His morality is equally as questionable as it was so long ago -- Whitehead is just as much of a robber as an industrialist as he was when he was a petty criminal in Warsaw. He is also just as arrogant, as he arranges for another criminal Marty Strauss, to act as his bodyguard, believing that human agents can protect him against the will of Mamoulian, even though Mamoulian can control the undead and control the minds of the living. Whitehead's incestuous relationship with his drug-addicted daughter Carys makes it even more difficult to the reader to sympathize with this character who seems morally unredeemable from beginning to end. The shadowy figure of Mamoulian who wishes to possess Whitehead seems less realistic and clearly defined than Whitehead the businessman, although of course he is equally morally bankrupt. Mamoulian is less a fully-developed character than a representation of evil. He clearly wishes to cash in on the debt Whitehead owes him for his soul (if Whitehead ever possessed much of a soul in the first place, that is) but his reasons for his passionate pursuit of the...
Murray, Paul. From the Shadow of Dracula: A Life of Bram Stoker. New York, Jonathan Cape. 2004. This biography of the often secretive and obscure life of Bram Stoker is based on factual details and evidence. The work also relates the life and times in which he lived to the other literary figures with whom he interacted. The book provides an absorbing insight not only into the man but into the social
Bram Stoker's masterwork and greatest novel, Dracula, has been and remains one of the most culturally pervasive novelistic tropes of the last 100 years. Indeed, in multiple film versions as well as in the novel and myriad other mediums, it remains a deeply pervasive cultural idea. Part of the inspiration for the story no doubt takes elements from Stoker's own life and fictionalizes and dramatizes them to the point where
Film Adaptations of Bram Stoker's Dracula Over The Years The stuff of legends in Eastern Europe, vampires have become a staple of the horror film industry. From Max Schreck's Count Orloff in 1922 to Lugosi's Dracula in 1931, to Lee's unforgettable performances with Hammer studios during the 50's and 60's, the vampire has been primped, gussied up and redressed with every theatrical incarnation. In Bram Stoker's Dracula, Gary Oldman dons the
nineteenth century, the women's suffrage movement was gaining momentum. Appearing out of an era heavily influence by Victorian ideals and beliefs, it was now a question of whether or not women should be allowed to vote, work, eat, and appear as they wished. At this point in history, women were considered significantly inferior to their male counterparts and were not considered so much as citizens of the United States
Allegorical Dracula It seems strange at first to consider one of the greatest of Victorian gothic novels, and the genesis of the entire modern vampire craze as a masterpiece of Christian fiction. However, it is precisely accurate to do so. If it were written today, it would most certainly be considered Christian niche fiction. The entirety of the novel is filled with appeals to the wisdom, justice, and aid of
Though the character is remarkably static for a major character -- he is meant to be seen as completely evil -- he is worth studying as a major character in regards to the origins of his evil and immoral behavior. On the other side of Dracula, Van Helsing, Dracula's foil is portrayed as an older, educated man who is, nonetheless, moral. While Dracula and Van Helsing share many characteristic, including
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