Dracula (1931)

Director:

Tod Browning

Writers:

Bram Stoker (novel)
Hamilton Deane (play) ...

Release Date:

14 February 1931 (USA)

Genre:

Drama | Fantasy | Horror

Tagline:

The story of the strangest passion the world has ever known!

Plot:

The ancient vampire Count Dracula arrives in England and begins to prey upon the virtuous young Mina.

Plot Keywords:

Dracula | Ghoul | Impalement | Villain Played By Lead Actor | Good Versus Evil

Awards:

1 win

Cast

Bela Lugosi	...	Count Dracula
Helen Chandler	...	Mina Harker
David Manners	...	John Harker
Dwight Frye	...	Renfield
Edward Van Sloan	...	Prof. Abraham Van Helsing
Herbert Bunston	...	Dr. Jack Seward
Frances Dade	...	Lucy Weston
Joan Standing	...	Briggs (a nurse)
Charles K. Gerrard	...	Martin (as Charles Gerrard)

Runtime:

75 min (corrected release length)

Country:

USA

Language:

English | Hungarian

Color:

Black and White (tinted)

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono (Western Electric Sound System)

Certification:

Iceland:12 | Spain:T | Canada:G (Nova Scotia/Quebec) | Canada:PG (Manitoba/Ontario) | Finland:K-15 (2004) | Argentina:13 | Australia:PG | Germany:12 | UK:PG | USA:Approved | Sweden:7

Filming Locations:

Chatham Historic Dockyard, Chatham, Kent, England, UK

Company:

Universal Pictures

Trivia:

When this film was re-released after the Production Code, several deletions were ordered made to the soundtrack. The deletions include Renfield's scream as he is being killed and Dracula's moan as the stake is driven through his heart. These deletions have been restored.

Goofs:

After Renfield accidentally cuts his finger, his bed is seen turned down in the long shot. Although Dracula has not had the time to perform the courtesy.

Quotes:

[first lines]
Young Girl Passenger: [reading from a Transylvanian tourist brochure] "Among the rugged peaks that crown down upon the Borgo Pass are found crumbling castles of a bygone age."

Movie Connections:

Referenced in Free Rainer (2007)

Bela Lugosi Flies High In Legendary Classic Chiller

In terms of influence and lasting appeal, this early talkie has no equal in the horror canon. I consider Tod Browning's "Dracula" to be excitingly eerie if a bit simple and often creaky. But its somewhat antiquated, oxidized qualities are part of what makes the film compelling, and so much fun to watch. The wilting pace also proves to be an asset not a deficiency. I love the way Tod Browning does everything he can in order to make sure we don't forget Dracula when he is off the screen. Browning achieves this by allowing his star Bela Lugosi to set the tempo with his peculiar - and weird - speech affectations. The immediate result of this approach is that one feels Dracula's presence even when we cannot see him; character and story are invariably connected. It all works great because Lugosi is indeed a very original thespian. He was born to play the role. The way Lugosi walks, his strange mannerisms, his slow speech pattern; all these elements are part of the 'Lugosi style.' In direct contrast with what film elitists think, Lugosi's theatrical performance is as good as any great naturalistic work. We now live in an era in which we demand actors to become a character but Lugosi belongs to a time when actors were encouraged to dominate a film. This is why supporters of the auteur theory tend to resent old Hollywood, and why this film has gotten a lot of criticism recently. Lugosi's Dracula is one of the best examples of how effective star quality can be under the right circumstances. The rest of the cast is no match for Lugosi but some of the actors give the star a bit of competition. David Manners is awfully bland, but Dwight Frye and Edward Van Sloan are memorable in supporting roles. The script is mostly based on the famous Broadway play, not Bram Stoker's novel. I don't have a problem with that. The scenes inside the Castle are considered the best in the film, but I disagree with the critical mass. I actually think the film gets better and better. Strangely, the stagier the film gets, the more claustrophobic and spookier it becomes. During its second half, I love the way the film coveys the notion that time is not moving fast enough. I think this film is more than a milestone in the horror genre; it is an effective study in the macabre. Purists, don't hate me, but I actually prefer the version with Philip Glass' magnificent music score. Either version will remain among my favorite chillers of all time.