researcher of the occult and Seward's teacher Dr. Enrico Valenzi, who believes that Dracula can be defeated when he faces a strong will empowered by faith. But throughout this film, he raises more and more self-doubts, and his will almost breaks by the end. Mina, halfway through her transformation to a vampire, manages to make Dracula trust her and kills him as he holds her in an embrace. The film ends with Mina still having the vampire's mark, leaving her fate untold. Cast Patrick Bergin as Vladislav Tepes / Dracula Giancarlo Giannini as Dr. Enrico Valenzi Hardy Krüger Jr. as Jonathan Harker Stefania Rocca as Mina Muriel Baumeister as Lucy Kai Wiesinger as Dr. Seward Alessio Boni as Quincey Morris Conrad Hornby as Arthur Holmwood Brett Forest as Roenfield Alessia Merz as Fair Woman Piroska Kiss as Dark Woman István Göz as Male Nurse Barna Illyés as Border Guard Csaba Pethes as Captain of the Tug Balázs Tardy as Tug Crew Member 1 Levente Törköly as Tug Crew Member 2 Ilona Kassai as Woman at the Hotel Imola Gáspár as Woman at the Manor Csilla Bakonnyi as Hungarian Woman Petra Hauman as Mother of the Boy Tibor Kenderesi as Man at the Hotel Andrew Divoff as Doctor Reception Critical reaction to the film has been mixed to negative. David Johnson of DVD Verdict offered a positive review, saying: "Everyone involved commits to doing an okay job, and the production values and general atmosphere help shed the burden of the film stock and sad-sack effects. Bergin's Dracula is effectively crusty and malicious, and Muriel Baumeister has a good time hamming it up as the infected Lucy." Others were less positive: The SF, Horror, and Fantasy Film Review wrote, "While the film does an excellent job in updating Dracula to the midst of New Europe's nouveau riche, director Roger Young lets the show down considerably in the second half. ... The script does get caught up in some pretentious natterings [and] the performances are particularly uneven." Noel Megahey of DVD Times said, "It's [the] awkwardness in the script and the dialogue that weighs heavily on the film, although the film actually does operate half-way successfully when it moves into the non-verbal action sequences. What really sinks the film in the end, though, is not the weakness of the special effects, but the performances and the delivery of the pan-European cast that struggles