Preface: The following assumes the reader has previously viewed the production’s American companion piece, Tod Browning’s Dracula, as the critique focuses upon which rendition of the narrative is more effective considering the history of the two films are inseparably linked.
The first significant difference between Tod Browning’s version and George Melford’s interpretation of Bram Stoker’s tale is that the hand which we first see emerging in the Transylvanian catacombs is that of the Count’s, not one of his wives. Of course, Melford’s crew had the advantage of reviewing Browning’s dailies, shot a few hours before the Spanish filmmakers rolled their cameras, as both crews worked off the same set and script. Thus, hindsight was to Melford’s advantage in this regard. Yet, perhaps symbolic of Melford’s picture, we watch as the opossum which scampers around Dracula’s catacombs in Browning’s version, cumbersomely tumbles down a decrepit crypt before the bug in the American production was apparently unwilling to stay put long enough to emerge on cue ever again as it merely crawls alongside the miniature casket in the latter edition.
Many argue that Melford’s Drácula is superior to Browning’s yet, outside of narrative cohesion and exposition, there is little significant difference between the two films. The most notable distinction between the movies is that the Spanish version wasn’t confined to observing the Hays Code and, as a consequence, Melford permitted his actresses to dress more provocatively. This is most apparent in Lupita Tovar’s role as Eva (in her counterpart role to Mina) during her conversation on the veranda with Juan Harker (Barry Norton in his counterpart role to John) as her breasts are easily discernable through her low cut nightgown. What results is that the sexual undertones in Browning’s work is thereby brought to the forefront and, by making the theme of subverted sexuality more explicit, much of the insinuative potency of Dracula’s socially usurping malevolence is lost. Furthermore, though Melford denies his camera to record the vicious acts of the Count (Carlos Villarías) as does Browning, we are still witness to the much spoken of but never previously depicted bite marks which the vampire leaves upon the necks of his victims, thus depriving the audience of creating their own macabre, personally terrifying, vision of the wound.
Yes, Melford’s rendition of the tale closes loose ends which Browning’s film hastily omits, such as the death of Lucia (Carmen Guerrero in her counterpart role to Lucy) but it seems that Melford missed the point at times. For example, in Browning’s film Martin states that everyone at Seward’s sanitarium is crazy with the exception of himself and the maid, though he sometimes has doubts about the latter. The maid then agrees before declaring the opposite. At first, the moment seems comical in the maid’s tabla rosa negation until we realize that Dracula may or may not have bitten her earlier in the film. However, in the Spanish version, the same declaration is made by Martin (Manuel Arbó) but the maid, Marta (Amelia Senisterra),waves Martin off in disgust, thus depleting the Count’s omnipresent influence (obviously the Count hadn’t infected the Spanish maid). This also inserts advertent comedy whereas Browning, when he did pause for humor, allowed it to be insinuative and very black in order to maintain the overall tone of the narrative. Nonetheless, Melford’s production, clocking in at nearly thirty additional minutes than Browning’s final running time, does permit the tale to patiently unfold as Melford refuses to have his actors narrative every other scene. Instead, especially during the latter half of the production, Melford visually depicts most of what Browning’s characters allude to in the American edition.
Of course, with a divergent cast, the question stands upon which crew better represents the various character in Stoker’s story. Understandably, Villarías is no Lugosi but unfortunately, the Spanish actor attempts to emulate the Hungarian actor’s interpretation of the part and, in so doing, comes across as excessively campy whereas Lugosi is suave and articulate. The next question is whether or not Pablo Álvarez Rubio could aptly fill Dwight Fry’s shoes as Renfield. The Spanish actor does an admirable job and holds his own in many respects but, at times, does not successfully skirt the line between lunacy and overacting as well as his American equivalent. As for the remainder of the cast, Norton is permitted to flush out the his character as Juan moreso than David Manners in his role as John but, concessions being made, he was permitted more screen time and, in retrospect, he does no more than Manners did in the time he was allotted. Lastly, when all’s said and done, Eduardo Arozamena and Edward Van Sloan are almost interchangeable as Van Helsing.
Finally, the other aspect of the varying productions which is often cited as noticeably differing is the cinematography. However, aside from a few wise, aesthetically pleasing, sweeping and overhead shots not found in Karl Freund’s work, George Robinson permits his camera to sit as statically as does the former for most of the film.
Does the additional narrative exposition and a couple of creative camera positions compensate for the loss of subtly and George Melford’s failure to completely understand the script, that is to say, enough at least to trump Tod Browning’s telling of the famed vampire tale or do the two films ultimately result in a comparative stalemate? If you’ll notice, my overall rating is half a star lower than what I issued the American director’s production as well as the scare factor being decreased by the same ratio. However, this is merely due to the fact that Carlos Villarías doesn’t have the screen presence of Bela Lugosi and thus doesn’t breathe as much (un)life into the role and, consequently, his unintentionally comical, effigetic stare diminishes the potency of the character in the latter regard. Yet, these are merely arbitrary notes in respect to the film as a whole. As such, when the final curtain falls, the two productions wind up at even after all of their plusses and minuses are tallied and that, folks, it that.
-Egregious Gurnow
- Interview with J.R. Bookwalter - January 22, 2015
- Interview with Andrew J. Rausch - January 22, 2015
- Interview with Rick Popko and Dan West - January 22, 2015
- Interview with Director Stevan Mena (Malevolence) - January 22, 2015
- Interview with Screenwriter Jeffery Reddick (Day of the Dead 2007) - January 22, 2015
- Teleconference interview with Mick Garris (Masters of Horror) - January 22, 2015
- A Day at the Morgue with Corri English (Unrest) - January 22, 2015
- Interview with Writer/Director Nacho Cerda (The Abandoned, Aftermath) - January 22, 2015
- Interview with Actress Thora Birch (Dark Corners, The Hole, American Beauty) - January 22, 2015
- Interview with Actor Jason Behr, Plus Skinwalkers Press Coverage - January 22, 2015
