Do You Find the Rendition of Dracula’s Pursuit of Love Through the Centuries Sentimental?

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Francis Ford Coppola’s film has been criticized for its sentimental representation of Dracula. What is your view? Do you find the rendition of Dracula’s pursuit of love through the centuries sentimental?

He is Romeo, whose young wife, believing him dead, kills herself. He is Lucifer, vowing revenge on the God who has betrayed him. He is Don Juan, sucking the innocence out of his conquests. He is the Flying Dutchman, sailing the centuries for an incarnation of the woman he loved. He is Death, transmitting a venereal plague in his blood, in his kiss. He is even Jesus, speaking Jesus' last words as he dies, a martyr whose mission is to redeem womankind. Husband, seducer, widower, murderer, Christ and Antichrist, Dracula contains multitudes. He is every mortal man and every mortality with which man threatens women (Corliss, 1992 ). But is he "Bram Stoker's Dracula"?No, he is not. He is Coppola’s Bram Stoker’s Dracula - humanized, redeemable, romantic, and tragic figure searching for his long lost love who has "come across oceans and time" to find it. And only Mina, the avatar of his dead wife, can provide it. Over the years Bram Stoker’s Dracula has been reworked to films many times. Even though Coppola’s film adaptation of the novel is considered as an essentially faithful rendition, the director made one far-reaching alteration to Stoker’s original: the inclusion of the romance between Mina and Dracula. According to some film critics this is the greatest flaw of the film. Originally Stoker’s Dracula is satanic figure, a force of pure evil while Coppola’s Dracula is romanticized hero. The film begins with a pre-credits sequence which tells us that Dracula is the historic Vlad the Impaler (making a factual mistake in saying that he ruled Transylvania. The real Vlad ruled Wallachia, a region of Romania). In this sequence we see that Vlad became a vampire when his beloved wife killed herself after reading a false note of her...
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