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, Dracula drives Renfield mad and commands obedience. Renfield escorts the boxed count on a death ship to London. From there, the Count is introduced into the society of his neighbor, Dr. Seward, who runs an asylum. Dracula makes short work of family friend, Lucia Weston, then begins his assault on Eva Seward, the doctor's daughter. A visiting expert in the occult, Van Helsing, recognizes Dracula for who he is, and there begins a battle for Eva's body and soul.Written by
The Spanish-language Drácula (1931) is frequently said to be better than the simultaneously shot, English-language Dracula. I find this odd.
The performances of Villarías, Rubio, and Arozamena are much less affecting than those of Lugosi, Frye, and Sloan. I'll readily grant that Rubio's behavior is more like than of a typical madman than is Frye's, but *realism* precludes vampires in the first place.
The acting of some of the bit players in Drácula is poor. The lighting is simply thoughtless illumination. Continuity is ignored *ab initio*; for example, does Conde Drácula emerge from the coffin of Count Dracula (as shot by Freund or Browning), or from a packing crate?
There are various points at which Drácula *is* better than Dracula. Holes in the script of Dracula are generally plugged in Drácula. While Sloan's acting is superior to that of Arozamena, the English-language script requires him to be unbelievably ineffectual. (Watch Sloan pause on the steps to explain that there is no time to lose, and then continue *walking*!)
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