Dracula (1931)

DRACULA

1931 • Tod Browning

Screenplay: Garrett Fort based on the book by Bram Stoker

Cast: Bela Lugosi, David Manners, Helen Chandler, Dwight Frye, Edward Van Sloan, Herbert Bunston, Frances Dade, Joan Standing, Charles Gerrard, Halliwell Hobbes

Cinematography: Karl Freund

Producers: Tod Browning, Carl Laemmle Jr.

Universal Pictures

Listen to them. Children of the night. What music they make.

In the realm of classic horror films, one name stands out like a shadowy figure emerging from the darkness: Bela Lugosi's Count Dracula. Renfield is on his way to Transylvania to lease a property in London to a mysterious Count Dracula. After the Count reveals himself to be a vampire, he makes Renfield his slave, driving him to insanity. Dracula arrives in London, meeting Dr. Seward and his daughter, of whom he quickly becomes enamored. After Mina's friend Lucy dies from mysterious circumstances, Dr. Van Helsing is called in to investigate.

The silent masterpiece Nosferatu had been made without the permission of the Bram Stoker Estate, and even though names were changed (Count Dracula became Count Orlok), the Stoker estate won a lawsuit that ordered all prints of the film destroyed. Universal producer Carl Laemmle Jr saw enormous financial potential in the film and quickly secured the adaptation rights from the Stoker estate. After some financial setbacks, the original plans to make an epic production in the tradition of the silent classic The Phantom of the Opera, the production needed to be trimmed down in scale.

Dracula, whether due to creative decision or lack of budget, used a minimalist approach to music that created an eerie and unsettling atmosphere. Unlike many contemporary horror films that rely heavily on ominous scores and jump-scare soundtracks, Dracula embraced silence as a powerful tool. This absence of constant musical cues allows the audience to immerse themselves in a world of eerie silence, heightening the tension and unease. It allows viewers to focus on Lugosi's captivating performance and the atmospheric visuals, making the experience more intimate and unsettling. The silence, punctuated only by Lugosi's commanding presence, made Count Dracula a more enigmatic and sinister character.

"Listen to them. Children of the night. What music they make." This iconic line, delivered by Bela Lugosi in his hypnotic Hungarian accent, remains etched in the annals of horror history. It's not just a memorable line; it's a cultural touchstone that has resonated throughout horror films, literature, art, and popular culture for nearly a century. This line captures the essence of Lugosi's portrayal: a suave and cultured vampire with an air of sophistication and menace. Unlike Count Orlok in Nosferatu, who was a grotesque and monstrous figure, Lugosi's Dracula was refined, even romantic in his allure. This duality made him all the more captivating and enduring.

Laemmle's original choice for Dracula, Lon Chaney, had succumbed to throat cancer and was not available. Bela Lugosi was ultimately cast in the role, having played the character to much success on stage... it would prove to be the most remembered portrayal of the character. Bela Lugosi's Count Dracula is the embodiment of suave and sophisticated evil. His portrayal of the vampire nobleman with a hypnotic stare and cultured Hungarian accent set a standard that many vampire characters in film and literature would aspire to emulate. Lugosi's Dracula is a creature of charm and magnetism, luring his victims with an irresistible allure. His suave demeanor and hypnotic gaze make it all the more chilling when he reveals his true, bloodthirsty nature. Lugosi's performance not only redefined the vampire archetype but also established the enduring appeal of the charismatic vampire.

Even though he only played the character twice on film (in the 1931 release as well as the hilarious Abbott and Costello Meet Frankenstein), his portrayal remained so iconic that it is the most often remembered, imitated, and parodied performance of the character of all time. Many have played the role since, and with the exceptions of Christopher Lee and Gary Oldman, none have done the role justice as Lugosi did. His mixture of European aristocrat and lurking monster is captivating. To many, this is the definitive Dracula performance. Unfortunately for Lugosi, this role would typecast him for the rest of his career. This was dramatized, in part, in the 1994 film Ed Wood.

Full-length horror films were not common in 1931, so this was a bit out of the ordinary for both studios
and audiences alike. Executives were nervous about the box office potential of a film with a heavy reliance on the supernatural. After its premiere, newspapers reported that some audience members fainted at the site of the images on screen. Publicity jackpot. The studio wisely used this to sell the film in advertisements and it became a big financial success. Because of the success of Dracula, Universal plunged headfirst into the horror waters and produced a series of successful monster movies: Frankenstein (1931), The Mummy (1932), The Invisible Man (1933), Bride of Frankenstein (1935) and The Wolf Man (1941) as well as a string of sequels: Dracula's Daughter (1936), Son of Dracula (1943), House of Dracula (1945) and Dracula made appearances in House of Frankenstein (1944) and the afore-mentioned Abbot and Costello crossover. Dracula's legacy, much like the vampire himself, will live forever. To this day, fans of horror everywhere celebrate the "Universal Monsters."

There are far worse things awaiting man than death.

Notable Awards & Accomplishments

• National Film Registry: Class of 2000 Inductee
• AFI's 100 Years...100 Thrills – #85
• AFI's 100 Years...100 Heroes & Villains: Count Dracula – #33 Villain