KenNetti - The Dracula Tribute

THE KENNETTI MAIN PAGE Site design and maintenance: Kenneth Sundberg Latest update: May 31, 2010 The KenNetti entertainment database - The Dracula Tribute Dracula 1979 and its inspirational music
	Though the 1979 movie version of Dracula completely omits the beginning and ending in Transylvania, it includes a significant amount of baying wolves, fluttering bats, dark forests, misty graveyards, ominous carriage rides and magnificent castle-like ruins towering above dark waters. Compared to the over-stylized Francis Ford Coppola 1992 movie, the 1979 version is somewhat more true to the spirit of the original novel by Bram Stoker - even though this movie is definitely not Stoker's authentic Dracula. Due to its many liberties and changes in the story, the movie is usually regarded as a failure - but is not among the worst Dracula movies, either. The majestic music score composed by John Williams, the true "Symphony of Horrors", is one of the movie's absolute strengths. Index for This Page The 1979 Dracula *A Mixed, Tasteless Salad?* John Williams' Dracula The Original MCA Album including Track List John Williams' Dracula The True Symphony of Horrors An Authentic Bram Stoker Fantasy interpreted by Kenneth Sundberg John Williams' Dracula The Authentic Music Score Versus the MCA Album with 1979 movie synopsis including Track List The Tribute Credits The 1979 Dracula *A Mixed, Tasteless Salad?* - an analysis by Kenneth Sundberg - The 1979 movie version of Dracula was directed by John Badham, who had hit jackpot by directing the original Saturday Night Fever (1977). Badham's name is also synonymous with action and violence thanks to movies such as WarGames (1983) and Stakeout (1987). The screenplay adaptation of the 1979 version by W. D. Richter used some elements from the simplified stage play adaptations by Hamilton Deane and John L. Balderston, but Richter also made some witty condensing of his own. The play (originally adapted by Deane in 1924 and re-written by Balderston in 1927) was immortalized by Bela Lugosi first on stage and later on screen in the 1931 movie classic. As the 1931 movie, also the 1979 version was released by Universal Pictures. The studio had a long tradition of producing sequels to their movie hits, but the more recent box office triumph of Jaws (1975) had really made Universal aware of the potential size of the audiences. Thus the blame for the undramatic anticlimax of the 1979 Dracula, with a “sequel”-mark pasted all over it, can be put on the studio. The 1979 version of Dracula could be easily described as a mixed salad. The movie has some great performances, some beautiful special effects, a mesmerizing main title sequence, an exciting opening scene, a hilariously ludicrous love scene, an obnoxiously noisy and embarrassing anticlimax, plus some intriguing and misguided changes to the original story. Here the characters of Lucy and Mina are reversed (making Mina the weak one and Lucy the strong one), while Professor Van Helsing was made Mina’s father and Dr. Seward as Lucy’s father. The notorious violence of the movie became gratuitous mainly because the movie over-emphasized the romantic, human side of the vampire count. The movie feels actually like two very different ideas put together - one being very realistic and shocking while the other one emphasizing the overblown romance between Dracula and Lucy. While such opposites could complement each other, in this 1979 movie version these two very different styles don't blend easily together. The movie continued the premise of a love-struck vampire count imagined by Richard Matheson for the 1973 Dan Curtis movie production of Dracula. However, Frank Langella's 1979 portrayal of the vampire count was the prototype of a more sensitive and tragic Dracula - a highly influential interpretation that has ever since twisted the popular image of vampires being cool and sexy. This kind of interpretation has absolutely nothing to do with Bram Stoker's original Dracula novel. Nevertheless, the kinder and more gentle interpretation of the count became popular in the award-winning New York production of the stage play in which Frank Langella had played Dracula two years before accepting the 1979 movie role. Langella's strongly romantic and humane vampire count took significant portion of danger and mystery away from the character - and the result, unfortunately, was one of the most wimpiest Draculas ever. The 1979 Dracula character is best as a fierce wolf - through a magnificent animal performance - but whenever Frank Langella snarls like a wolf, the result is more hilarious than convincing. In the climax the movie goes totally overboard with Dracula's wolf-like snarling and growling in the second most irritating vampire death scene since Johnny Alucard's shower surprise in Dracula A.D. 1972. However, thanks to the action-orientated director John Badham, the 1979 version has several excellent and shocking highlights. The movie opens with such a powerful seastorm sequence, that it raises expectations for other grand scenes simply too high. A furious automobile chase isn't as ridiculous as the clumsy climax that follows it. Dracula's ability of crawling on walls is spectacularly shown in several scenes. The carriage ride that takes Lucy to Carfax Abbey is strongly reminiscent of Harker's ominous journey in Carpathians in Stoker's original book. Lucy's later abduction is a brief scene of epic proportions. The notorious love scene of Lucy and Dracula, illuminated in luscious red, is hilarious only because a tiny bat is happily flapping amidst the beautiful images. A vampire woman, escaping from a murder scene, throws herself through a window. And when Professor Van Helsing (played excellently by Laurence Olivier) confronts the same creature in a dark, water-dripping cave, the result is one of the most shocking scenes in Dracula movies. Many reviewers regard Donald Pleasence (as Dr. Seward) as the ham of the 1979 version, but the point may actually be in presenting his character as a literal ham: he is eating all the time - which is definitely a witty comparison about the different need of nourishment between a human (eating often for pleasure) and a vampire (drinking mainly to survive). The movie's cast includes Kate Nelligan as the sensual and strong Lucy, Trevor Eve as the quite ordinary Jonathan Harker, and Jan Francis as the frail but surprisingly memorable Mina. Francis also choreographed the dances for the movie. John Badham's 1979 Dracula is not Bram Stoker’s original book, but the movie is much more enjoyable than, for example, the 1992 outrage by Francis For Coppola - thanks to the strong Gothic atmosphere with impressive sets and, especially, the gorgeous music score composed and conducted by John Williams. The KenNetti Rating for the 1979 Dracula John Williams' Dracula *The Original MCA Album* - an analysis by Kenneth Sundberg - John Williams' Dracula (as released on MCA Records, and re-released on CD by Varese Sarabande) was the first soundtrack album I ever purchased. This happened approximately in the mid-1980s. Ever since I have loved symphonic and melodic movie music. Being a Dracula fan from early childhood, I listened to this soundtrack without having seen the movie it was composed for - and I was swept away to Bram Stoker's original gothic world with gaunt mountains, ruined castles, misty graveyards, white-shrouded ladies gliding in silvery moonlight, ominous crypts and wolves baying at the moon. Williams' spellbinding and powerful music does suggest all this. But alas, when I finally saw the 1979 movie, I was truly disappointed: all the visuals that the music had so strongly suggested were only my own imagination. However, the authentic score in the movie was even better than on the MCA soundtrack album. Although the music on the album is great, the recording is very restricted representation of a masterpiece score: only about half of the actual score is represented on the album and all the music has been re-arranged and resequenced for "listening convenience" by the composer. The album lacks several mesmerizing cues from the original score and the rearrangements differ partially quite significantly from the authentic score. It could be said, that Williams' masterpiece score for the 1979 Dracula is one of those unfortunate scores which are terribly undermined by their original “soundtrack album” release. John Williams is one of the greatest movie composers, but has never had much talent in producing soundtrack albums as faithful representations of his authentic scores. However, when not compared to the authentic score - and taken totally away from the movie for which this symphony was composed - the original MCA album of Williams' Dracula stands splendidly on its own. Furthermore, the album works astoundingly well in the context of Bram Stoker’s original novel’s narrative. For that fact alone Williams' original MCA album of Dracula is a true gem. For evidence, please read further. DRACULA Original MCA Album Music Composed and Conducted by J o h n - W i l l i a m s Music Performed by The London Symphony Orchestra (Total Time appr. 36:40) 1. Main Title & Storm Sequence (5:08) 2. The Night Visitor (2:12) 3. To Scarbourough (2:42) 4. The Abduction of Lucy (3:34) 5. Night Journeys (5:12) 6. The Love Scene (2:04) 7. Meeting in the Cave (3:29) 8. The Bat Attack (2:46) 9. For Mina (2:15) 10. Dracula's Death (2:57) 11. End Titles (3:58) The KenNetti Rating for the MCA album if compared to the authentic score The KenNetti Rating for the MCA album if not compared to the authentic score - and if listened as a symphony of the original Bram Stoker novel John Williams' Dracula: The True Symphony of Horrors An Authentic Bram Stoker Fantasy - interpreted by Kenneth Sundberg - Ascending from chilling impressionist harmonies, the "Main Title" suggests the Carpathian mountains appearing from a misty void. A cinematic camera flight takes us over the mountains, into the deepest darkest corner of Transylvania, where we journey to the Borgo Pass. Here, Jonathan Harker awaits for Dracula's carriage. The hearse-like carriage arrives as the "Storm Sequence" begins. Through the mist, amidst snarling and growling wolves, the carriage travels further and higher into the mountains - and reaches Castle Dracula. At the gloomy courtyard, Harker stands alone in front of an enormous door, which opens to reveal the dark figure of Count Dracula; (this moment is beautifully reflected during a quiet pause with either solo woodwinds or brass, before the music starts again to thunder). Dracula leads Harker inside, while a thunderstorm rages outside the castle. They discuss about the Count's upcoming journey to England. Then, one evening, Harker is alone in his room, shaving. As "The Night Visitor" track suggests, all of a sudden Dracula is in the room and the frightened Jonathan cuts himself. "Take care how you cut yourself", says Dracula and vanishes. Thus follows the only out-of-sequence track in this Fantasy on John Williams' Dracula. (In reality the score highlights of the 1979 Dracula, as presented on the MCA album, are entirely out-of-sequence - with the exception of "Main Title", "Dracula's Death" and "End Titles"). The elegant scherzo"To Scarbourough" underscores the automobile chase in the 1979 movie, but here in our Fantasy, it could be the vampire hunters' theme - or anything else your own imagination suggests... Jonathan ultimately finds out he's a prisoner in Castle Dracula. During a search in the cellars he finds Dracula lying in a coffin and tries to hit the vampire with a shovel. Dracula's dead eyes come alive and blaze with hate. Jonathan runs for his life. (This sequence could be underscored with the last, ferocious portion of the "Storm Sequence" track). Back in his room, Jonathan can't get a single door open. He decides to try climbing down the castle wall and return to England, in the loving arms of his fiancée, Mina Murray. But Dracula has already set sail to England. Far away in England, Mina and her friend Lucy Westenra are admiring a beautiful sunset on the shore of Whitby town. Lucy, who suffers from occasional sleep-walking, tells Mina the happy news: she has accepted Arthur Holmwood's marriage proposal. Lucy's other suitors, Dr. John Seward and an American from Texas, Quincey P. Morris, are of course not as happy to hear the news. The two women sit by the seashore chatting happily, but all of a sudden cold wind blows from the sea - and without a further warning a thunderstorm awakes the sea into full fury in "The Abduction of Lucy". As huge waves rage at the sea (perfectly captured in Williams' music), a schooner with all sails set appears and ultimately crashes on the beach. Mina and Lucy see a huge dog leaping from the schooner on to the sand and disappearing among the tombstones in the graveyard. The quite self-explanatory "Night Journeys" follows Lucy's sleepwalking in Whitby, her first nocturnal meeting with Count Dracula, and her ultimate struggle against blood-loss. To the bitter grief of Mina, Arthur, and the two suitors, Lucy dies and is buried into the majestic Westenra tomb. Professor Van Helsing has already entered the story and Jonathan returned to England. Unbeknownst to everybody, Dracula has already visited Mina. Then comes the night when Mina finally understands that Dracula wants to make her one of his own. The majestically romantic "The Love Scene" naturally underscores this scene. In the meantime, "a woman in white" is spreading terror and Van Helsing already knows it. The next night Van Helsing takes Arthur Holmwood, Dr. Seward and Mr. Morris with him to the graveyard where Lucy is buried - and thus begins "Meeting in the Cave". In the misty, quiet graveyard the men gather outside the Westenra tomb and witness the un-dead Lucy emerge from the misty darkness with the grotesque underscore. They force Lucy to retreat into the tomb, where she is staked through the heart and given eternal peace. Next evening the entire team spends the night in the house adjoining Dr. Seward's asylum. Mina and Jonathan are already sleeping in the master bedroom, while a horrible scream from the asylum alerts everyone else at the first stroke of "The Bat Attack". Renfield, the very eccentric fly-eater, is found nearly dead in his cell. With his last breath he reveals that Dracula is on the premises. Led by Van Helsing, the hunters rush into the bedroom and interrupt Dracula sharing his blood with Mina. Jonathan lies unconscious in the very same bed. With Williams' aggressive underscore, Van Helsing forces Dracula away from Mina and the vampire lord vanishes as the music quiets down. Jonathan is revived and is naturally shocked to learn what has happened. Van Helsing hypnotizes Mina in hopes that she would reveal Dracula's hiding place. With the calm melody of "For Mina", the woman tells in gentle voice: "Water is lapping outside". Dracula is returning to Transylvania in a ship. The vampire hunters make the quick decision of taking the Orient Express to reach Transylvania before Dracula. Thus follows the epic climax. The sun is already setting when a team of gypsies arrive at Castle Dracula, where the vampire hunters are waiting. Through Williams' throbbing and powerful "Dracula's Death" a violent battle starts. In the midst of all mayhem, Jonathan and Quincey manage to reach the cart carrying a large wooden box - and Dracula inside. When the last rays of sunshine are about to disappear behind the Carpathians, Jonathan slashes Dracula's throat and Quincey plunges a bowie knife into the vampire's heart. Supported by the operatic underscore, Dracula disintegrates to dust and vampiric features vanish from Mina's face. Castle Dracula stands against a red sky. The elegant theme reprise, "End Titles", concludes this musical Fantasy on Bram Stoker's authentic Dracula. This fantastic Fantasy symphony would deserve all five stars, if the program included also a breezy and optimistic seashore theme for Whitby - plus a love theme for Mina and Jonathan (that would also serve as a finale for the symphony). A fact remains that Bram Stoker's original novel emphasizes the human and humane quality of the "heroes". The novel's epilogue celebrates life itself. Thus the Fantasy would be a most perfect one, if life and love were given a couple of themes. John Williams' Dracula: The Authentic Music Score Versus the MCA Album with 1979 movie synopsis - an analysis by Kenneth Sundberg - ***SPOILER-WARNING* The Authentic Score** Selections with * are featured as re-arrangements on the MCA album (re-released on CD by Varese Sarabande) 1) Main Title & Storm Sequence* 2) Meeting in the Cave* (Dracula & Mina) 3) Attack on Renfield (The Abduction of Lucy, part 1) 4) Dracula's Carriage* 5) The Dinner (source music) 6) For Mina* (1st variation) 7) The Dance (source music/enhancement) 8) Wallcrawler / Dracula & Mina 9) Dracula & Renfield / Morning Whitby 10) For Mina (2nd variation) 11) Harker's Drive to Carfax Abbey 12) Dracula & Harker / Harker Sees the Bat 13) For Mina (Final Version) 14) Lucy's Arrival at Carfax Abbey 15) The Carfax Dinner (source music) 16) Through the Window 17) Dracula's Kiss 18) The Book of Vampires 19) Dracula's Horse / Visiting Mina's Grave 20) The White Horse Experiment 21) Night Journeys (Intro) / Love Scene 22) Encountering the Undead Mina** (Bat Attack Part 2) 23) Van Helsing Encounters Dracula* 24) A Graveyard Operation / Lucy's Escape 25) To Carfax Abbey / Encountering Dracula 26) Bat Attack (Bat Attack Part 1 excerpt) 27) Jonathan & Lucy* (The Night Visitor) 28) Wolf Approaches / Wallcrawler* 29) The Abduction of Lucy (Part 2) 30) To Scarborough 31) Dracula's Death* 32) End Titles* Although the MCA album version of "Main Title & Storm Sequence" is a magnificent and elegant interpretation, this "Main Title" is not the authentic one used in the movie. In addition to alternate impressionist harmonies, the authentic "Main Title" ends with a powerful coda as the epic title sequence reaches the ruins of Carfax Abbey. During the "Storm Sequence" a schooner approaches the Whitby shore during a furious sea storm. Assisted by Williams' savage underscore, a wolf slaughters the entire crew. A little bit later, at Dr. Seward’s sanitarium on the shore, Mina sees the schooner through her room’s window (the moment is beautifully captured by Williams in the beginning of "Meeting in the Cave*"). The wolf, with his appropriately savage cue, leaps from the shipwrecked schooner and runs inside a cave. Mina finds her way into the cave, meets Count Dracula (who was the wolf), and falls under his spell. The 1979 Dracula* brought back the Count's ability to transform into a small bat. To lessen the ludicrous essence of these bat sequences John Williams must have tried to save them with strong music. Dracula's first bat transformation is underscored with the intro and first part of "The Abduction of Lucy". During the very brief bat attack on Renfield the "Abduction" theme converts into a furious but elegant variation of the main Dracula theme, as the scene shifts to Dracula's carriage driving towards Dr. Seward's sanitarium. Williams uses some wonderful but extremely elegant "mickey-mousing" as the carriage's steps suddenly descend, as Dracula arrives at the sanitarium. During the dinner sequence at Dr. Seward’s sanitarium, Dracula performs hypnotism on weak Mina. Her theme, "For Mina", plays throughout the movie in different variations, although on the MCA album it is only heard once, in a delicate, dreamlike variation. The dinner sequence is mostly underscored with source music from a gramophone, but during a grand dance the gramophone music is cleverly enhanced with a symphonic extension. By 1978 John Williams had indeed developed a signature style. His roots being in light comedies and television adventure, it is no wonder that even Williams' most horror-filled Golden Age scores (Jaws, The Fury) contained at least one bouncy melody with child-like wonder or optimism of some sorts. Dracula was to be no exception. For the daytime Whitby, Williams composed a minor bouncy theme - which, alas, wasn't included on the MCA album. This melody appears twice on the authentic 1979 Dracula score - first time prior to Mina's severe illness ("Morning Whitby") and second time as a very brief reprise during "Harker's Drive to Carfax Abbey". The Carfax Abbey dinner sequence contains some of the most atmospheric music John Williams has ever composed. However, the quiet parts of MCA album's "Night Journeys" don't even scratch the surface of these evocative variations on the Dracula main theme. It should be noted that throughout the movie Williams used much more inventive variations on the main theme than on these re-recorded album versions. While the "Night Journeys" track is actually the full underscore to Lucy’s and Dracula’s love scene, the authentic love scene climax doesn't include a female choir. The MCA album, however, contains also a more faithful representation of the actual love scene climax as "The Love Scene" (a bit more romantic variation than the "Night Journeys" climax, and without the female choir). As the 1979 movie reversed the roles of Mina and Lucy, here Mina dies and becomes a vampire. Mina's father, Dr. Van Helsing arrives in Whitby and starts to investigate his daughter’s death. As Van Helsing and Jonathan Harker try to hunt down Dracula at Carfax Abbey, the Count uses his bat form again. With this specific scene John Williams uses some of his most frightening music material, as the MCA album's "Bat Attack" demonstrates. For reason or another, the final movie scene uses very little of Williams' obvious underscore. The second part of the "Bat Attack" album version, however, has very little to do with bats. In an underground lair Dr. Van Helsing confronts his undead daughter, in the movie’s most impressive and shocking scene. During a struggle Mina is impaled on a stake held by Van Helsing - and she dies into the arms of her shocked father. The second part of MCA album's "Bat Attack" presents the underscore to this memorable scene. Lucy is soon discovered to be under Dracula’s spell and she is locked into a cell at the sanitarium. Jonathan visits Lucy and gets almost attacked by her, only to be rescued by the power of a crucifix. On the MCA album, John Williams chose this quite unimportant bit of underscore as the second track, “The Night Visitor”. Immediately after this scene the sanitarium explodes into commotion, in "The Abduction of Lucy". In the movie, John Williams’ gorgeous music for this sequence, showing the wallcrawling Dracula for the last time, was enhanced with a chilling female chorus, but the re-recorded album version of "The Abduction of Lucy" didn't contain the choir. In a brief (and quite desperate) pursuit Dr. Seward, Van Helsing and Harker chase a horse-drawn wagon by car. John Williams scored this pursuit with one of his most exciting scherzos, "To Scarborough". The car crashes, and our “heroes” have to continue the pursuit on foot. At the Scarborough dock they find the ship Czarina Catherine and confront Dracula in the hold. In a true virtuoso performance by the London Symphony Orchestra, Williams’ music enhances all the action to operatic proportions in "Dracula's Death". (In the authentic movie version of this underscore there is a silent pause amidst all the frenzy, but the MCA album version, without the pause, is actually a better version). With a winchhook driven into Dracula's back, Harker winds the snarling and growling vampire up the mast, where the vampire Count is exposed to fiery sunlight. Dracula dies very badly sunburnt, while his remaining body, wrapped inside his black cape, escapes from the mast in the most silliest ending in Dracula films ever. Luckily, Williams saves all that can be saved by his beautiful "End Titles" music, which makes an excellent epilogue and finale for his Dracula score - both in the movie and on the MCA album. The KenNetti Main Page The Dracula Tribute Main Page KenNetti Presents THE DRACULA TRIBUTE THE 1979 DRACULA A Little Tribute Research, analyse, text, and image processing by Kenneth Sundberg All original 1979 Dracula artwork © Universal City Studios, Inc. P r i n c i p a l information & image sources Bram Stoker: Dracula (translation: Jarkko Laine, in Finland published by Kustannusosakeyhtiö Otava, Second Edition, 1992) Peter Haining: The Dracula Centenary Book (Souvenir Press Ltd, 1987) Dracula: the comic book (Magazine Management, Marvel Comics Group / published in Finland by Semic Press Oy, 1974) John Williams: Dracula - Original Soundtrack (MCA Records, 1979 / Varese Sarabande) Dracula: Ladybird Horror Classics (Ladybird Books Ltd) Dracula: Pickwick Tell-a-Tale audio series (Pickwick International, 1984 / Ladybird Books Ltd) Michael R. Pitts: Horror Film Stars (McFarland & Company, Inc., Publishers, 1991) Marcus Hearn & Alan Barnes: The Hammer Story - The Authorised History of Hammer Films (Titan Books / Titan Publishing Group Ltd, 1997, 2007) Legrand, Karney, etc: Chronicle of the Cinema (1995, Dorling Kindersley Publishing, Inc. / Chronik Verlag) Music from the Hammer Films (1989, Silva Screen Records Ltd / Liner notes by unknown writer) Horror! (1996, Silva America / Silva Screen Records Ltd / Liner notes by David Wishart) James Bernard: Nosferatu - A Symphony of Horrors (1997, Silva Screen Records Ltd / Channel Four Television Corporation & Photoplay Productions Ltd / Liner notes by unknown writer) Hammer Presents Dracula with Christopher Lee (1974, Hammer City Records, EMI Records Ltd / 1994 re-release by BGO Records / Liner notes by Basil Copper) The Horror of Dracula (a 1992 re-release / 1974, Hammer City Records, EMI Records Ltd / Silva Screen Records Ltd, 1992, liner notes by James Bernard) Hammer - The Studio That Dripped Blood (2002, Silva America / SBMC, Inc. / Silva Screen Records Ltd / Liner notes by David Stoner, David Wishart & James Fitzpatrick) The Best of Hammer Horror (2001, GDI Records / Demon Music Group Ltd / Music Collection International) The Hammer Vampire Film Music Collection (2001, GDI Records, RMG/Universal / Liner notes by John Mansell & Marcus Hearn) Vampire Circus featuring The Return of Dracula (1993, Silva Screen Records Ltd / Liner notes by David Hirsch & David Gray) Nigel Andrews: Horror Films (1985, Multimedia Publications [UK] Ltd) Cinema / Kino magazines (Kino Verlag GmbH) Shivers magazine (Visual Imagination Limited) Cinefantastique magazine Fangoria magazine Starlog magazine Maple, Humberstone & Myring: Supernatural World (Usborne Publishing Ltd, 1979 / Published in Finland as "Noidan käsikirja" by Kustannusosakeyhtiö Tammi, 1983) The Usborne Book of the Haunted World (1995, Usborne Publishing Ltd / Published in Finland as "Aaveiden Atlas: Opaskirja yliluonnolliseen" by Kustannusosakeyhtiö Otava, 1997) Joules Taylor: Vampires (Hamlyn, Octopus Publishing Group Limited / Published in Finland as "Vampyyrit" by Kustannusosakeyhtiö Nemo, 2009) Neil Sinyard: The Best of Disney (Portland House, Twin Books Corp, 1988) www.imdb.com / wikipedia.org and Kenneth Sundberg _______________________________________ KenNetti is a totally non-commercial website by Kenneth Sundberg to pay tribute and to honour the work of the talented people behind some of the most wonderful things found on this planet. 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