The story of Count Dracula has been told countless times since the character first appeared in Bram Stoker’s novel published in 1897. In fact, it can be safely said that both the original book and the many adaptations that came later shaped to a large extent the archetypal image of the vampire that is embodied in the collective imagination: fangs, capes, coffins and bats. These elements are so iconic that reinventing them can be a difficult task. The movie Renfield: Vampire Wizard it tries, precisely, to refresh the narrative of yesteryear to present it to a new generation.
As its title indicates, this time the protagonist is not Dracula, but his faithful servant, RM Renfield (Nicholas Hoult). He has spent 90 years accompanying the dark count (Nicolas Cage) and has become his “familiar”, that is, someone who facilitates the satisfaction of his needs. In other words, he looks for victims with a lot of purity and no evil to take them to the monster’s lair and have it suck his blood. However, the lackey, a prisoner of worry and the guilt that comes with his horrible job, desperately seeks a way to distance himself from that life, so, at night, without his boss knowing, he attends the sessions of a church-based self-help group.
Oh, and an important detail: everything takes place in the current era, further evidencing the search for a new and young audience for these universes created more than a century ago. So we have that, in addition to the classic and gothic elements, now there is action, romance, black comedy and gore. A lot gore.
Perhaps the idea sounded good on paper, but taken to the screen it doesn’t quite come together. While it’s certainly tempting when production companies announce they’re reimagining legacy properties for new audiences, the reality is that most of the time finished productions feel rushed, with plenty of plot holes. Renfield: Vampire Wizard it does not escape this, since it begins with the promise of embracing all the symbols and themes of cinema focused on vampirism, but it constantly falters when trying to comply with all the brands of current media entertainment.
The film begins with a meticulous frame-by-frame recreation of the prologue to the mythical adaptation dracula, directed by Tod Browning in 1931. It’s amazing to see Hoult and Cage in black and white, superimposed where Bela Lugosi and Dwight Frye should be. This is how we are told that we are facing a sort of somewhat revisionist sequel. However, the main setback comes when we enter modern New Orleans, which is where the main conflict takes place.
Movie review Renfield: Vampire Wizard
Already in the prologue mentioned before it was anticipated, with small jokes in the narration voice over, that perhaps the extremely formal codes of the old narrative would have a good pairing with black comedy. Everything was ready to explore the consequences of that explosive mix. Even the sequences where there are squirts and gallons of blood integrate well with the tropes we already know.
But there are moments that don’t fit organically into the package, like the ones in which Renfield falls in love and opens his heart to Rebecca Quincy (Awkwafina, a little restrained, but very funny), a cop who’s trying to catch mobster Teddy Lobo (Ben Schwartz, in a record camp delirious) and put an end to his criminal cell; or the fight scenes in which the star practically becomes a martial artist and starts fighting waves of thugs. There is an explanation for this, but it is still puzzling.
What happens is that the script (written by Ryan Ridley from an idea by producer Robert Kirkman) loses its focus between various subplots, leaving little time to explore what would have happened by marrying Victorian-influenced horror with farce. A little more irreverence is needed. On the other hand, the editing by Ryan Folsey, Zene Baker and Giancarlo Ganziano is inconsistent and never finds its way. In addition to this, the production is totally devoted to a trend that has gained strength in recent years, which consists of justifying evil and redeeming it.
While in Browning’s film, Renfield embraces his insanity and vileness, here he is a confused, introspective being trying to find his place in the world and how to end his toxic working relationship with the earl. Again, the idea is good, especially since it offers moderately interesting readings on self-esteem, but it is not fully developed and the development of the main character is safe and falls into commonplaces. Nicholas Hoult performs easily in his role, but doesn’t quite take off. Cage, by contrast, comes off as lonely and wild, bringing an intoxicating intensity.
There is no doubt that the film Renfield: Vampire Wizard he strives to innovate, and that is appreciated, although his reluctance to get carried away with the macabre and absurd is notorious. It’s just a curiosity. What cannot be denied is that he makes us laugh a few times and gives us chills whenever a crazy and disturbing Nicolas Cage appears in the few scenes of him with his pointy teeth and pale face. Quoting one of the characters: Cage “it’s bloody Dracula!” That is reason enough to enter the room.
Jose Roberto Landaverde I love writing, listening, reading and commenting on everything related to cinema. I love music and am a fan of The Beatles, Fleetwood Mac and Paramore. My favorite movies are Rocky and Back to the Future and obviously one day I’ll climb the Philly Steps and drive a DeLorean. Faithful believer that cinema is the best teleportation machine, and also that on the big screen we can all see ourselves represented.