Drácula

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...

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.

It is hard to say which is the better version of the Todd Browning version and this, both have flaws but both has many things to recommend. There are things here that are done better here than in Browning's, like some of the storytelling and how it was made, but Browning's had the better Eva/Mina, Van Helsing and especially Dracula(the Renfield interpretations personally rank the same).

Visually this version is an absolute treat, the cinematography is superb and the editing is much improved over Browning's version as is George Melford's exciting direction over Browning's, the sets are wonderfully Gothic too, especially the genuinely creepy Trasylvanian castle. Of individual scenes the standouts were the smoke with Dracula rising out of his coffin, Renfield and the fly and the terrific final shot. The eerie music score compliments the atmosphere beautifully and the dialogue flows reasonably well.

The storytelling is very compelling on the whole, as well as those three standout scenes the relationship between Eva and Seward is incredibly affecting, the atmosphere is very spooky, there is an exciting climax and it does make more sense than Browning's with things better explained thanks to the stronger editing. It is not perfect this said, the film is overlong and does drag as a result as expanding on these loose ends, the first scene with Dracula is scarier in the Browning film. The acting is a mixed bag, with the strongest performances being Lupita Tovar as a lively Eva, José Soriano Viosca's sympathetic Seward and particularly the chillingly insane Renfield of Pablo Álvarez Rubio. Eduardo Arozamena plays Van Helsing more than reliably if not as memorable as Edward Van Sloan or Peter Cushing. Barry Norton however is very stiff as Juan and Carlos Villarias tries far too hard as Dracula, his facial expressions verging on cartoonish and he lacks the aristocratic charisma and suave menace that Bela Lugosi and Christopher Lee had.

All in all, a worthy version but a long way from perfect. A very high 7/10 Bethany Cox

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.