#now where is the sexy nemesis? every Dracula has to have one
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Look at this smug mug.
Baby, god just loves some of us more than the others. You’re one of the lucky ones.
#cute doctor bestie check#overdramatic black cape check#obsession with innocent girl with good heart check#now where is the sexy nemesis? every Dracula has to have one#and a long suffering servant#snowfall#cdrama#ep 2#still amused by winwin here
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I think you came close to real issue. Adaptations do not center on Jonathan and always somehow misrepresent him is because majority of male directors-screenwriters, adapting Dracula, associate themselves more not with Jonathan but with Dracula or Van Helsing. And it didn't begin with Coppola. It began with Murnau where his Hutter doesn't kill vampire and can't save his wife but instead it's his wife Ellen who dies to kill vampire. Then it's Browning who made Van Helsing into cool main hero who kills Dracula, while Jonathan is again useless in the movie. It's Fisher who kills Jonathan off at the start of the movie and again makes Van Helsing into cool main hero, who kills Dracula. So by the time 1970s rolled out and romantic versions of Dracula began to heavily pop up, Jonathan as character on screen was already heavily downgraded.
This honestly hits on something that unhappily fascinates me about the whole pattern. Unlike other stories that see adaptation, however classic or modern, I think the Dracula issue is the only one I can think of where a male main character--one of the two married protagonists! the guy who actually opens and closes the entire story! including beheading Dracula himself!--gets so thoroughly watered down, warped, or often just thrown out of the story entirely. Mina's treatment is unfortunately very much expected.
She is LAST GIRL STANDING. She is NOT ICKY SLUT-LUCY WHO LEADS THREE MEN ON EWWW. She is SO INTO HUNKY HE-MAN DARK PRINCE COUNT FUCKULA and doesn't mind the castle harem or the best friend assault or terrorized/deadified husband whatever who cares.
Mina's character-butchering hell is sadly a running theme in a lot of Classics! Now with (Off-Brand Hollywoodified) Feminism (tm)*!
*She is now simultaneously Mom to a bunch of rowdy dumb-boys and the hot anti-villain wants to do the sex with her so bad and it's sooo tempting because hot anti-villain is sooo much more forward-thinking than these icky Victorian guys ha ha
But Jonathan's situation is unique.
Because Jonathan is broken down for parts.
His sweet ingenue gothic heroine time in Castle Dracula is routinely handed over either to a stand-in (Renfield ala the original Dracula movie) or Random Damsel seen on every book and movie and comic book cover. Because you can't have a man in that situation. And if you do, shovel him out of the story immediately once the hetero-sexy part is over with, ala the Brides closing in. Maybe make him an unfaithful piece of shit who is SO down to ditch boring old Mina for the undead harem.
His stamp as a rightful nemesis-turned-badass vampire hunter is stolen and given to Van Helsing, including his kukri, including the defeat and beheading of Dracula.
His devotion and love for Mina to the point of blasphemy and inhumanity is ripped away and given to Dracula to romanticize and sexify him, which in turn defangs the Count himself. 'Ohhh I just did all this evil because I was depressed and looking for my Love~ :'c' rather than him being one of the most insidiously engaging and chilling villains in classic storytelling.
And all of that implies that writers and directors do like the character of Jonathan Harker...so long as he's split into pieces with the husk that once contained all those facets quickly discarded.
Because if they have to portray Jonathan Harker in his totality, with all his kindness, his femininely coded introduction, his trauma after assault, his adoration of Mina beyond human measure, and his ultimate conquering of Dracula the Monster/Abuser (their idolized macho surrogate) then that does something unthinkable.
That portrays men like Jonathan Harker in a heroic light. In a positive light, period. This milksop! This sweet, loving, bookish, preyed-upon, afraid-then-fierce, walking talking knife-swinging wall-crawling middle finger to the whole idea of the fantasy people project onto Dracula (read: Megabadass Immortal Vampire Man who gets Allll the Ladies Who Totally Wanted It/Had that Victorian Slave Leia routine coming~)! We can't put that on screen!
So what happens, happens.
And Jonathan Harker continues to be harvested for parts without ever, ever getting to be all of himself in a retelling. If he shows up at all.
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