Editor’s
note: this post is a revised and updated version of a blog post that originally appeared in 2010.
Drácula (1931). 104 min. Filmed at night on the same sets as the
original Universal Dracula with Bela Lugosi. Director[s]: George Melford; Enrique Tovar
Ávalos [uncredited]. Cinematography: George Robinson. With Carlos Villarías
(Conde Drácula), Lupita Tovar (Eva), Barry Norton (Juan Harker), Pablo Álvarez
Rubio (Renfield), Eduardo Arozamena (Van Helsing), Carmen Guerrero (Lucía
Weston).
style ***1/2
substance ***
Yes, it is better (more or less)
Draculophiles are divided as to which of Universal's early Thirties vampire essays is the superior. Is it the familiar English-language classic, directed by Tod Browning, or its shadow/mirror image, the Spanish-language challenger directed by Melford/Ávalos? The latter film has developed quite a following and is no longer the novelty it once was: it’s very much available via DVD and much discussed both in scholarly and popular sources [1]. Moreover, there's even the occasional theatrical screening.
Draculophiles are divided as to which of Universal's early Thirties vampire essays is the superior. Is it the familiar English-language classic, directed by Tod Browning, or its shadow/mirror image, the Spanish-language challenger directed by Melford/Ávalos? The latter film has developed quite a following and is no longer the novelty it once was: it’s very much available via DVD and much discussed both in scholarly and popular sources [1]. Moreover, there's even the occasional theatrical screening.
In the title role of Conde Drácula, the
much maligned Carlos Villarías makes a game try, and no, he’s not Bela Lugosi
(who is in this role?). But with his tall, aristocratic carriage and rather
sinister features he looks the part, and
- contrary to the prevailing view - at least in this writer's opinion actually
does a pretty good job in the role. Villarías’s hopped up, campy
performance actually improves, so to speak, with repeated viewings and fits in
with the somewhat overwrought atmosphere of the film. Partisans of the original
counter that Lugosi’s definitive performance is the sine qua non which overrides all other considerations, a not
altogether illogical argument.
As for the supporting roles, the jury is
still out. Much has been made of the women’s
sexier wardrobe in the Spanish version, and no doubt the women are more
provocatively attired. But their acting is also far more expressive, matching
perfectly the film’s sensual, hothouse gestalt. Likewise, there’s a case for Pablo Álvarez Rubio’s hysterically
intense Renfield being a match for, or possibly eclipsing, Dwight Frye’s famous
turn in the role. Along the way there are a few inevitable clinkers, in casting
and otherwise: the mental asylum attendant’s comic relief never really works,
and nurses who wear high heels is quite the reach, even for a horror film.
Desire never dies
Louise Allbritton in Son of Dracula |
The next entry, Son of Dracula
(1943), gives us a similarly offbeat - albeit different kind - of love story,
complete with another sexy vampiress, this one with a kinky fascination for the
other world and immortality. Likewise Drácula
may be seen as the prototype for the more explicit Hammer lesbian vampire films of the Sixties and Seventies. Its prescience
might even be seen extending as far as films like The Hunger (1983).
But, as the man said, I digress. While
there's much to savor in both early Thirties Dracula's [4], for me, and for
now, Viva El Drácula!
[1] For one
scholarly approach, see Robert Harland’s masterly "Quiero chpar tu sangre: a comparison of the Spanish-and English-language versions of Universal Studios' Dracula," Journal of Dracula Studies, v9 (2007),
pp. 29-38.
[2] With its creative use of shadows and lighting effects, Drácula also may well be the first vampire noir, a trend that was followed up in subsequent vampire films like Dracula's Daughter, Mark of the Vampire, and Son of Dracula.
[3] Commentators have focused on the notorious scene in which the Countess Zaleska seduces the young model. However, an arguably more overt lesbian context occurs later in the film at Castle Dracula, where the sinister Countess has whisked away Dr. Garth’s Gal Friday Janet. In this brilliantly edited sequence, the Countess longingly and gradually bends over the helpless girl, coming ever closer as she’s about to put the (vampiric or otherwise) moves on her. Will the good doctor intervene in just the nick of time?
Similarly, Dracula's Daughter can also been seen as the first vampire film which more or less equates vampirism with drug addiction.
[4] Right or wrong, with subsequent viewings I further appreciate how good the Spanish Drácula is and regard it as the true first Dracula film. Consequently the English-language version, for all its creepiness, seems more and more a curiosity, a filmed play, if you will, redeemed only in part by Lugosi’s matchless take on the role.
[2] With its creative use of shadows and lighting effects, Drácula also may well be the first vampire noir, a trend that was followed up in subsequent vampire films like Dracula's Daughter, Mark of the Vampire, and Son of Dracula.
[3] Commentators have focused on the notorious scene in which the Countess Zaleska seduces the young model. However, an arguably more overt lesbian context occurs later in the film at Castle Dracula, where the sinister Countess has whisked away Dr. Garth’s Gal Friday Janet. In this brilliantly edited sequence, the Countess longingly and gradually bends over the helpless girl, coming ever closer as she’s about to put the (vampiric or otherwise) moves on her. Will the good doctor intervene in just the nick of time?
Similarly, Dracula's Daughter can also been seen as the first vampire film which more or less equates vampirism with drug addiction.
[4] Right or wrong, with subsequent viewings I further appreciate how good the Spanish Drácula is and regard it as the true first Dracula film. Consequently the English-language version, for all its creepiness, seems more and more a curiosity, a filmed play, if you will, redeemed only in part by Lugosi’s matchless take on the role.