and non-Western folk remedies, comes close to understanding Lucy’s affliction. Buried Garbage– Dracula: Sovereign of the Damned". Anime News Network. January 4, 2011 . Retrieved January 8, 2011. Está claro que la novela tiene la gran virtud de haber creado el mito de Drácula, lo que no está al alcance de cualquiera. Y sin embargo, el personaje fue manifiestamente mejorado con posterioridad.Kudos, Mr. Stoker, for such a riveting piece. I can only hope to find the time to read some of your other work, as well as that of your descendants, who seem to want to carry the torch and provide more Dracula for the modern reader. The girl with the man brain ( When most we want all her great brain which is trained like man’s brain, but is of sweet woman) is ignored and shut out after she helped them, and that the valiant men ignore all the signals, in an overly convenient fashion just to move the plot towards it's all too clearly set up climax. In Dracula, Bram Stoker created one of the great masterpieces of the horror genre, brilliantly evoking a nightmare world of vampires and vampire hunters and also illuminating the dark corners of Victorian sexuality and desire. Poi, certo, il vampiro è la parte nascosta di ciascuno di noi, il nostro Mr Hyde: per quale altro motivo lo specchio non riflette la presenza del vampiro se non perché il vampiro è dentro di noi, non fuori? Tutta la “questione olandese” lascia perplesso: sia l’aspetto linguistico che quello geografico (il prof viaggia tra Amsterdam e Londra o altri luoghi inglesi andata e ritorno in 24 ore, alquanto improbabile – come incomprensibile rimangono i motivi che lo spingono a così frequenti ritorni a casa).

Yeah. Like, that was how you could tell they were creatures of the dammed. The men got all freaked out and weepy because their sweet, mild-mannered ladies lost their wholesome looks. They became wanton hussies with throaty voices and pouty lips.

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I can only imagine that when this originally came out in 1897 that it caused a stir. While slow paced, it's frequently disturbing even by today's standards, particularly some of the scenes early on in Dracula's castle and some later when our heroes are staking out (pun intended) a graveyard. Also, yeah, Dracula's brides totally eat a baby... at least that is strongly implied. I don’t understand the point of this movie, a very boring origin story about how Vlad III came to be Dracula. It’s basically just a full-length version of the exposition scene from Bram Stoker’s Dracula, only it makes a lot less sense. Luke Evans spends the movie being either angry or sad; he’s just a really melancholy Medieval Romanian general who at some point is like, guess I’m Dracula now. No one has ever, or will ever, better evaluate this movie than Danny Lavery did via a bulleted list in The Toast six years ago. SO if I may just paste a section of it below…: