Tod Browning's film of the Stoker novel didn't so much eclipse Murnau's NOSFERATU (1922) as shove it into antiquity. One big reason was the technological advancement of sound. Roughly three years old by 1930, the public embraced the talking picture wholeheartedly over silents.
The other big reason for Dracula's success was that the star of the stage play had been cast as the star of the film. And movie history was made. Bela Lugosi's Count Dracula is now a eighty-one year old icon, outlasting all other interpretations before or since. The twist is that this Dracula looks nothing like Stoker's creation (read the book). Lugosi, either through his work with the playwrights or later at Universal with Browning, devised the most insidious form the character would ever take- a handsome, courtly, well-groomed, civilized aristocrat, so gracious and attractive that he projected an aura of well-being over the viewer. This was worlds away from the Murnau/Max Schreck approach of head-on abomination in NOSFERATU.
Sensibly, no one in their right mind would stay within viewing distance of Schreck (or Kinski in NOSFERATU, THE VAMPYRE and Dafoe in SHADOW OF THE VAMPIRE) after the first glimpse. But Lugosi's Count would have you chatting and drinking wine- until he began to drink of you. That cape and those evening clothes are the perfect deception. Browning's Dracula is sometimes stagy and tentative in its continuity (it feels at times that the director was unsure where to go next in the progression of scenes). But Karl Freund's photography summons up a persistent mood of heavy gloom and enveloping dread.
Two other assets in the film are Edward Van Sloan as Van Helsing and Dwight Frye as Renfield. Van Sloan was Universal's resident Learned Man, appearing as an Egyptologist in THE MUMMY (1933), and perhaps most famously as Dr. Waldman in FRANKENSTEIN (1931). A career-long character actor, Dwight Frye was an eccentric talent who appears to have worked exclusively at Universal. He had his best role as Renfield, producing a still blood-curdling, sneering laugh that seemed to come from the depths of a hellish insanity. If you haven't seen this Dracula please do so. The Count awaits.
The other big reason for Dracula's success was that the star of the stage play had been cast as the star of the film. And movie history was made. Bela Lugosi's Count Dracula is now a eighty-one year old icon, outlasting all other interpretations before or since. The twist is that this Dracula looks nothing like Stoker's creation (read the book). Lugosi, either through his work with the playwrights or later at Universal with Browning, devised the most insidious form the character would ever take- a handsome, courtly, well-groomed, civilized aristocrat, so gracious and attractive that he projected an aura of well-being over the viewer. This was worlds away from the Murnau/Max Schreck approach of head-on abomination in NOSFERATU.
Sensibly, no one in their right mind would stay within viewing distance of Schreck (or Kinski in NOSFERATU, THE VAMPYRE and Dafoe in SHADOW OF THE VAMPIRE) after the first glimpse. But Lugosi's Count would have you chatting and drinking wine- until he began to drink of you. That cape and those evening clothes are the perfect deception. Browning's Dracula is sometimes stagy and tentative in its continuity (it feels at times that the director was unsure where to go next in the progression of scenes). But Karl Freund's photography summons up a persistent mood of heavy gloom and enveloping dread.
Two other assets in the film are Edward Van Sloan as Van Helsing and Dwight Frye as Renfield. Van Sloan was Universal's resident Learned Man, appearing as an Egyptologist in THE MUMMY (1933), and perhaps most famously as Dr. Waldman in FRANKENSTEIN (1931). A career-long character actor, Dwight Frye was an eccentric talent who appears to have worked exclusively at Universal. He had his best role as Renfield, producing a still blood-curdling, sneering laugh that seemed to come from the depths of a hellish insanity. If you haven't seen this Dracula please do so. The Count awaits.