This is a wonderful return to form by an idiosyncratic master. Obviously, his physical infirmities have not hindered his vivid imagination and ability to conjure up startlingly iconic visuals. His latter films tend to have a more playful, fairy tale quality than his early masterpieces, which some have interpreted as self-parody. More likely, it's the result of his adapting his own fantasy novelettas, as well as a personal mellowing with the knowledge that his work is now appreciated by a new generation. There certainly are many homages to his past successes here, particularly the grandfather clock acting as a cache for vampires. These elements have been integrated into the new mythology of "parallels", giving the film a bit more cohesiveness than his previous homage to his own work, Two Orphan Vampires. The denouement -- amid the broken wrecks and piers of the French seacoast, naturellement -- contain striking surrealist images that rival those of Robbe-Grillet, Jodorowsky, and Arrabal. Quite a magical experience, whose delicacy is tenuous but rewarding.
Review of Dracula's Fiancee
