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(Note: A few years ago, I wrote a piece on DRACULA that was later revised and published in our first book. With the arrival of the third book in that series expected later this week, if felt like a good time to finally share this piece.) By WALLACE McBRIDE It’s fair to say that nobody has much interest in adapting Bram Stoker’s 1897 novel,.

The character has been making dramatic rounds since that first, hastily organized reading was staged at the Lyceum Theatre just a few months after the novel was published. Astra testirovanie nok otveti. The reading was a cynical affair, designed to secure the theatrical rights to the book, paving the way for a series of slipshod adaptations for more than a century. Sure, a few directors have paid lip service to Stoker’s work, most famously Francis Ford Coppola’s 1992 adaption that spackled over the original source material to make room for backstory and subplots not even hinted at in the original novel. The book has more in common with THE BLAIR WITCH PROJECT than in any of the films produced by Hammer, and therein lies the problem: Dracula is mostly absent in his own novel. It’s difficult to create a compelling villain who spends most of his time as the topic of others’ conversations. Arguably the most important movie to spring from Stoker’s book is the 1931 Tod Browning film, the connective tissue between earlier stage productions written by Hamilton Deane and John L.

Balderston, with Universal’s cinematic (frequently operatic) sensibilities. Few of Stoker’s ideas made it into the final film, which bears little resemblance to the epistolary novel. A solicitor named Renfield (no first name is given) falls under the thrall of a mysterious Count Dracula while visiting his home in Transylvania to discuss leasing an English abbey. The legal consultation soon turns violent as the Count and his wives attack Renfield in the night.