Dracula (1931)

Director:

Tod Browning

Writers:

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

Release Date:

14 February 1931 (USA)

Genre:

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 | Vampire | Count | Castle | Fiancée

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)

Also Known As:

Drácula (Argentina) (Spain) (Uruguay) [es]
Drácula (Brazil) [pt]
Dracula - vanha vampyyri (Finland) (TV title) [fi]
Drakoulas (Greece) (reissue title) [el]
Drakula (Turkey: Turkish title) [tr]
Drakula (Hungary) [hu]
Ksiaze Dracula (Poland) [pl]
Mysteriet 'Dracula' (Sweden) [sv]
O kapetan Vrykolakas (Greece) [el]

Runtime:

75 min (corrected release length)

Country:

USA

Language:

English | Hungarian | Latin

Color:

Black and White (tinted)

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono (Western Electric Sound System)

Certification:

Finland:K-15 (2004) | Canada:PG (Manitoba/Ontario) | Iceland:12 | Canada:G (Nova Scotia/Quebec) | Spain:T | Norway:16 (1931) | 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:

In the scene where Dracula and Renfield are traveling to London by boat, the footage shown is borrowed from a Universal silent film called The Storm Breaker (1925). Silent films were projected at a different frames-per-second speed from that later adopted for sound films, accounting for the jerky movements and quicker-than-normal action of these shots.

Goofs:

Errors made by characters (possibly deliberate errors by the filmmakers): When Dracula's brides converge on Renfield after he has passed out, Dracula enters and motions them away. As they are walking backwards, one bride steps on another bride's dress causing one bride to "catch" another. It is possible that she may have stepped on her own dress.

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 "The Office: Koi Pond (#6.7)" (2009)

Soundtrack:

Swan Lake

Lugosi's Triumph

Tod Browning's film of the Stoker novel didn't so much eclipse Murnau's NOSFERATU (1922) as shove it into antiquity. One big reason was the technological advancement of sound. Roughly three years old by 1930, the public embraced the talking picture wholeheartedly over silents.

The other big reason for Dracula's success was that the star of the stage play had been cast as the star of the film. And movie history was made. Bela Lugosi's Count Dracula is now a seventy-four year old icon, outlasting all other interpretations before or since. The twist is that this Dracula looks nothing like Stoker's creation (read the book). Lugosi, either through his work with the playwrights or later at Universal with Browning, devised the most insidious form the character would ever take- a handsome, courtly, well-groomed, civilized aristocrat, so gracious and attractive that he projected an aura of well-being over the viewer. This was worlds away from the Murnau/Max Schreck approach of head-on abomination in NOSFERATU.

Sensibly, no one in their right mind would stay within viewing distance of Schreck (or Kinski in NOSFERATU, THE VAMPYRE and Dafoe in SHADOW OF THE VAMPIRE) after the first glimpse. But Lugosi's Count would have you chatting and drinking wine- until he began to drink of you. That cape and those evening clothes are the perfect deception. Browning's Dracula is sometimes stagy and tentative in its continuity (it feels at times that the director was unsure where to go next in the progression of scenes). But Karl Freund's photography summons up a persistent mood of heavy gloom and enveloping dread.

Two other assets in the film are Edward Van Sloan as Van Helsing and Dwight Frye as Renfield. Van Sloan was Universal's resident Learned Man, appearing as an Egyptologist in THE MUMMY (1933), and perhaps most famously as Dr. Waldman in FRANKENSTEIN (1931). A career-long character actor, Dwight Frye was an eccentric talent who appears to have worked exclusively at Universal. He had his best role as Renfield, producing a still blood-curdling, sneering laugh that seemed to come from the depths of a hellish insanity. If you haven't seen this Dracula please do so. The Count awaits.