Carlos Villarías uses this expression about 50 times throughout the film. |
First published at
Mostly Movies on 29 November 2010
It was a common practice in the early sound era for
Hollywood studios to produce a second, nearly identical, version of a film in a
foreign language. They were produced in Spanish, French and German most often
and very few of the foreign language versions survive to this day. One of the
most famous that does survive is the Spanish language version of the 1931 Tod
Browning Dracula.
George Melford served as director, as was his station at
Universal pictures during that period. He directed Spanish language versions of
several films. According to IMDb, he neither spoke nor understood the language,
but Wikipedia tells me he got the job specifically because of his knowledge of
Spanish. Oh what a perfect example of how unreliable the Internet is. Ten years
before Drácula he directed Rudolph Valentino in The Sheik, which survives as
one of the classics of silent cinema.
All the same costumes and sets were used, but filming was
done at night while the English version shot during the day. This gave the film
makers the advantage of seeing the dailies before setting up their own shots so
they could see what worked and what didn’t. From what I can tell the vast
majority of the two films are nearly identical with only a few differences.
The cast is filled out by various Spanish and Latin
American actors, including the Cordobés Carlos Villarías in the title role. Supposedly
his performance is modeled on Bela Lugosi’s, but there are glaring differences
– namely that Lugosi was a much better actor who could even make his campy
stylized performance seem believable. Nothing is quite as bad as the actor
playing Renfield (Pablo Alvarez Rubio), whose every reaction shot involves
mouth agape and eyes wide open. He seems like an actor who has almost no
control over his own body – kind of a major failing for someone meant to be
portraying another person.
Incredibly enough, the Spanish version is nearly 30
minutes longer than the English version. Remarkable considering they worked
from the same script. The extra time is found in the overabundant use of
reaction shots. This practice is not only unnecessary, but distracting and
inadvertently comical. I saw the film as part of the Seville European Film
Festival where the audience sniggered and chuckled throughout the entirety of
the film. Granted, much of it was reactions to campy special effects, but
there’s no denying how people felt about exaggerated (and repeated) facial
expressions. To offer one example that could serve to describe just about every
shocking moment in the film: when Renfield first arrives at Dracula’s castle he
watches as the Count passes through a net of cobwebs without disturbing them.
First we get a close-up of Renfield’s face registering shock and surprise; then
cut to Dracula
looking...well, a picture is worth 1000 words so take a look at the photo above;
cut back to Renfield’s changeless expression; back to Dracula, no difference;
back to Renfield; back to Dracula for a line of dialogue. This exchange takes
more than five seconds, an eternity when you’re talking about a sequence with
no action and no dialogue.
If nothing else, this version stands as a curiosity,
worth seeking out for Spanish speakers and anyone interested in studying film
form and content. I’ve sort of always wondered what it would be like to see one
movie directed simultaneously by two different people to get a sense of just
how much the director influences a production. Although in the case of the two
Draculas they have different casts so it’s not a true experiment, but close
enough I suppose.
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