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Though the vampire legend has successfully seeped into all corners of modern media (from PBS's Sesame Street to prime time's Buffy the Vampire Slayer), few bloodsuckers remain as recognizable or creepy as Bela Lugosi in Tod Browning's Dracula. One of the crown jewels in Universal's marvelous cycle of horror films from the 1930s, this classic stars Lugosi as the dapper vampire from Transylvania biting his way by night to immortality. Having played this role in Hamilton Deane and John Balderston's Broadway stage adaptation of the Bram Stoker novel, the Hungarian-born Lugosi was the obvious choice for this 1931 film, especially since Browning's longtime collaborator, Lon Chaney, had recently died. The story is familiar: Dracula and the mad Renfield (Dwight Frye) travel to London and clash with the forces of reason and respectability, especially Professor Van Helsing (Edward Van Sloan). But despite Browning's exquisite, expressionistic mise-en-scène, Lugosi steals the show. The film made him a huge star, and filmmakers quickly typecast him due to his convincing, trancelike mannerisms. Monica McIntyre

All Movie Guide

Tod Browning's Dracula (1931) has made the most lasting impression of all versions of the Bram Stoker classic, although it was neither the first version (there were numerous silent-movie vampire tales) nor, for many viewers, the best version (many aficionados cite F.W. Murnau's 1922 Nosferatu). There are at least three reasons for the film's lasting importance. First, the opening sequences in the foothills of the Carpathians, and the subsequent set-up shots in Dracula's castle, are rendered in classic German Expressionist style by cinematographer Karl Freund, establishing a Gothic creepiness and tangibly dark and perverse tone that stick with the audience long after the setting shifts to England. The success of these atmospheric shots would influence horror filmmakers for decades to come. Second, Bela Lugosi's interpretation of Dracula would define the role. His suave, faded gentry style and unusually cadenced line deliveries would become the touchstone for many imitators. Lugosi gives his character just a hint of the sexual carnivore in his pursuit of the pretty maidens of England, themes that Werner Herzog and Francis Ford Coppola would develop more fully several decades later. Freund played a key role in defining Lugosi's sinister character by shining tiny pinpricks of light into his eyes, giving them an eerily otherworldly, penetrating quality. Third, the set designs are outstanding, from Dracula's Transylvanian castle to the London insane asylum housing Renfield, giving the film a perfectly Gothic horror quality. The film's second half deteriorates into a drawing-room drama, with too much chat and not enough horror. However, there is little doubt that the film's opening act, with its brilliant sets and stunning camerawork, together with Lugosi's elegantly sinister performance, make Dracula a memorable and influential classic. Dan Jardine

Notorious for containing some of the most overt references to lesbianism in a Hollywood Production Code-era film, Dracula's Daughter remains a curiosity from Universal's cycle of monster movies. Picking up where the original Dracula left off, Dracula's daughter is the exotic beauty Countess Marya Zaleska, who shows up to claim her father's body and sticks around long enough to sample the local cuisine. Most of the cast just goes through the motions, especially the usually reliable Otto Kruger, but Gloria Holden gives it her seductive all in the performance of her career. Vampirism is seen more as an addiction to be overcome than a state of being, and Holden portrays Zaleska as a woman tormented by her desire for blood, both desperate for a way out and hungry for her next meal. The film's most memorable victim is certainly Lili, a young woman of the streets. In a scene that is more sexually charged than horror-filled, Zaleska entices Lili to remove her blouse by asking her to pose for a painting, then with lustful eyes closes in to fulfill her thirst. Much of the film, particularly the climax, is poorly directed and rarely as dramatically involving as it could be, and the forced banter between Dr. Garth and his assistant Janet is stale and lacking in either chemistry or wit. Indeed, were it not for the presence of Holden and the lesbian overtones, Dracula's Daughter probably would have been forgotten long ago; with these elements, the film's continued status as a somewhat campy cult flick seems assured. Bob Mastrangelo

Son of Dracula represents a felicitious creative collaboration between director Robert Siodmak and his screenwriter-brother Curt. The story is set in the American south, where the mysterious Count Alucard (Lon Chaney Jr.) has recently taken up residence. Katherine Caldwell (Louise Allbritton), a student of the occult, is fascinated by Alucard, so much so that she agrees to become his wife. But when Katherine begins to look and act strangely, her former suitor Frank Stanley (Robert Paige) suspects that something's amiss. Assisted by town doctor Brewster (Frank Craven) and psychologist Laszlo (J. Edward Bromberg), Frank comes to the inescapable conclusion that Count Alucard is actually the dreaded vampire Count Dracula's offspring (this much he might have figured out simply by spelling the man's name backward!) To prevent Dracula from spreading his influence throughout America, Frank and his confreres race against time to destroy the count and, hopefully, rescue poor Katherine. Hal Erickson

This Universal "monster rally", an immediate sequel to House of Frankenstein, would seem to have been deliberately designed as the final entry in the studio's B-horror cycle. Onslow Stevens plays psychiatrist Dr. Edelman, who suddenly has a thriving business when two of Universal's "fright" personalities come calling. Count Dracula (John Carradine) wishes to be weaned away from his vampiric tendencies, while Lawrence Talbot (Lon Chaney), aka the Wolfman, wants to be cured of his werewolfism. Edelman does his best to help, simultaneously attempting to bring the Frankenstein monster (Glenn Strange) back to life. Unfortunately, Edelman inherits the madness, killer instincts and other antisocial habits of his celebrated patients. Only Lawrence Talbot manages to escape from Edelman's lab unscathed, ambling off into the sunset with heroine Militza (Martha O'Driscoll). Universal contract starlet Jane Adams, perennially cast as unfortunate young women with physical afflictions, plays Edelman's faithful hunchbacked nurse. Hal Erickson

Product Details

• UPC: 025192445521
• Source: UNIVERSAL STUDIOS
• Region Code: 1
• Aspect Ratio: Pre-1954 Standard (1.33.1)
• Presentation: B&W
• Sound: Dolby Digital Mono
• Language: English, Español
• Subtitles: English, Français, Español
• Time: 6:39:00
• Sales Rank: 1,973

This set contains DVDs which may be available separately:

• Dracula
• Dracula's Daughter
• Son of Dracula
• House of Dracula
• Dracula [Spanish Version]

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