Created by writer Bram Stoker, who himself was very loosely inspired by an actual historical figure, Dracula has appeared in countless films, in all settings, and in all tones. But behold, in horror comedy Renfield (VF), the prince of darkness is relegated to the background as his servant rises to the status of protagonist. For neophytes, RM Renfield is a London lawyer who fell under the thumb of the vampire count. Chris McKay’s film is built around this rather unique “master and valet” relationship. As an immortal blood drinker, Nicolas Cage has a pleasure that is as obvious as it is contagious.
I have to say that Renfield is the kind of voluntarily outrageous production perfect for channeling the impulses of histrionics and other histrionic flights that have dominated Cage’s game for the past twenty years. Note that in one of his early comedies, Vampire’s Kiss (kiss me vampire ; 1988), the actor already gave a glimpse of his overexpressive inclinations as a victim of a vampire. In Renfieldwe are talking about grandiose antics that alone are worth the cost of the ticket.
However, as we said, the film is first tied to the point of view of “Robert Montague Renfield”, a fascinating character, but on the whole little exploited in the past, whom Stoker presented as an insect eater who went mad after her meeting with the Count during a real estate transaction. The film retains that last detail as well as the insects, the consumption of which grants “Robert” superhuman strength.
We meet him nowadays in New Orleans, where he hides with a Dracula in the process of regeneration. When he’s not busy looking for mobsters (à la Dexter) as victims for his master, Robert attends meetings of a support group for emotional addicts struggling with toxic partners. And Robert to evoke his “boss” described as a narcissistic pervert – which he is.
In the title role, Nicholas Hoult is wonderful, very “Hugh Grant first era”, with his anguished airs and his almost involuntary heroism (he plays Robert like a being in a state of amazement).
Unwittingly, the hapless lackey finds himself in the crosshairs of a crime family dominated by the sadistic Ella (Shohreh Aghdashloo, formidable, but underutilized). Above all, he falls under the slightly frustrated charm of Rebecca (Awkwafina, by turns hilarious and touching), the policewoman who is trying to put an end to the activities of the clan.
Blood Verve
Not all the threads are necessarily well attached when it comes to the mafia aspect, the police corruption and this presence of the FBI represented by Rebecca’s sister, Kate (Camille Chen), a barely sketched score and relationship. Same for Dracula’s plan for world domination sketchy at best and ultimately devoid of any narrative significance (the character is a sizable antagonist whether he’s megalomaniac or not).
In short, even adhering from the outset to the logic of “ comics of the film, not everything fits together harmoniously in the plot.
On the other hand, the action tumbles without dead time, and the realization of Chris McKay shows an appreciable inventiveness. One thinks for example of this funny prologue recycling extracts from Dracula from 1931 in which Cage and Hoult were embedded. Ryan Ridley’s screenplay (the animated series rick and morty) is additionally stuffed with tasty replicas. Replies which the interpreters delight in.
We observe a verve identical to the image; finally, with regard to the frequent massacres. It squirts out in scarlet jets, it flows in crimson rivers, it gushes out in red geysers… So much that we howl with laughter: that’s the goal. During a fight, Robert uses the torn arms of a first assailant like nunchakus against a second: it gives an idea. And knowing that, it’s up to you to determine whether Renfield is your cup of tea. Or rather, hemoglobin.