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Dracula (1931) - Bela Lugosi, Dwight Frye, Edward Van Sloan

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Offline metaldams

      DRACULA is the film that got me into classic horror, period.  I have seen this movie I don’t know how many dozens of times, but it’s one of those films I have almost memorized.  A couple of decades ago I was in college and Universal was releasing, once again, their monster films on VHS and for the first time, on this brand new DVD format.  In the bookstore there was a big display selling all the monster movies and I thought it looked cool, so on a whim I bought a VHS copy of DRACULA.  I have been a fan of this movie, horror films and Bela Lugosi ever since.  So yeah, there’s some emotional attachment I have to this movie which will color my review.  That said, I think DRACULA does need some genuine defending, as it’s reputation is a culturally important film that is severely flawed.  I will do my best to explain how the morality of 1931 colors this film and a few others of the era versus today, giving DRACULA some much needed context.  I will also state the obvious that Bela Lugosi as Dracula freakin’ rules.

      Let’s get David Manners (Jonathan) and Helen Chandler (Mina) out of the way first.  Both of these characters, the lovers, are among the least loved in horror films and these two routinely get panned in modern reviews.  I do see a legitimate point to these two characters and the point is that Dracula preys on innocence who are woefully incapable and nowhere near worldly enough, unlike a Professor Van Helsing, to defend themselves.  Most people, when DRACULA was made, did not have sex until their wedding night and a 1931 audience was expected to understand this without saying concerning Jonathan and Mina. I think this gets lost on modern audiences because today we are so used to seeing in horror movies teenagers screwing in the back seat of a car while being hacked up with meat cleavers.  Religious attitudes and morality of the time colored films like DRACULA different than what we see today.  Dracula destroys repression and innocence.  Mina, for the most part, is very proper and cold, but notice the way her face lights up and her breathing gets heavier in the part where Dracula is complimenting her, the contrast is obvious.  Also, later on, when she is under Dracula’s spell, she is more flirtatious.  It’s as if Jonathan is still innocent and has no idea what to do when his girl looks at him lustfully.  He’s still in grabbing her stars from the sky mode.  So yes, Jonathan and Mina are the easy prey for Dracula, virginal and innocent who need all the protection they can get.

      Now that my take on Jonathan and Mina has been discussed, the other prevailing thought on DRACULA is that the first twenty minutes to a half hour are fantastic and the rest of the film is too stage bound.  While I enjoy the vast majority of DRACULA, there is no doubt most of the best stuff is in the beginning.  The atmosphere is out of this world.  I think the lack of music soundtrack gives this film an eerie stillness which lends a certain realism.  A detriment to some, I view this as a plus.  The film starts in an old world European village that looks fantastic, believable and the villagers all play the part.  No English accents here.  Michael Visaroff’s speech explaining the vampire lore is a lot of fun and once again, religion is established right away.  The man in the carriage mentions praying to The Virgin (Mary) and we then see a woman in the corner praying a Rosary - these are old school Eastern European Catholics looking to God to protect them from Satan himself, who in this case is Lugosi’s Dracula.  What does Dracula fear?  The cross.  Exactly what the old villager lady gives Renfield to protect himself.  Again, the use of religious symbols and morals is one of the things that distinguishes old horror films from more modern ones and DRACULA is one of many examples we will discuss.

      The Borgo Pass scene is as foggy and windy as it needs to be, setting the proper atmosphere.  Kudos to art director Charles Hall for the look of this film throughout, he really is a legend for all the films he’s worked on.  Anyway, The Borgo Pass scene, more than any other, is inspired by F.W. Murnau’s NOSFERATU, with Dracula as the carriage driver going too fast for comfort - love the bat he turns into as well.  A spooky scene in both films and from there on we get to Castle Dracula which again is awesome from both the outside and inside.  Love the way the doors creakily open for Dracula without him touching them, it lends a supernatural credibility to the character.  Also notice every time a wolf howls, Dracula shows up right after, a very effective and subtle touch as a wolf is a signifier for one of the forms Dracula can take.  Once inside, the pure size of the castle is shown effectively in long shot, interspersed with all kind of close ups of creatures and yes, I even like the armadillos.  So many people complain about them but to me it just makes the atmosphere of this place that much more bizarre.

      Speaking of bizarre, there is Lugosi’s iconic performance.  Delivering iconic line after iconic line with a bizarre cadence (children of the night, never drink wine), Lugosi really is a unique presence.  Nobody phrases a line like the guy, his accent is very distinctive, his facial expressions are very distinctive, he is a unique presence unto himself.  So many people have played Dracula over the years and a lot of them very well, but Lugosi’s performance is still a stand out that one cannot easily forget.  As bizarre as Lugosi’s line readings are, Dwight Frye’s reactions to them show his Renfield character to be completely uncomfortable with the way Dracula is acting, selling the Dracula character perfectly.  This is a bizarre, otherworldly, strange presence we are dealing with and Frye’s reactions are perfectly in key and important to making the scene effective.  Also cool in this scene are a Dracula’s silent brides, and the ending of this scene where Renfield faints and Dracula, in an effectively foggy doorway, shoos the brides away with a mere dominant arm wave gesture so he can bite Renfield’s neck, is one of my favorite parts of the film.  Again, the lack of a soundtrack works here, no music in the world can make this scene creepier.

      As for the rest of the film, yes, it is more stage bound, probably based on a few factors.  It’s an early talkie and DRACULA was based on a stage play which Lugosi himself was playing for years.  I do think the strength of the second half is dependent of the performers itself.  For example, while cinematically the scene where Dracula tries to hypnotize Edward Van Sloan’s Van Helsing is pretty static, the actors are both so believable and effective in their parts that their acting chops completely carry the scene.  Same with Dwight Frye as Renfield.  When he’s talking about the sea of rats Dracula is giving him, I can forgive the fact the scene is being talked about versus shown because Frye does such an expressive performance.  He really is a highlight of this film wether being sane or insane.  As far as David Manners and Helen Chandler, the context I explained above I think is needed to understand their performances, but I can understand how this may be a stretch for a lot of modern audiences.  Still, I find having this context makes the second half of DRACULA a much more enjoyable film for me.

      As far as things I wish were different, while the brief shots of Mina going to Dracula’s cape outdoors and an undead Lucy walking in the dark with a crying child are effective, I think it would have been cool to see maybe a minute more of those scenes just to have an excuse to show the outdoor scenery more and up the horror context slightly.  The scene in the theater box where Dracula is on the bottom of the stairs and Dr. Seward on top, making Seward appear taller and more dominant there really is no excuse for and is really careless staging.

      The end of the film I do like a lot.  While lacking the blood and thunder action of a Lee and Cushing confrontation, there is a lot of atmosphere and the understated nature is effective.  Love the giant stairs of The Carfax Abbey basement and Dracula’s murder scene of Renfield is quite cool, Lugosi stoic and dominant and Frye over the top and dramatic fun.  I also dig a Helen Chandler’s trance like zombie here.  The actual off screen staking of Dracula is made more effective but Dracula’s groans, groans which were censored for years in future prints once the code came in and have fortunately been restored.  I also love the final shot of Mina and Jonathan going up those winding stairs in such a calm manner with what sounds like wedding bells.  Very tasteful and understated.

      Some random notes.  Lugosi’s first female victim was played by Anita Harder in one of her very few film roles.  I think she’s cute as a button here with her little British accent and I love Lugosi’s satisfied look walking the streets after she has been drained of blood.  For some Hal Roach connections, Charles Gerrard, the comic relief asylum worker played Mr. Plumtree is Laurel and Hardy’s ANOTHER FINE MESS.  The first vampire bride to be shown out of her coffin was played by Geraldine Dvorak.  She’s a Texas born actress who pretended to be European and appeared in a few Charley Chase shorts.  Oh yes, there is the Spanish version of this film, which I will review separately one of these days.

      Overall, I love DRACULA and like PHANTOM OF THE OPERA, whatever flaws there may be I can easily overlook because the good far outweighs the bad.  Actually here, there isn’t much bad at all in my eyes, just a few minor things.  The film that kickstarted talking American horror films and unlike all those previous murder mysteries, the boogey man here is not some guy in a mask, but a true supernatural being.  Bela Lugosi gives an amazing performance and starts a really fascinating horror career for himself and I will end on one more note.  A lot of people state Dracula lacks the pathos of a Frankenstein Monster.  “To die, to really be dead, that must be glorious.”  Dracula utters this line in the theater box making us all realize he has a curse beyond what he wishes and perhaps that stake in the heart was a gesture of mercy for him.  Dracula may be dead now, but Van Helsing from here meets Dracula’s daughter.  Looking forward to talking about the other Universal Horror films, this should be fun.


« Last Edit: July 11, 2020, 10:54:48 AM by metaldams »
- Doug Sarnecky


Offline Shemp_Diesel

I actually go against the conventional wisdom--or rather opinion--that the 1931 Frankenstein is superior to Lugosi's Dracula. While Karloff's star making role is good, Bela's is great. Not without flaws, but minor, although a more action packed ending was called for--in my view--and some more scenes showing Van Helsing and Harker killing the vampire Lucy would've been nice for continuity. Apparently the Spanish version has those scenes.

Helen Chandler in her role I've always liked & I think you made the point quite well, Metal, that the "unblossomed flower" or however I'm supposed describe her character is exactly the way she was supposed to play it until Lugosi nips her on the neck. David Manners on the other hand is pure cardboard like many of these romantic leads that appear in plenty for horrors and comedies.

Lugosi's role is iconic & maybe I don't need to espouse too much about it--it speaks for itself. Although, as much as I enjoy Dracula I still rate it a 9/10 & would say Bela's ultimate iconic picture is 1935's The Raven. That should be fun when the time comes....
Talbot's body is the perfect home for the Monster's brain, which I will add to and subtract from in my experiments.


Offline metaldams

I actually go against the conventional wisdom--or rather opinion--that the 1931 Frankenstein is superior to Lugosi's Dracula. While Karloff's star making role is good, Bela's is great. Not without flaws, but minor, although a more action packed ending was called for--in my view--and some more scenes showing Van Helsing and Harker killing the vampire Lucy would've been nice for continuity. Apparently the Spanish version has those scenes.

Helen Chandler in her role I've always liked & I think you made the point quite well, Metal, that the "unblossomed flower" or however I'm supposed describe her character is exactly the way she was supposed to play it until Lugosi nips her on the neck. David Manners on the other hand is pure cardboard like many of these romantic leads that appear in plenty for horrors and comedies.

Lugosi's role is iconic & maybe I don't need to espouse too much about it--it speaks for itself. Although, as much as I enjoy Dracula I still rate it a 9/10 & would say Bela's ultimate iconic picture is 1935's The Raven. That should be fun when the time comes....

The word “iconic” to me means most publicly know and thought of, so in that sense, DRACULA is Lugosi’s most iconic as The Phantom is for Chaney.  But as far as as pure blood and guts Lugosi, yeah, can’t wait to discuss THE RAVEN.

David Manners I have seen in five movies and his roles get progressively less childish the later his career progressed.  I saw THE MYSTERY OF EDWIN DROOD for the first time a few months back and he was pretty good in that one.  One of those borderline entries I’m debating whether to include or not.
- Doug Sarnecky


Offline Dr. Mabuse

Yes, it's rather stagy after the first 30 minutes, but "Dracula" remains a mesmerizing experience — especially on the big screen. I was fortunate enough to see an 80th anniversary presentation at the Laemmle Music Hall in Beverly Hills. A darkened theater with excellent sound provides an entirely different atmosphere.  Simply put, Lugosi is Dracula (he defined the role in the same fashion as Sean Connery's James Bond) and the film would not have worked nearly as well with Lon Chaney as originally planned.  The 1931 Spanish version is more impressive on a cinematic level, but sorely lacks Lugosi . . . and suffers for it.

9/10


Offline metaldams

Yes, it's rather stagy after the first 30 minutes, but "Dracula" remains a mesmerizing experience — especially on the big screen. I was fortunate enough to see an 80th anniversary presentation at the Laemmle Music Hall in Beverly Hills. A darkened theater with excellent sound provides an entirely different atmosphere.  Simply put, Lugosi is Dracula (he defined the role in the same fashion as Sean Connery's James Bond) and the film would not have worked nearly as well with Lon Chaney as originally planned.  The 1931 Spanish version is more impressive on a cinematic level, but sorely lacks Lugosi . . . and suffers for it.

9/10

I got to see a double feature of the English and Spanish versions a few years back.  In spite of some technical difficulties in the theater and my lack of sleep the night before (insomnia), it still managed to be a great experience.
- Doug Sarnecky


Offline Shemp_Diesel

Well, not sure if I should mention the Spanish Dracula too much, but compared to the power trio of Lugosi, Frye and Van Sloan, that version is really lacking (the chicas aren't bad, though  ;D).

And the less is more theory, comparing how Lugosi just glowers at the captain and the crew members of the Vesta; whereas in later versions you know blood will be flying everywhere....
Talbot's body is the perfect home for the Monster's brain, which I will add to and subtract from in my experiments.


Offline metaldams

Well, not sure if I should mention the Spanish Dracula too much, but compared to the power trio of Lugosi, Frye and Van Sloan, that version is really lacking (the chicas aren't bad, though  ;D).

And the less is more theory, comparing how Lugosi just glowers at the captain and the crew members of the Vesta; whereas in later versions you know blood will be flying everywhere....

All I’ll say for now is I 2/3 agree on the trio and 100% agree on the chicas.  Amazing Lupita Tovar lived to be 106 years old!
- Doug Sarnecky


Offline Dr. Mabuse

Another problem with the Spanish version is the running time — it's 30 minutes longer than the English-language version and really drags toward the end.


Offline Toast5884

I watch this film at least once a year and love it more every time. Whenever I think of early talkies based on stage plays, two films come to mind: Dracula and The Coconuts. It's interesting to me how quickly the technology for talkies improved in a two year period. As much as I love the Marx Brothers, The Coconuts is difficult to get through because the sound is pretty rough in parts. Thankfully though, by the time Dracula was made, the technology was a lot better and the film is better for it. Without the showing of a single fang or drop of blood, Lugosi is amazing. Watching this always makes me wish he had reprised Dracula in the two House films later on.

And though I've heard criticism of Edward Van Sloan's acting, to me, he is the perfect Van Helsing. The scene where the two stand off with Dracula warning Van Helsing to leave and Van Helsing refusing to do so is perfect.


Offline metaldams

I watch this film at least once a year and love it more every time. Whenever I think of early talkies based on stage plays, two films come to mind: Dracula and The Coconuts. It's interesting to me how quickly the technology for talkies improved in a two year period. As much as I love the Marx Brothers, The Coconuts is difficult to get through because the sound is pretty rough in parts. Thankfully though, by the time Dracula was made, the technology was a lot better and the film is better for it. Without the showing of a single fang or drop of blood, Lugosi is amazing. Watching this always makes me wish he had reprised Dracula in the two House films later on.

And though I've heard criticism of Edward Van Sloan's acting, to me, he is the perfect Van Helsing. The scene where the two stand off with Dracula warning Van Helsing to leave and Van Helsing refusing to do so is perfect.

I think it’s disgraceful the way Universal did not use Bela for any of the Dracula films until Bud and Lou, and even then he was a second thought.  I’ll of course dive further into that when I get to those films.

Yes, watching talkies from the late twenties to early thirties really is fascinating in how quickly things went forward.  To see a Tod Browning directed stage bound film with Bela to compare to DRACULA, check out THE THIRTEENTH CHAIR (1929).
- Doug Sarnecky


Offline Allen Champion

DRACULA bridges the silent/sound era of horror brilliantly.   The second half is not as stage bound as you think, if you pay attention, there are many subtle camera movements that draw you in almost as much as Dracula's "spider" draws in the "unwary fly."  The only really stagey moment is the extended scene between Harker, Van Helsing, and Mina on the veranda just as "the last rays of the sun will soon be gone, and another night will be upon us."  Karloff's Frankenstein Monster has been called a silent film performance in a talking film, and so it is, but Lugosi and Browning deserve credit as well.  DRACULA ushers us into the Golden Age of Sound Horror, but its best moments are rooted firmly in the Silent Screams of "crumbling cinema castles of a bygone age."
"What do you know of the blood, sweat and toil of a theatrical production? Of the dedication of the men and the women in the noblest profession of them all?"


Offline metaldams

DRACULA bridges the silent/sound era of horror brilliantly.   The second half is not as stage bound as you think, if you pay attention, there are many subtle camera movements that draw you in almost as much as Dracula's "spider" draws in the "unwary fly."  The only really stagey moment is the extended scene between Harker, Van Helsing, and Mina on the veranda just as "the last rays of the sun will soon be gone, and another night will be upon us."  Karloff's Frankenstein Monster has been called a silent film performance in a talking film, and so it is, but Lugosi and Browning deserve credit as well.  DRACULA ushers us into the Golden Age of Sound Horror, but its best moments are rooted firmly in the Silent Screams of "crumbling cinema castles of a bygone age."

I do tend to favor a lot of horror films with stretches of silence that focus on the visual and Dracula certainly delivers.  No doubt Tod Browning was the right man for that with his silent background with Chaney. 
- Doug Sarnecky


Offline HomokHarcos

I remember the first time I watched this - I woke up at 3 in the morning and had to work later that day. I couldn't fall back asleep so I watched Dracula. The lack of background music actually enhanced it, everybody else was sleeping so there was no waking them up.

Bela Lugosi is excellent in this movie. His role as Dracula shaped the whole view of vampires. See any of the Hotel Transylvania movies and you can tell what who Dracula's based on. I like that he his the center focus here, a lot of later movies have him in a supporting role or just as a red herring. My favorite role of Lugosi might actually be in Son of Frankenstein, but this would be one of the close follow-ups. If I got it right, I believe that he fled to Hungary because of socialist persecution in Hungary in the post World War I period. That interested me because I heard my family fled Hungary to Canada for the same reason around that time. Dwight Frye as Renfield was the second standout to me. He was always a lot of fun to watch in these older horror movies.

A major reason I prefer horror and thrllers over mysteries is that you know the bad guy is most of the time. In Sherlock Holmes and Charlie Chan movies you don't know who the murderer they're chasing after is - or I could never figure it out. Here you know exactly what man (if Dracula can be called that) Van Helsing is looking for. No twists and turns or false monsters.

I will agree that the beginning in the castle was the best part. The set is amazing and I can get a sense of what seeing it live in a theater was like. I admit on my first viewing I was letdown by the rest of the film, the beginning was so good that it would be hard for the rest to match it. It's not necessarily because the rest of the film is bad, the beginning is just that good. The interactions with Van Helsing were fun, it's funny seeing Dracula trying to use his eyes with that light flashing on him.

Overall good movie. If I had a time machine to go back in the 1920s I would do a few things: Watch Ted Healy performing with the Stooges, see a Marx Brothers production and a live Dracula play starring Bela Lugosi. Maybe add watching the Bambino in person.

I'll save my opinions on the sequels in case we get to them later. It was surprising that Bela Lugosi didn't play Dracula again until 1948. I would like to mention that he was in Mark of the Vampire, a movie I'm a fan of because it also contains my all-time favorite vampire woman: Carroll Borland as Luna. I seemed to like that movie more than most who watched it. I know it contains a few elements I criticized earlier, but the movie got spoiled for me before I saw it, so the ending didn't hurt that.


Offline Allen Champion

I love your "time machine" to the 20s choices.  I would add catching a Jolson performance on Broadway. ;)
"What do you know of the blood, sweat and toil of a theatrical production? Of the dedication of the men and the women in the noblest profession of them all?"


Offline Dr. Mabuse

It was surprising that Bela Lugosi didn't play Dracula again until 1948.

Lugosi played Dracula in all but name in Columbia's "The Return of the Vampire" (1943). Because Universal owned the rights to the Dracula character, Bela was called Armand Tesla.


Offline metaldams

Lugosi played Dracula in all but name in Columbia's "The Return of the Vampire" (1943). Because Universal owned the rights to the Dracula character, Bela was called Armand Tesla.


….while Chaney played in SON OF DRACULA.  Who said life is fair?

For the record, I do enjoy both films, but man, what could’ve been.
- Doug Sarnecky


Offline Shemp_Diesel


….while Chaney played in SON OF DRACULA.  Who said life is fair?

For the record, I do enjoy both films, but man, what could’ve been.


That, and Universal passing over Lugosi to play the Count in the 2 "House of" films. Nothing against John Carradine, I enjoy his take on the role, even if the last House movie bores me to tears...   :-\
Talbot's body is the perfect home for the Monster's brain, which I will add to and subtract from in my experiments.


Offline Dr. Mabuse

Nothing against John Carradine, I enjoy his take on the role, even if the last House movie bores me to tears...   :-\

Universal didn't do Carradine any favors with his limited screen time.