Drácula

I have read most of the comments on the spanish version of Dracula, and I have two hypotheses as to why can anyone say this is a better version than Browning's: 1.- YOU'VE BEEN INFLUENCED BY THE INTRODUCTORY DOCUMENTARY IN THE DVD VERSION - I also saw the documentary and was very excited to hear that this version was better and I can almost say that I was looking at it with the intention of finding the better version no matter what reality said, but the movie was definitely NOT better than the Browning's version. 2.- YOU DON'T SPEAK SPANISH - Folks, if you spoke spanish, believe me!!! you would understand how BAD this version is. It is so badly spoken (i hope not as bad as my english ;-) ) and so KITSCH!!!! it is incredible that anyone can say this is a good version.

Having said this, I would like to comment on the film: Perhaps there is one or two scenes better directed if by "better directed" you mean a better use of film language (i.e. the "Children of the night" scene), but in general Browning's Dracula remains a classical version for a good reason: it is better. The acting is so bad that it becomes very difficult to see through it a good directing... but directing means not only moving the camera, but also to direct people, and in that sense this movie fails miserably. I am very sorry I am so blunt, but I feel I need to shake you all in order to wake you up.

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.

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

If my facts are straight, this much touted Spanish version of "Dracula" was considered lost for many years until its rediscovery in the 1970s--upon which many a critic and film historian flocked to view this rare "gem" & seemingly all at once proclaimed it better than its more famous English cousin.

Perhaps the novelty of finding this similar, but in many aspects different alternate take on the Tod Browning classic led to such clamoring, though given the many years in which viewers have been accustomed to videotape & now DVD--in which a back-to-back comparison of the two films is a very simple exercise--the fawning many do over Melford's 'Drac' seems a bit in the extreme, particularly such critical observations of how Melford upstages the English film "scene by scene, shot by shot". Having recently viewed both films, it's my opinion that a shot-for-shot comparison doesn't prove very detrimental at all to Señor Browning.

For instance, the much raved about moving camera of George Robinson doesn't really show much more mobility than Karl Freund's. Yes, there is the shot of the camera roving up the stairs in Drac's castle, but aside from that & a few other minor instances, Melford & Robinson keep the camera as still as the oft-derided Browning. Btw, I found it more than a bit amusing that the critters Browning has roaming around the cellars of Dracula's castle--the opossum and bug escaping from a miniature coffin--were retained by Melford.

The really big difference in movies is seeing the different angles which Melford shot many of his scenes from & how he makes more use of the outside portico in many of the later drawing room scenes. For those of us familiar with the Lugosi film, this can make for an interesting visual variety, but does this really equate to "better" or "masterful" directing?

It's not my intention to slam this version of Dracula. I think any horror fan should give it a few looks to see how two different production teams can interpret a single script & put their own creative twists on it. From that standpoint, the Spanish "Dracula" is required viewing, but hardly the "scathing critique" of its English counterpart that many have proclaimed it to be.

This alternate 1931 Spanish language version of the familiar Transylvanians' story was shot throughout the night, using the same Universal sets that the American production utilized during the day. Some buffs consider it superior, at least in a technical sense, but for this viewer, it was at least comparable to the Lugosi classic. Not really scary, per se, but atmospheric, literate, and fun.

The Count, played with a rather goofy charm by Carlos Villarias, comes to London to rent Carfax Abbey, and works his spell on local beauties such as Eva (Lupita Tovar) and Lucia (Carmen Guerrero). Those brave souls willing to fight him are asylum administrator Dr. Seward (Jose Soriano Viosca), Evas' handsome suitor "Juan" Harker (Barry Norton), and the determined, knowledgeable vampire hunter Van Helsing (Eduardo Arozamena).

Running approximately a half hour longer than the Lugosi / Tod Browning version, this is admittedly rather plodding, and thus not to all horror fans' tastes. For a while, it consists of more talk than action. But the characters, and performances, are entertaining, with Arozamena frequently mugging for the camera, Villarias keeping that silly smile on his face, and the majority of the cast playing it quite straight. Pablo Alvarez Rubio is wonderful as the nutty, bug munching Renfield; Dwight Frye may be more iconic in the role, but Rubios' performance is no less amusing. Some people will appreciate the attire of the ladies in this version, which is decidedly sexier.

An effectively roving camera operated by George Robinson is certainly an asset, with credited director George Melford and company making full use out of the existing sets.

Two years later, leading lady Tovar (who only recently passed away, at the impressive age of 106) married associate producer Paul Kohner.

Seven out of 10.