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It’s all driven by Dracula’s desperate need to procreate, a desire which makes a lot of sense when you see his three lovely wives.To do so, he needs to discover the secret of Frankenstein’s monster, life from lifelessness is the key.
Which means that the plot zips along at a pretty good pace. And can we just say that it seems a little inappropriate for young Queen Victoria to be showing that much cleavage? Surely losing her memory wouldn’t have turned her trampy. Hyde and Van Helsing on the underground, which was quite fun. And Buckingham Palace and an under construction Tower Bridge get some action as well.
There’s none of that irritating stuff like “plot development” or “well developed characters”. Jekyll is treating an elderly Queen Victoria, gives her a potion that causes her to become young and lose her memory (but not the memory of her being queen, just how old she is and everything about her past, if that makes sense), and then he plans to marry her. Other than that, they really don’t show very much of London. It’s not like location shots or special effects would have cost money! Hyde (and actually uses the line “lie back and think of England” while doing so - inappropriate!!
Van Helsing is a fun summer movie that’s taking flack for failing to be a deep moving character study or for not showing proper reverence to the classic monster characters it throws into its cauldron.
But when it comes to classic monsters as big budget entertainment, Director Stephen Sommers proves yet again that he knows how to please.
But Van Tongeren, accompanying a radical reimagining of Robert Louis Stevenson's out-of-copyright novella The Strange Case of Dr. Hyde that somehow drags in Queen Victoria along with Van Helsing (who in these films is more like a cross between Batman and Indiana Jones than the Stoker character), is required to get in and out fast with cues that run from only 30 seconds to three minutes, yet makes time for some lush, reflective moments ("Love Potion Mr. He uses less percussion and throws in a harpsichord here and there for contrast with the stabbing strings.
The result is actually a more varied and entertaining effort than Silvestri's, purely as a listening experience.
Van Helsing is a movie in love with monsters and in love with the movie-going experience.
For Sommers this project is a gigantic “what if” that throws all the characters he loved as a kid into one big mix, just to see who comes out on top.
The obvious comparison to make is to the Silvestri score, and just as Van Helsing: The London Assignment is a miniature, cartoon companion to the feature, Van Tongeren's soundtrack (running just about as long as the half-hour short) is a lighter, more compact musical accompaniment.
Forced to accompany the nearly nonstop action of the live-action feature, Silvestri opted for a bombastic, percussion-heavy score.