LornaHansonForbes

the differences between the two that I recall: *the first shot of DRACULA in the scene where he meets Renfield on the staircase in the SPANISH version occurs in a dramatic, swerving, camera zoom that races up the steps to meet him. in the American version it's just a cut to a medium shot of Lugosi. *during the Shipboard massacre in the SPANISH version, there are several unsettling shots of RENFIELD cackling madly as he watches the (unshown) carnage on deck through a porthole. *DRACULA always rises from his coffin in a cloud of smoke in the SPANISH version *there is at least one WONDERFUL exterior shot of CARFAX ABBEY in the SPANISH VERSION that shows it on a rock precipice overlooking a stormy sea. nonesuch shot was used in the american version. *in the SPANISH version DRACULA angrily smashes the cigarette box mirror with his cane. In the American version he just slaps it down. *the scene where VAN HELSING whips the crucifix out on Dracula is notable for the awful reaction of Carlos Villarias in the Spanish version. *there is a scene of the men leaving the graveyard after putting Lucy to rest in long shot (maybe doubles) with dialogue in the Spanish version; this scene is missing entirely from the American version and it's a shame. That's what comes to mind immediately. but there are a lot of other differences.

just to see Lugosi's introduction done the way it was in the Spanish version- with that wonderful rapid swoop of the camera as it lunges towards the figure on the staircase would be amazing. Tod Browning's direction is so lethargic, his camera barely moves.

i don't believe so.

it is better in every detail but one, and that is the actors. watching SPANISH DRACULA is the tiniest bit heartbreaking for me because I so deeply wish that Lugosi and Co. had been directed by the people who made it. Save the performance of Carlos Villarias and a similarly underdone ending, SPANISH DRACULA is better.

I recently bought the latest DVD of DRACULA, which has an audio commentary. The speaker claims the peasants in those scenes are speaking genuine Hungarian and are reciting traditional "protection" prayers.

Hey, you're back! Was getting concerned.

! (note: Jeb's exclamation point quit and has come to work for me.) As far as Shearer goes- her style was highly theatrical because- like GARBO and CRAWFORD, the major years of her career happened during the transition of silents to sound and the subsequent replacement of highly grand, theatrical acting with lots of gestures by less showy styles. THE WOMEN is a prime example of the old style showing up in Shearer's work, there are a couple of scenes where- yes- she is laughably melodramatic, but overall, I think shes good. MARIE ANTIONETTE (1938) for which she earned her final Best Actress nomination, is her finest hour. She is utterly amazing in the final scenes of that film, some devastating work. She is also exquisite in PRIVATE LIVES (1933), where she plays off Robert Montgomery really well and masters the complicated dialogue (it's one of the first sound films where they really got the pattern of conversation right.) She is also wonderful in THE BARRETTS OF WIMPOLE STREET (1934), although- again, the melodrama is present, but in this case- it suits the story (Charles Laughton is also in this and, of course, he's great.) THE DIVORCEE' (1930) for which she won her only Oscar, is not very good, but she is good in it (even though I think she was not a natural beauty, the camera loved her and she really encapsulates the look of the early thirties in this movie.) A FREE SOUL (1931) is junk- you may find it unwatchable- but it's worth noting as a very pre-Codey pre-Code and a footnote for GWTW fans as it features Clark Gable as the bad guy and Leslie Howard as the good guy. Weird movie though. edit: I have no idea why this is double spaced.

I agree whole-heartedly that there are TWO NORMA SHEARERS, but for me they are Norma Pre-code and Norma Post-code. Theres a lot more differences in her persona, roles, and acting style pre vs post code than there is between her silent and sound films.

in praise of SPAM-ANGST-SINE.

we'll drink a cup of sadness...

"and never brought to mind..."