tag:blogger.com,1999:blog-7429340425396153262.post4547992795027435020..comments2024-03-27T14:29:31.460-05:00Comments on Cinema OCD: Dracula (1931)Jennythenipperhttp://www.blogger.com/profile/04570881559181199994noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-7429340425396153262.post-67931340736285217892009-10-24T13:37:54.950-05:002009-10-24T13:37:54.950-05:00That explains the clunky, static feel of the movie...That explains the clunky, static feel of the movie, Steve, thanks. I often find movies of 1930 and even 1931 to have that feeling. Another common problem is overlong pauses between dialog, which may have been technical or a matter of style. <br /><br />I look forward to seeing the Spanish language version, which I've ordered from Netflix.Jennythenipperhttps://www.blogger.com/profile/04570881559181199994noreply@blogger.comtag:blogger.com,1999:blog-7429340425396153262.post-77018601526841785082009-10-24T10:26:20.419-05:002009-10-24T10:26:20.419-05:00Lugosi became associated with the role from the ea...Lugosi became associated with the role from the earlier stage production, where he ran around the stage, twirling his cape. The high-gain microphones used in late 1930-early 1931 required film actors to remain motionless, which meant that he had to learn how to act with his face, rather than his body. Fortunately, he had Browning to teach him; having worked with Chaney, Tod learned a thing or two about acting in close-up. This was Browning's first sound film and he had trouble transitioning between silent action scenes and static dialogue scenes. Renfield comes off well because Browning understood crazy and disgusting and Renfield's ravings didn't have to be intelligible, so he could move about at will. Browning, however, didn't seem to get the idea of vampire as uncontrollable sexual force, which is why I prefer George Melford's Spanish version, which has the sex angle worked out nicely.SteveQhttps://www.blogger.com/profile/16943650844671498074noreply@blogger.com