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Soooo fellow geek classic monster collectors, philosophize me, does this sound familiar? You are perusing various sites and store DVD racks and you stumble across these 75th Anniversary editions of DRACULA and FRANKENSTEIN and your geek heart starts palpitating at the opinion of digitally restored version of these films and you salvage all enraged and you launch deciding which funny books you’ll give up this month to capture these instead…….but then you remember you’ve bought the last TWO previously released DVD versions of these films and now you wonder if these are worth it? OK….well…maybe this is kind of an exaggeration, but you know what I mean. I bowed to temptation because, well….Universal has me with their monster releases from scheme encourage….period.

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Soooo…..as it is obligatory when one has bought three releases of the same d@mn film, I sat down with them all and ran them through to resolve which was the best of them. It is without demand IMO, that the DRACULA 75th DVD is the best transfer when compared to the 90’s (poster art), and the first LEGACY (green box art) releases. Picture-wise, the amount of speckles, noise and whatnot has been lop quite a bit. This is most apparent in the darker scenes. So on a beneficial label, seeing less snowy junk pop up is nice. Some of the scenes also recognize less jittery. For example, in the previous releases, the scene when Frye first comes into Drac’s home and Lugosi is descending the staircase unhurried him, the film image is really tremulous…like watching a dreadful bootleg. In this 75th release it looks stable and doesn’t have that funky aliasing watch. The overall describe quality fair feels cleaner in this release. But there is serene a honorable amount of junk throughout the film that this cannot possibly be considered the definitive restoration. Only some making the leap from VHS to DVD will procure their socks knocked of with this release. If you bought the other two, then you might be ecstatic, but probably underwhelmed despite the favorable points. Like the FRANKENSTEIN release, this composed feels like a money making thing than an anniversary homage to this film especially after the promise of something unique from a third dip. Some people may say that we can’t inquire distinguished because the film is so dilapidated. But sorry, after THREE RELEASES, and most especially since this one is clearly the supposed icing-on-the-cake release so far, well, I consider Universal could have done even better than this, Mighty BETTER. Technology as it stands nowadays is very forgiving when cleaning up outmoded films…..but companies need to be willing to keep the money into using said technololgy. I would assume that even if the buying public of an older film such as this is slight and Universal wasn’t going to pour a ton of cash into it, well, being the third time releasing the same d@mn movie, would it be scandalous to acquire they’d have enough saved in the piggy bank to do a definitve restoration instead of this continued fleecing, but hey, guess that’s business. I contemplate if they DID do grand better and THEY knew it, we would have gotten Unusual SPECIAL FEATURES and none of the stuff that was already on the other two releases place for the one Lugos bit that is fresh here.

Sound-wise, I have to agree with other reviews that I have read that mention that the 90’s release had better sound. It did seem a bit crisper. But like the FRANKENSTEIN releases, picking the better sound with DRACULA is like picking the lesser o two evils…….do you want Niagra Falls somewhere in the background or do you want gentle rapids? To me, all of the background hissing and popping and rustling sounds funky on all of the releases, but they eventually unbiased become portion of the film. I don’t really have great of a preference as none have ever been so desirable that I could build myself care THAT worthy.

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VALUE: Hmmmmmm……..if you have the money, this is the best DRACULA to derive in terms of describe and such. But one has to ask themselves how great they care about this film to fork over the cash for honest one film. If you are only marginally eager in this DRACULA, but smooth want a copy, I’d go for the LEGACY area as that comes with other films and is the better value overall. This release is truly for the purists and gluttons for finacial punishment such as myself. Even though I have now three copies of this film, I have aloof only managed to perceive it less than ten times since the first 90’s release since, even though a classic, I acquire DRACULA mostly a lifeless affair when watched repeatedly so I hafta bewitch it in like wine….uninteresting…and over time. So my point is, one has to ask themselves, how considerable do you care to tumble the cash for yet another copy of this if you already have it?

PACKAGING: For the most share, identical to the green LEGACY sets. That is, the faux hardback book case that opens up to utter two DVD’s. Only here, there is NO start window slipcover to protect the case. This seems kinda cheap since the case is a frosty, leather-ish ‘grained’ hide printed in matte sepia, which is nice. But it will succumb to scuffs and such worthy faster than the better protected LEGACY plot.

OVERALL: Like the FRANKENSTEIN 75th….this is cold if you got the money to upgrade. But for what it’s touted as, this detached is gets 50/50 from me. Impartial support in mind that the ‘definitve’ HD/BLUE RAY versions will near at some point ……..or at least the first versions of -those- definitve versions…so we ain’t outta the woods yet.

This DVD is the “Jewel in the Crown” of the classic Universal fright films released in that format. It includes a quality print of the Bella Lugosi DRACULA, with options to play the film with Philip Glass’ new soundtrack; the so-called “Spanish” DRACULA starring Carlos Villarias; and a interesting documentary hosted by Carla Laemmle, who has a bit role in the Lugosi DRACULA and who was niece to Universal studio head Carl Laemmle. There is also an audio track by David J. Skal, production notes, and the like.

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The Lugosi DRACULA is somewhat problematic. DRACULA had been previously (and illegally) filmed as the calm NOSFERATU, and a later stage adaptation proved a staple of the British theatre. When the stage play at last arrived in Original York, the title role fell to Bela Lugosi. Although Universal optioned the material, studio head Carl Laemmle was not keen about it; although European films were comfortable with the supernatural, American films were not, and Laemmle did not occupy the public would score such an irrational record. Nor was Laemmle eager in Lugosi; if DRACULA was to be filmed, it would be filmed with Lon Chaney.

When Chaney died the hide role went to Lugosi by default, but there were further issues. Originally planned as a big-budget production, the deeping Sizable Depression made the film’s box office possibilities seem even slighter than before and its budget was slash to the bone. And Todd Browning, who had been such a successful director of the macabre in the still era, proved clumsy with sound. The resulting film was more than a small clunky–but it had two things going for it: a gracious first thirty minutes and Lugosi. Although Lugosi’s performance may seem excessively mannered by today’s standards, audiences of the 1930s found it terrifying–and even today, when the character of Dracula comes to mind, we are more likely to believe of Lugosi than other actor that later played the role.

For a brief time after the advent of sound, several studios made foreign language versions of their productions. The “Spanish” DRACULA was one such film, and when the English language company wrapped for the day the Spanish speaking cast arrived and filmed through the night using the same sets. This gave the Spanish company the help of hindsight: they were perfectly aware of what the English language company was doing, and they deliberately status out to best it. The result is a somewhat longer, more cohesive film with some of the most titillating visuals and camera work of the early sound era. But unfortunately, star Carlos Villarias was no Bella Lugosi: although worthy of his performance was more subtle than Lugosi’s, it was also less intimidating, and where today Lugosi seems mannered, Villarias seems unfortunately funny. In a perfect world, we would be able to insert the Lugosi performance into the “Spanish” Dracula. As it is, we are left with two deeply flawed but nonetheless inspiring films.

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In their beget ways, both films proved incredibly influential, and it is difficult to imagine the evolution of the classic-style anxiety film without reference to both the Lugosi and the “Spanish” DRACULA. The Lugosi film is not perfectly restored, but the print is very, very superb, easily the best I have seen. The “Spanish” DRACULA has more problematic elements, partly due the fact that the film borrowed some scenic footage from the Lugosi version and snips of footage from earlier films (there even appears to be a brief clip of the ballet from the restful PHANTOM OF THE OPERA in the film) ; the film is sometimes sad, sometimes very spotted, but short of a cgi restoration this is probably as favorable as it gets.

The Philip Glass soundtrack, which is optional, tends to divide viewers. The Lugosi DRACULA had virtually nothing in the diagram of soundtrack; the “Spanish” DRACULA traditional music to a greater degree, but even so that degree is comparative. The Glass secure is often quite racy, but it is also as often intrusive as it is effective. Some feel it adds quite a bit to the film; others derive it distracts. Whatever one’s reaction to the film, either English or Spanish language, or with or without the Glass catch, this is a powerful DVD package, and fans of classic anxiety will come by it an almost inexhaustible pleasure. I cannot recommend it too strongly.

Gary Taylor (gft)
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