Le vampire ancien et comte Dracula arrive en Angleterre et commence à s'en prendre à la jeune et vertueuse Mina.Le vampire ancien et comte Dracula arrive en Angleterre et commence à s'en prendre à la jeune et vertueuse Mina.Le vampire ancien et comte Dracula arrive en Angleterre et commence à s'en prendre à la jeune et vertueuse Mina.
- Prix
- 5 victoires et 3 nominations au total
Charles K. Gerrard
- Martin
- (as Charles Gerrard)
Anna Bakacs
- Innkeeper's Daughter
- (uncredited)
Bunny Beatty
- Flower Girl
- (uncredited)
Nicholas Bela
- Coach Passenger
- (uncredited)
Daisy Belmore
- Coach Passenger
- (uncredited)
William A. Boardway
- Concertgoer Outside Theatre
- (uncredited)
Barbara Bozoky
- Innkeeper's Wife
- (uncredited)
Tod Browning
- Harbormaster
- (voice)
- (uncredited)
Moon Carroll
- Maid
- (uncredited)
Geraldine Dvorak
- Dracula's Wife
- (uncredited)
Histoire
Le saviez-vous
- AnecdotesGenerally regarded as the film that kickstarted the horror genre in Hollywood.
- GaffesIn the scene where Van Helsing is attempting to catch Dracula's lack of reflection in a mirror, there are visible chalk marks on the floor showing Bela Lugosi where to stand for the shot.
- Citations
Count Dracula: This is very old wine. I hope you will like it.
Renfield: Aren't you drinking?
Count Dracula: I never drink... wine.
- Générique farfeluThe original title card has producer Carl Laemmle, Jr. identified as Presient (sic).
- Autres versionsA version of the film played on the 10/24/15 airing of Svengoolie (1995) featured a soundtrack taken from the French language audio track on the Dracula Blu-ray.
- ConnexionsAlternate-language version of Drácula (1931)
- Bandes originalesSwan Lake, Op.20
(1877) (uncredited)
Music by Pyotr Ilyich Tchaikovsky
Excerpt Played during the opening credits
Commentaire en vedette
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.
- Arriflex1
- 22 juill. 2004
- Lien permanent
Meilleurs choix
Connectez-vous pour évaluer et surveiller les recommandations personnalisées
Détails
Box-office
- Budget
- 355 000 $ US (estimation)
- Brut – à l'échelle mondiale
- 87 019 $ US
- Durée1 heure 15 minutes
- Rapport de forme
- 1.20 : 1(original release)
Contribuer à cette page
Suggérer une modification ou ajouter du contenu manquant