At midnight on Walpurgis Night, an English clerk, Renfield, arrives at Count Dracula's castle in the Carpathian Mountains. After signing papers to take over a ruined abbey near London, ... See full summary »
Enrique Tovar Ávalos
After Jonathan Harker attacks Dracula at his castle (apparently somewhere in Germany), the vampire travels to a nearby city, where he preys on the family of Harker's fiancée. The only one ... See full summary »
After a harrowing ride through the Carpathian mountains in eastern Europe, Renfield enters castle Dracula to finalize the transferral of Carfax Abbey in London to Count Dracula, who is in actuality a vampire. Renfield is drugged by the eerily hypnotic count, and turned into one of his thralls, protecting him during his sea voyage to London. After sucking the blood and turning the young Lucy Weston into a vampire, Dracula turns his attention to her friend Mina Seward, daughter of Dr. Seward who then calls in a specialist, Dr. Van Helsing, to diagnose the sudden deterioration of Mina's health. Van Helsing, realizing that Dracula is indeed a vampire, tries to prepare Mina's fiance, John Harker, and Dr. Seward for what is to come and the measures that will have to be taken to prevent Mina from becoming one of the undead. Written by
Doug Sederberg <firstname.lastname@example.org>
There was no real musical soundtrack in the film because it was believed that, with sound being such a recent innovation in films, the audience would not accept hearing music in a scene if there was no explanation for it being there (e.g., the orchestra playing off camera when Dracula meets Mina at the theatre). See more »
When Dracula's brides converge on Renfield after he has passed out, Dracula enters and motions them away. As they are walking backwards, one bride steps on another bride's dress causing one bride to "catch" another. It is possible that she may have stepped on her own dress. See more »
Young Girl Passenger:
[reading from a Transylvanian tourist brochure]
"Among the rugged peaks that crown down upon the Borgo Pass are found crumbling castles of a bygone age."
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The original title card has producer Carl Laemmle, Jr. identified as Presient (sic). See more »
Bela Lugosi forever captures the role of a certain undead Transylvanian count who takes a trip to London in the first legitimate version of the classic Bram Stoker novel. Despite many attempts by many talented film makers, I believe this version, directed by Tod Browning, remains the definitive take on the often-filmed novel. But why? Is it simply nostalgia? Granted, I do fondly remember staying up late as a child watching this film on Ghost Host theater and finding myself suitably frightened. However, if I were the same age today, would I find the film as effective? Would a steady diet of more modern and explicit horror films made me too jaded to enjoy the more subtle charms of this film? I hope not, but I could see how it might. The film is slow, and its slowness is further emphasized by the absence of an under score. It is stagey - being as it was more influenced by the stage play than the novel itself. Also, the story plays itself out too quickly. Van Helsing manages to figure everything out and dispatch the count in about two seconds. There simply isn't much suspense - and even less gore or violence. Yet it remains the champ. Why? The main reason is Lugosi himself. He gives the performance of a lifetime. He truly inhabits the role and is genuinely creepy. The rest of the cast, particularly Edward Van Sloan as Van Helsing and Dwight Frye as Renfield, support him admirably. However, when I watch the old Universal horror films nowadays, I find myself really enjoying the atmospheric sets and lighting. Yes, there is still much to love about Dracula today. (As long as you avoid the optional Philip Glass score on the DVD!)
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