Analysis of Final Sequence of Coppolla's Dracula

The final sequence of Bram Stoker's Dracula, directed by Francis Ford Coppolla, concerns the release of Dracula (D) from his supernatural curse by his true love, Mina (M). The sequence consists of 26 shots, running a total of two minutes and 41 seconds. It concludes the narrative of the film, finalizing the relationship between M and D, lovers destined throughout history to have been separated who finally come together in this sequence in the only way that a romance with a vampire can be resolved.

The sequence provides a clear connection with the opening prologue, set four hundred years before the main story, in part by returning the action to the precise location of the prologue. The sequence also seeks to provide an emotionally satisfying conclusion to the story, allowing D to regain his humanity before his final death and M to declare her eternal love. Finally, it reinforces the film's suggestion of religious connections both to D's curse and to his ultimate redemption. Unlike much of the rest of the film, this sequence consists of fairly straightforward filmmaking, both in terms of individual shots and in the editing of the images, music, and sound.

D's castle, the altar. This sequence begins with D lying on his back in front of the altar and huge stone cross within his castle where he and his bride spent their last mortal moments together before he went off to battle and she committed suicide, thinking he has been killed. M is seated beside

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-actually-dead lips, then back up as she looks both relieved and desolate. She then shifts her focus back to the sword hilt, which is still sticking out of his chest. Shot (21) 4 secs.: Overhead MS of D and M, closer than the establishing shot, but still wide enough to see more of their bodies. The music returns and the camera tracks in as M grasps the sword and pulls it out of his body. The sound effects again punctuate the action and continue loudly through the next two shots. Shot (22)3 secs.: Same as shot 18 as M finishes drawing the sword out of D's body, raises it above her, and then brings it down in front of her. Shot (23) 1 sec.: MS of D and M from in front of and slightly above the two and she brings the sword down and slices off his head, which rolls a little to land above his neck. Shot (24) 3 secs.: ECU of M, starting on the top of her lowered head, as she raises her head up to look above her, at the ceiling. Shot (25) 3 secs.: MS of D and M from above. The camera track down to a CU of M as she looks at what is high above her, taking it all in. Shot (26) 19 secs.: MS of the figures in the ceiling painting from the opening shot. The camera tracks out and twists slightly clockwise, revealing the figures

Category: Film - A