Dracula

Language was no barrier to Hollywood in the silent era: title cards were easily translated from English. When sound began to roar, Hollywood began to fear the loss of its foreign markets--and so, for a brief time, the studios occasionally produced two versions of certain films, one in English and one in another language, most often German or Spanish. Such was the case with the 1931 Dracula.

According to film historian and author David J. Skal, producer Paul Kohner fell in love with Mexican-born actress Lupita Tovar (they later married), and his romantic interest prompted the suggestion that she star in a Spanish-language version of the film. When the English language cast wrapped for the day, the Spanish language cast arrived and worked through the night using the same sets.

Most of Hollywood's foreign-language duplicates were forgotten as quickly as they were released, but the Spanish Dracula would be the exception. Todd Browning, who directed the English language film starring Bela Lugosi, was extremely uncomfortable with sound technology. While the first fifteen minutes or so his film are exceptional, the movie thereafter becomes a filmed stage play--and a very choppy and rather unimaginative stage play at that. Instead of simply duplicating Browning's set-ups, producer Kohner and director George Melford set out to best him, and when the Spanish version debuted most viewers declared it greatly superior to the English version.

And in many respects it is. Whereas Browning's version is visually flat and rather slow, the Spanish Dracula is visually exciting, and although it is considerably longer than the English version the pace never drags. It also has it all over the Browning version in terms of editing, and it has a cohesion the Browning version completely lacks. The supporting cast is also quite fine, with Lupita Tovar a standout, easily besting Helen Chandler's remarkably tiresome performance in the English version.

But the Spanish Dracula has a problem, and it's a big one: actor Carlos Villarias, billed here as Carlos Villar. Villarias had a respectable film career throughout the 1930s and 1940s, but he met his match in Dracula; where Lugosi intoned, snarled, and endowed the vampire with an elegant evil, Villarias goes through the film with a series of expressions that lead one to believe he has just encountered an overflowing toilet. His flaring nostrils and disgusted glances are so incredibly out of place that they quickly become unintentionally hilarious.

Lugosi's performance, of course, is generally considered the ultimate statement of the role, and with good reason. In a perfect world, we would be able to snatch Villarias out of the Spanish Dracula and insert Lugosi in his place; the result would be a truly amazing film from start to finish. As it is, however, we are stuck with Villarias, and frankly he bites.

The VHS release of the Spanish Dracula is out of print, but the film is available on the same disk with the Universal release of the more widely known Todd Browning version. By and large the film quality is remarkably good; it has not, however, received a digital remaster, and at least one of the reels would greatly benefit from it. If you are a fan of 1930s horror, you'll find it more than worth the effort, but I suspect more casual viewers will be reduced to hysterical laughter by the Villarias performance.

GFT, Amazon Reviewer

Made simultaneously to the famous Bela Lugosi Dracula using the same sets but filmed at night, this is the Spanish language version of Dracula. Back in 1931 at the dawn of the talkie era you couldn't overdub a film into a different language, to service a different market - you had to make another film! And I guess, with the large Spanish audience in not only the States but the world in general, this was a commercially viable idea. To this end, we have a film which often looks very similar to its more famous English language equivalent but there are numerous differences as well. For a start, its 28 minutes longer, so fills in a few areas where the English variant was sketchy. It also allowed for a far more sensual presentation of its female vampires and included a few more horror moments too. It seemed to be unseen for decades, only resurfacing again in the late 70's, adding to its mystical reputation. So, is it better? Many people think it is and aspects of it are an improvement but for me, the English language version pips it to the post. For one thing, the latter version has far better pacing - those extra 28 minutes aren't necessarily all stellar stuff and it is still quite stagey like the English version. Secondly, Lugosi is better as the count than Carlos Villarías - the latter is solid enough but Lugosi is so brilliantly over-the-top, he was made for the role. This is still a very worthwhile movie though, especially for Dracula completists and fans of vampire cinema.

The Browning/Lugosi 'classic' has always been one of my favorite Universal horror films but, ever since the simultaneously-produced 'rival' Spanish version resurfaced, the 'original' has taken a beating by fans and historians alike - mainly because the latter features superior camera-work! This, however, is the ONLY area where it can lay a claim to be better in when compared to the US version (the fact that leading lady Lupita Tovar had a sexier wardrobe than Helen Chandler shouldn't even be considered, I guess). Still, the fact that on the DVD the opinion that the seminal US version is the inferior one seems to be shared by quite a few people hasn't done it any favors! I remember being impressed by the Spanish version when I first watched it in 2001, singling out for praise the performance of Pablo Alvarez Rubio as Renfield and, of course, George Robinson's cinematography. However, coming back to it now, I felt that Rubio's hysterical rendering of the character (which reminded me of Gene Wilder in YOUNG FRANKENSTEIN [1974] of all people!) was nowhere nearly as nuanced as Dwight Frye's unforgettable characterization in the US version. Regarding the "superior camera-work", I guess this is true for individual sequences (Dracula's introduction, for instance) but, frankly, I never felt that Karl Freund - a pioneer of the moving camera - had somehow been restrained by Tod Browning, who admittedly wasn't very fond of this technique. Given that of late we've also been faced by the ridiculous assumption that Browning didn't actually direct the film, he couldn't have - since he wasn't even there!! It may be however, that since frequent Browning collaborator Lon Chaney (who had been slated for the title role) died before shooting began, the director sort of lost heart in the project - coupled also with the fact that the script was rather talky, another element with which Browning felt uneasy! Well, whatever went on behind the scenes, for me what's in front remains one of the highlights of the American horror film - from the marvelous dialogue (especially as delivered - each in their own unique way - by Lugosi, Frye and Edward Van Sloan), irreproachable performances (Frye and Van Sloan were at their best, while Lugosi only ever really came close with THE BLACK CAT [1934] and SON OF FRANKENSTEIN [1939]) and memorable individual scenes (the entire first act set in Transylvania, the confrontation scenes between Dracula and his nemesis Professor Van Helsing, Renfield's various ravings). The tame ending may appear anti-climactic to most people but I honestly was never bothered by it! If anything, this was remedied in any number of ways in subsequent outings...

Which brings us back to the Spanish Dracula: like I said, the film is an interesting and altogether pleasing 'alternate' to the Lugosi version...but it is fatally compromised by the inadequate leading performance of Carlos Villarias, whose bulging eyes and feral snarls can't hold a candle to Lugosi's definitive screen vampire! This version does go to places where the American doesn't (Browning shies away from the vampire attacks, for instance) and even features 'new' scenes like the aftermath of the vampiric Lucy's demise - but, at 104 minutes (a full half-hour longer than the US version, when considering that they were following the same script!) it's way overlong for its own good. The Browning/Lugosi version is often criticized for its sluggishness but this one actually moves at a snail's pace: take, for instance, the famous scene where Dracula is exposed by the mirror - Lugosi knocks the box down immediately, while Villarias takes forever to do so (even if his resolution is effectively flamboyant nonetheless).

A word about the DVD quality: disappointingly, the Spanish version features closed-captions (for the hearing-impaired) rather than proper subtitles. As for the US version, the print utilized for this particular transfer (which differs from that of the original, and more satisfactory, 1999 release) is a bit too dark for my taste and the dialogue sometimes was hard to catch due to the incessant hiss on the soundtrack! It also reverts to the 'original' single groan during Dracula's staking (instead of the elongated variant available on the earlier disc)...but does feature a bit of music at the end of the Opera sequence, which had been missing from the previous edition!! Well, this only means that it's worth keeping both copies of Dracula as neither is really definitive...

Shot the same time as the English version of Dracula, this Spanish version was shot on the same sets during the night. Some people consider this superior to the English version. In SOME ways it is.

The English version was badly directed by Tod Browning...but it was Browning's first sound film. His direction (which was great in the silents) suffers from having to have the actors speak into concealed microphones. Also the camera seems rooted to the spot. The Spanish version however was exceptionally well-directed. The camera moves and the director seems very at ease with using sound. Also the first appearance of Dracula in the English version was badly handled--in the Spanish one it's actually very good and a little frightening! Also we find out the fate of Lucia (Lucy) in this one. And the plots with Renfield and Eva (Mina) are more fleshed out . And Pablo Alvarez Rubio gives a good performance as Reinfield. AND the girls wear more revealing nightgowns:) But that's about it.

This film is VERY slow (it runs 25 minutes longer than the other) and the acting isn't that good. The man playing van Helsing overacts (badly) and Barry Norton and Lupita Tovar are just OK as Eva and Juan. But Carlos Villatias is all wrong as Dracula. He tries but he can't carry the role. His villainous looks are actually rather silly and he totally lacks the screen presence of Lugosi. If that had teamed this director with the English cast there might have been a GREAT movie. But, unfortunately, it didn't happen. I do give this a 7 though.

Super interesting to compare this with the 1931 English language classic.

It's not as good in my opinion, but it takes its time to explain more (sometimes holding the viewers hand) and has a few great effects shots that are superior to the English counterpart. Best of all though is the Reinfield/fly joke that completely slays (and they so unfortunately cut out of the English version.) That alone is worth the price of admission.