Film Review: Dracula (1931)

History of cinema is full of films that became important for being first at something while not being particularly good. The Jazz Singer, the very first sound film, provides good example as a film not likely to be remembered as memorable musical drama. Four years later, in 1931, horror genre had its first sound film in form of Dracula, Tod Browning’s adaptation of popular novel by Bram Stoker which has set the main parameters of vampire fiction in popular culture.

Dracula wasn’t just first Hollywood horror film made in sound. It was also the first authorised screen adaptation of Stoker’s novel, based on the authorised stage play by Irish author Hamilton Deane, first shown in 1924 Britain. Three years later the play was further adapted for American audience by John L. Balderston. This version became big hit on Broadway and made big star of the Bela Lugosi, Hungarian actor playing Dracula who would repeat his role in screen version. The plot begins in Carpathian Mountains where British solicitor Renfield (played by Dwight Frye) travels to the castle of Count Dracula, despite locals warning him that the Count is “undead” or vampire. Purpose of Renfield’s visit is to arrange Count’s purchase of Carfax Abbey, property near London. After the papers are signed, Renfield meets Dracula’s three mysterious brides before being hypnotised by Count. Dracula has arranged his coffin to be transported to England by a schooner that would arrive with all of its crew dead and only survivor being Renfield, now a raving lunatic babbling about his “master”. Dracula wanders about London streets and attacks flower girl before finding his way in the polite society that includes Dr. Seward (played by Herbert Bunston), his daughter Mina (played by Helen Chandler), her fiance John Harker (played by David Manners) and Mina’s friend Lucy Weston (played by Frances Dade). Seward runs sanatorium for the insane which is next to Carfax Abbey. A bat arrives to Seward’s home where Lucy is later bitten by Dracula and dies of exsanguination. She later appears as strange lady offering candies to little girls in order to bite them. By that time, Dracula has developed interest in Mina, but Sewards’ home is visited by Van Helsing (played by Edward Van Sloan), scientist who believes in vampires and knows how to fight them.

When Dracula first appeared on screen, it was a big box office hit. To say that today’s audience is going to be less impressed is an understatement. And this is hardly because of technological limitations, like the lack of colour which the modern audience is accustomed to expect in vampire films. Dracula is one of those big films from the past that didn’t age well and its importance lies more in what it inspired than in what kind of entertainment can give to today’s viewers. A cinephile expecting this film to live to the reputation it enjoys in film history books is going to be disappointed.

That doesn’t mean that Dracula is bad film. On the contrary, it has at least two major displays of extraordinary talent. The first is Karl Freund, innovative cinematographer who had worked in Germany and contributed to many classics of Weimar period, including Metropolis. His cinematography in this film is inspired by German Expressionist cinema, including Nosferatu, 1922 silent classic which is one of the more innovative and original interpretations of Stoker’s works. It contributes a lot to the Gothic atmosphere of the film, especially in the opening scenes that take place in Transylvania and, later, in the scenes that take place in Carfax Abbey.

Another and better known talent to contribute this film is Bela Lugosi. Hungarian actor has lobbied hard to repeat his role on screen and he won only because Lon Chaney, legendary silent film actor who had been Browning’s first choice, had died shortly before the production. Lugosi delivered great performance, playing the vampire as suave elegant aristocrat who seduces his victims while not baffling them with his enigmatic words. Lugosi’s performance was so strong and effective that it has set the standard what the vampire should look on the screen for next couple of decades, establishing stereotype that runs to this day. It was Lugosi’s best and most successful role that turned him into a Hollywood icon, but also had misfortune of having him typecast as villain in horror films. Same fate has befallen Dwight Frye who left good impression as Dracula’s mad servant, only to play Fritz in Frankenstein few months later and be typecast in similar roles.

Apart from Edward Van Sloan as Van Helsing, all other acting performances in the film are vastly inferior and Helen Chandler is especially disappointing as Mina. One of the reasons might be found in rather uninspired direction by Tod Browning, director who had made his name with successful horror films of silent era, but who apparently didn’t adapt to sound era. The film has too many static shots and gives away its stage origins too easily. And, despite being incredibly short, it looks boring and confusing at the same time. Poorly made and unconvincing bats that appear in the film don’t help either. Browning also tried a little bit too hard to appease censors, unlike many of his colleagues in the more relaxed years before strict enforcement of MPAA Production Code. Almost all erotic overtones in the film are heavily suppressed and there is almost no violence in the film. Dracula never reveals his fangs, shot dissolves in black before each bite and even Dracula’s demise happens off screen, only with his mortal cry signalling his fate. Browning later made Freaks, controversial film that would later gain cult status and which is often considered the beginning of the end of his career in Hollywood. Those who watch Dracula now might conclude that the downward trajectory of his career in 1930s had more to do with his lack of ability to adapt to new standards of cinema. His version of Dracula looks even worse when compared with Badham’s Dracula, another faithful adaptation of the play made half a century later. Yet, its importance for film history is undeniable and this film could be recommended for more curious cinephiles.

RATING: 6/10 (++)

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