Dracula (1931)

On the screen it comes out as a sublimated ghost story related with all surface seriousness and above all with a remarkably effective background of creepy atmosphere.

As is often the case with pioneers, it is ragged around the edges, but the film's weaknesses are not enough to prevent it from being appreciated. Dracula is not scary; it's a little too campy and hokey to be so (especially by today's standards), but it is nevertheless an effective storytelling vehicle, and there are occasional moments of movie magic.

Not by any means the masterpiece of fond memory or reputation, although the first twenty minutes are astonishingly fluid and brilliantly shot by Karl Freund, despite the intrusive painted backdrops.

The atmospheric opening is the best part--moody and full of sinister potential. After that, it's stilted drawing-room talk, variably acted, except for the cultish over-the-top dementia of Dwight Frye. Still, Dracula is the film that started the 1930s horror cycle, secured Universal's position as the horror studio, and made Hungarian actor Bela Lugosi a worldwide curiosity.

Certainly it is Lugosi's performance, and the cinematography of Karl Freund, that make Tod Browning's film such an influential Hollywood picture.

There have been many Draculas. But the one against which all others are measured is Bela Lugosi. Tod Browning's 1931 film is stagey and creaky, but it also has wonderful, unforgettable moments.

With Mr. Browning's imaginative direction and Mr. Lugosi's makeup and weird gestures, this picture succeeds to some extent in its grand guignol intentions.

Universal's classic from 1931, directed by Tod Browning. The opening scenes, set in Dracula's castle, are magnificent—grave, stately, and severe. But the film becomes unbearably static once the action moves to England, and much of the morbid sexual tension is dissipated.

早期几乎都集中在Lugosi一人的演绎魅力上，整体而言两部著名的诺斯费拉图丰富很多。但是自从看过德古拉和弗兰肯斯坦的怪物共演搞笑片（不是）《黑猫》以后，从此只能把伯爵视为欢愉元素了。

#SIFF27第五场。即使我不喜欢这一版改编的故事（后半部分无聊到我了），也不得不感叹它着实让吸血鬼的形象到达了一个新高度，即使是在2025年看也依旧迷人，华丽的邪恶、精美的异域风情、反英雄式的忧郁共同组成这种怪异的魅力，修道院和古堡的布景也同样美丽的，让人仿佛能嗅到那里灰尘的腐朽和悲伤。喜欢伯爵引用的那句话："To die, to be really dead, that must be glorious…"为什么人们喜着迷于吸血鬼呢，可能是在妄想着死亡背后某种可怕的辉煌吧

这种从民间传说化成的恐怖题材 美国人拍得没有德国人好（偏激发言//两版《诺斯费拉图》与《德古拉》《惊情四百年》相比就大概能看出差异 德国更强调从心理层面对未知的畏惧和恐怖 美国的版本似乎总是要把重点落在感情上 连吸血鬼都要优雅精致

同样的故事，没有赫尔佐格版本的邪魅，也没有茂瑙版本的惊心，甚至连德古拉这个关键角色的塑造也不如科波拉那部令人诟病的《惊情四百年》，最大的亮点大概在于用特写镜头来增强吸血鬼伯爵的压迫感（尽管我丝毫没有感受到威压）。

1.不如茂瑙和赫尔佐格的[诺斯费拉图]。2.贝拉·卢戈西开创了迷人优雅的德古拉形象，与片头的[天鹅湖]相得益彰，伯爵的瞪人方式十分魅惑。3.表现主义布景:城堡内的重重蛛网，无处不在的浓雾，瞄准卢戈西双眼的微型聚光灯。4.反高潮式结尾：以伯爵呻吟的画外音揭示其命运。5.映照不出的镜影。（8.5/10）

一个根据日期查票房榜的电影网站，搜到姥姥生日那天的打榜电影居然是Dracula，一个我最近正感兴趣的主题。那真是个猎奇的有趣的电影年代！但也促成如今多少个流派和巨星的诞生。这部颜值很高，但感觉比默片《诺斯费拉图》差了一档，因为故事线都简化掉了，关注焦点有俗气之嫌。不过，蝙蝠段落很可爱！

上映时报纸报导有观众受惊晕倒，因此成为卖点，48小时内在纽约一戏院卖出五万张票。影片改编自小说改编的百老汇舞台剧，很多灵感来自茂瑙默片《诺斯费拉图》（1922）。海上风暴一场则取自环球默片“The Storm Breaker ”(1925)，画面由默片的每秒16格到有声片的24格，后配音。

伯爵出深山、乘大船到了伦敦，遇到了命中的基友范海辛教授 ..

节奏奇慢，舞台痕迹很重，几乎是靠着卢戈西的形象硬撑的，镜头方面多用大景别制造空旷感，和德版是一大区别

叙事一塌糊涂，更谈不上吓人，没传说中的那么经典。

4分，这就是我装文艺青年的结果，看一老电影，还看不出哪里好。

吸血鬼麻不是絕美紳士就是變態怪咖~bele這形象 抱本書直接是大學教授~

吸血鬼的英國紳士造型。帶有催眠邪氣的特寫鏡頭。除開場放天鵝湖外，幾乎沒有音樂，後來1998年有Philip Glass的配樂版。

布朗宁1931年版的《德库拉》，继茂瑙的《诺斯费拉杜》之后又一部影响了整个20世纪的吸血鬼电影，同样改编自伯拉姆·斯托克的同名小说。本片在视觉上赋予了吸血鬼英俊的外表，奠定了其在20世纪人心中温文尔雅的高贵形象。出演这部电影之后匈牙利人贝拉·卢戈西便像吸毒一样迷上了德库拉这个角色

一边打盹一边看，睡眼惺忪哥特堡，醒来颈间有齿痕，不知是梦是电影

其实这个很简陋的,线绳吊蝙蝠那场景我都看到了...应该数码修复下.不过老演员们还是很优雅的.

之后所有的吸血鬼电影都该感谢这部,没有它,之后的吸血鬼形象或许还会在丑陋恐怖上停留数十年...不过话说回来,这会的dracula形象还挺一根筋的..完全没有内心戏- -....使得吸血鬼有点过于简单化了..不过斯托克的小说中的吸血鬼大抵也是这样的.

SS的figure没买很遗憾

Bela Lugosi

Lugosi had a powerful presence and authority onscreen. The slow, deliberate pacing of his performance gave Dracula the air of a walking, talking corpse. the many closeups of Lugosi's face in icy silence. shadow narration, the ending a bit hasty & undramat