Dracula's Daughter tells the story of Countess Marya Zaleska, the daughter of Count Dracula and herself a vampire. Following Dracula's death, she believes that by destroying his body, she will be free of his influence and live normally. When this fails, she turns to a psychiatrist, Dr. Jeffrey Garth (Kruger). The Countess kidnaps Dr. Garth's assistant, Janet (Marguerite Churchill), and takes her to Transylvania, leading to a battle between Dr. Garth and the Countess in an attempt by him to save Janet.
Ostensibly based on a deleted chapter from Bram Stoker's 1897 novel Dracula– published in 1914 as a short story under the name "Dracula's Guest"[2]– the film bears absolutely no resemblance to the source material. Modern sources maintain that the film was instead loosely based on Carmilla, an 1872 Gothic novella by Joseph Sheridan Le Fanu, which is often cited as the first published British work of fiction to deal with lesbian relationships.[2]
David O. Selznick purchased the rights to the Stoker material for Metro-Goldwyn-Mayer, but Universal bought them in 1934, with the rights to revert to MGM if Universal did not begin production by October 1935, a date later extended to February 1936. Universal rushed the film into production in that month, with the script only partially completed, to meet this deadline.[2] The film was first assigned to James Whale, but Universal production head Carl Laemmle Jr. finally hired Hillyer as director.
While not as successful as the original upon its release, the film was generally well-reviewed. In the intervening decades, criticism has been deeply divided. Contemporary critics and scholars have observed the film's alleged lesbian overtones, which Universal exploited in some early advertising.
Plot
Having just destroyed Count Dracula, Professor Van Helsing is arrested by two Whitby policemen, Sergeant Wilkes and Constable Albert, after they happen upon Dracula's body with a stake driven through its heart (as well as the broken-necked corpse of Renfield) in the cellar of Carfax Abbey. Van Helsing is taken to Scotland Yard, where he explains to Sir Basil Humphrey that he did indeed destroy Dracula, but because the vampire had already been dead for over 500 years, it cannot be considered murder. Instead of hiring a lawyer, Van Helsing enlists the aid of a psychiatrist, Dr. Jeffrey Garth, who was formerly one of his star students.
In Whitby, Sergeant Wilkes leaves the jail to meet an officer from Scotland Yard at the train station, placing Constable Albert in charge of the recovered bodies. Meanwhile, Dracula's daughter, Countess Marya Zaleska, enters the jail, mesmerizes Albert with her jeweled ring, and – with the aid of her manservant, Sandor – steals Dracula's body from the jail. After tossing salt on the pyre, the Countess ritualistically burns Dracula's body, hoping to break her curse of vampirism. However, Sandor soon begins to discourage her, telling her that all that is in her eyes is "death". She soon gives in to her thirst for blood. The Countess resumes her hunting, mesmerising her victims with her exotic jewelled ring. After a chance meeting with Dr. Garth at a society party, the Countess asks him to help her overcome the influence she feels from beyond the grave. The doctor advises her to defeat her cravings by confronting them, and the Countess becomes hopeful that her will, plus Dr. Garth's science, will be strong enough to overcome Dracula's malevolence.
The Countess sends Sandor to fetch her a model to paint. He sees a pretty young woman, Lili, and follows her onto a bridge. The woman pauses at the railing looking despondent. Sandor promises her food, warmth, and money. She hesitates, but Sandor explains that he seeks her for his mistress. Lili returns with Sandor. Countess Zaleska initially resists her urges, but succumbs and attacks her. Lili survives the attack and is examined by Dr. Garth through hypnosis; she reveals enough information to let Dr. Garth know that it was Countess Zaleska who attacked her, but she suffers heart failure and dies. The Countess gives up fighting her urges and accepts that a cure is not possible; she lures Dr. Garth to Transylvania by kidnapping Janet Blake, his secretary, with whom he has a playfully antagonistic relationship, but now realises that he cares for her. Zaleska intends to transform Dr. Garth into a vampire to be her eternal companion. Arriving at Castle Dracula in Transylvania, Dr. Garth agrees to exchange his life for Janet's. Before he can be transformed, Countess Zaleska is destroyed when Sandor shoots her through the heart with an arrow as revenge for her breaking her promise to make him immortal. He takes aim at Dr. Garth, but is shot dead by a Scotland Yard policeman, who along with Van Helsing, has followed Dr. Garth from London.
Universal originally did not hold the rights to "Dracula's Guest", a chapter excised from Bram Stoker's original novel, which was published in 1914, after Stoker's death, as a short story, and which was the purported source material for the film. Metro-Goldwyn-Mayer executive David O. Selznick negotiated a contract in 1933 with Stoker's widow, Florence, to buy the rights to the chapter for an advance of $500 against a purchase price of $5,000. MGM's lawyers and executives were worried about the use of the word "Dracula" in the film's title, fearing that Universal would take legal action, although Selznick's contract with Stoker explicitly listed "Dracula's Daughter" as a possible alternative title. The project was code-named "Tarantula" in correspondence.[4] Universal bought the rights from MGM in 1934, but they would revert to MGM if Universal did not begin production by October 1935, a date later extended to February 1936. Universal rushed the show into production in that month, with the script only partially completed, to meet this deadline.[2]
Modern sources report that the film was also loosely based on Carmilla, an 1872 Gothic novella by Joseph Sheridan le Fanu, which is often cited as the first published British work of fiction to deal with lesbian relationships.[2]
Selznick hired John L. Balderston, who had previously worked on the 1931 Dracula and Frankenstein, to write the screenplay. Balderston's screenplay involved tying up loose ends from the original film. In it, Von Helsing returns to Transylvania to destroy the three vampire brides seen in Dracula, but overlooks a fourth tomb concealing Dracula's daughter. She follows him back to London and operates under the name "Countess Szekelsky". She attacks a young aristocrat, and Von Helsing and the aristocrat's fiancée track her back to Transylvania and destroy her. The script included scenes that implied that Dracula's daughter enjoyed torturing her male victims, and that while under her control, the men liked it, too. Also included were shots of the Countess's chambers being stocked with whips and straps, which she would never use on-screen but whose uses the audience could imagine. Regardless of any objections that the Production Code Administration (PCA) would have raised to many aspects of the scenario, Balderston's script could never have been filmed because Selznick's contract with Stoker expressly barred him from using any Bram Stoker characters that did not appear in "Dracula's Guest". Selznick resold the rights to "Dracula's Guest" to Universal in October 1934[2] or September 1935[4] for $12,500, which included the rights to Balderston's scenario.[5] Horror film scholar David J. Skal theorizes that this was Selznick's actual motivation in buying the rights in the first place, to profit from Universal's desire for a sequel by tying up the only obvious source material.[6] A condition of the sale was that the rights would revert to MGM if Universal did not start production by October 1935, later extended to February 1936.[2]
Director
Universal studio head Carl Laemmle, Jr. (nicknamed "Junior") wanted James Whale, fresh from his great success with Bride of Frankenstein, to direct Dracula's Daughter. Whale was waiting for Irene Dunne to finish shooting Magnificent Obsession, so she could begin work on Whale's Show Boat. Wary of directing two horror films in a row, Whale instead convinced Laemmle to buy the rights to a mystery novel called The Hangover Murders. Laemmle agreed only after extracting a promise from Whale that he would direct Dracula's Daughter next.[7] Whale completed work on the film, Remember Last Night?, on September 14, 1935.[8]Magnificent Obsession completed filming on October 29. With Dunne freed up, Whale went to work on Show Boat. Laemmle replaced him with A. Edward Sutherland, who was best known for his work on comedies. Sutherland had as little interest in Dracula's Daughter as Whale did, and soon left the studio,[9] so Hillyer came on to direct.[citation needed]
Universal script
A treatment by John L. Balderston was submitted to Universal in January 1934, and may have been presented to MGM earlier. Another short treatment by Kurt Neumann was rejected by Universal.[2]
The earliest screenplay for the Universal film was written by R. C. Sherriff and submitted in July 1935.[2] It began with three scenes set in the 14th century and centered on the Dracula legend. It then switched to the present day, focusing on two engaged couples who visit Transylvania. The men explore the ruins of Dracula's castle. One is later found, insane, and the other goes missing. Professor Von Helsing is summoned, and he tracks the missing man to London, where he is in thrall to Dracula's daughter, the Countess Szelinski (sic). When she attempts to flee with her thrall to the Orient by ship, Von Helsing and three others book passage on the same ship. During a violent storm, Von Helsing destroys Dracula's daughter, and with her hold over the men broken, the scenario closes with a double wedding. This version was submitted on August 28, 1935, to the British Board of Film Censors, which rejected it, saying in part "Dracula's Daughter would require half a dozen ... languages to adequately express its beastliness". On September 10, Sherriff met with BBFC representatives and submitted a revised scenario two days later. This scenario was passed, but because its details were not recorded by the BBFC, how much it differed from the original or how much if any of that scenario was retained in the final script is unknown.[10]
Universal submitted Sheriff's first draft to the Production Code Administration (PCA) on September 5, 1935, and encountered stronger resistance from PCA head Joseph Breen than it had from the British censors. Breen reported back that the script "contains countless offensive stuff which makes the picture utterly impossible for approval under the Production Code".[11] A second draft was submitted on October 21, but it, too, was rejected, with many of Breen's objections centering on the 14th-century scenes in which Dracula himself appeared. Whether this submission was the same submission that the BBFC had previously passed is unclear. A third Sheriff draft was submitted three days later, and Sherriff's fourth and final draft was on November 10. All remained unacceptable, and Whale biographer James Curtis suggests that Whale, who had no interest in the project and feared that his commitment to it might cost him control over the filming of Show Boat, encouraged Sherriff to submit ever more wildly unacceptable versions in hopes of getting himself off the film.[5] On January 14, 1936, producer E. M. Asher advised Breen that the Sherriff script was not going to be used and that a new script would be put together from scratch.[12]
Screenwriting duties were then assigned to Garrett Fort,[12] who submitted a draft in January 1936, and a second draft in February. Asher, Fort, and Universal executive Harry Zehner meet with Production Code officials in February, during which Universal was asked that the scene in which Lili poses for Marya be written so that no suggestion was made that Lili was nude, or that no indication was made of a "perverse sexual desire on the part of Marya or of an attempted sexual attack by her upon Lili".[2]
Fort's February draft, as revised by Charles Belden in March 1936, seems to be the version used to shoot the film, which was viewed and passed by the PCA in April. Fort is the only contributor to the screenplay to receive screen credit, along with Stoker.[2]
Casting
Gloria Holden
Dracula's Daughter was Gloria Holden's first starring role, and reportedly she was extremely displeased at having been assigned it. Like many actors, Holden looked down on horror films. She had also seen Bela Lugosi struggle over the years since Dracula was made to free himself from typecasting, and feared that the role would lead to the same fate for her. Critic Mark Clark believes that, ironically, Holden's disgust for the role may have led to the quality of her performance: "Her disdain for the part translates into a kind of self-loathing that perfectly suits her troubled character".[13]
Initially, Lugosi and Jane Wyatt were set to star in the film. Universal also announced that Boris Karloff and Colin Clive, who had starred together in Frankenstein and Bride of Frankenstein, would appear,[14] and that Cesar Romero would play Dr. Garth with Lugosi playing Dracula and Wyatt playing Lili, who was eventually played by actress Nan Grey because Grey was a blonde, giving contrast to her and actress Gloria Holden who had black hair. [15] According to The Hollywood Reporter, Universal had sought Herbert Marshall for the role of Sandor, before casting Pichel.[15] None of them appeared except, after a fashion, Lugosi, in the form of a wax bust molded in his image for use in Dracula's coffin. Some sources report that Lugosi was paid as much as $4,000 for his abortive involvement, but the only confirmed record of any financial arrangement is a letter in which Lugosi consents to the use of his likeness at no cost to create the wax bust.[14]
Shooting
Theatrical poster
Shooting on Dracula's Daughter began on February 4, 1936, rushed into production before Fort had completed the script,[16] because of a deadline clause in Universal's option of the property from Selznick.[17] The script was not finalized until shooting had been underway for three weeks.[18] The film was completed on March 10.[19] Despite studio orders that the film be shot on a seven-day-per-week schedule,[18] filming ran seven days over its schedule and $50,000 over budget, with the final cost of the film tallied at $278,380.[20]
Dracula's Daughter was the last in the first cycle of Universal Horror films that reached back into the 1920s. Publicly, Universal said it was because a British ban on horror films would cut too deeply into the revenue such films could generate.[21] In truth, the cycle was suspended because, just before filming on Dracula's Daughter had wrapped, the Laemmle family had lost control of Universal. Because of cost overruns on a number of pictures, Junior Laemmle was forced to borrow $1,000,000 on November 1, 1935. The money came from J. Cheever Cowdin, head of the Standard Capital Corporation, and from Charles R. Rogers. When the loan was called in March of the following year, Universal was unable to repay it. Standard assumed control of the studio on March 4 and Rogers replaced Junior as head of production. Rogers did not like horror films, and he shut down production on them following the release of Dracula's Daughter to focus on fare like Deanna Durbin musicals.[22] Universal did not return to the horror genre for three years, when it released Son of Frankenstein in 1939.[citation needed]
Other production aspects
Makeup artist Jack Pierce and special effects supervisor John P. Fulton worked together closely, especially on Holden's make-up design. They combined special lighting with a greyish-green make-up for Holden's final scenes, creating a pallor that contrasted with the more normally flesh-toned make-ups of the others in the scene.[23]Heinz Roemheld composed the score[18] and Albert S. D'Agostino redressed Charles D. Hall's set of Dracula's castle and created new sets, including a London bridge, the moor where Dracula's body is burned, and Countess Zaleska's apartment.[24]
Critical response
The New York Times gave Dracula's Daughter a solid, albeit somewhat tongue-in-cheek, review upon its release, citing the film's "blood-curdling events" and noting that "Gloria Holden is a remarkably convincing bat-woman" in concluding that the film is both "quite terrifying" and "a cute little horror picture".[25]Variety also praised the production and Holden's performance in particular.[26] Despite critical approval, Dracula's Daughter did not have the same box office success as the original.[citation needed]
Later reviews of Dracula's Daughter are sharply split. Entertainment Weekly, reviewing the film following its video release, called it "one of the most satisfying vampire pictures ever made". Describing director Hillyer's visuals as "lush, evocative, and suffused with just the right gothic chiaroscuro" and noting that "Gloria Holden, as the reluctant vampire protagonist, absolutely drips patrician eroticism", EW concludes that this film is better than Lugosi's original Dracula.[27]
Ryan Cracknell of Apollo Movie Guide, while echoing the praise for Holden's performance, nonetheless found that the film "doesn't hold up so well today". Citing what he sees as slow pacing and "long bouts of over-the-top dialogue", Cracknell compares the film to "reading a textbook – not the most exciting thing in the world, but it does provide insights into and perspectives on the foundation of early horror movies and how many similarities carry over into movies half a century and more later".[28] Michael W. Phillips, Jr., concurs, calling the film "a marked improvement on the original film, [but] still a bit of a snooze, relying too much on forced comedy and not enough on suspense or fright".[29] Phillips again praises Holden's performance and also Pichel's portrayal of Sandor, but finds the rest of the cast weak.[citation needed]
Influence
Horror author Anne Rice has named Dracula's Daughter as a direct inspiration for her own homoerotic vampire fiction.[30] She named a bar in her novel The Vampire Lestat "Dracula's Daughter" in honor of the film.[31] Author Ramsey Campbell, under the pseudonym "Carl Dreadstone", wrote a novelization of the film also entitled Dracula's Daughter that was published in 1977.[32] A juvenile fiction version, written by Carl R. Green, William R. Sanford and Howard Schroeder, was published in 1985.[33] Some observers have suggested that the film served as an inspiration for Sunset Blvd., noting similarities between the outlines of each film.[34]Michael Almereyda's 1994 film Nadja has been described as an "unofficial remake" of Dracula's Daughter.[35] The film has been re-interpretated as Universal's film Abigail.[citation needed]
Lesbian implications
"Save the women of London from Dracula's Daughter!" Countess Zaleska seduces Lili.Nan Grey
The lesbian vampire has long been a trend in literature, dating back to such works as Samuel Taylor Coleridge's 1797 poem Christabel and Sheridan Le Fanu's 1872 novella Carmilla. Dracula's Daughter marked the first time that the trend was incorporated into a film.[36] The lesbian implications of Dracula's Daughter were of great concern to the Production Code Administration. PCA head Breen took special notice of the scene between the Countess and her model, Lili, writing: "This will need very careful handling to avoid any questionable flavor".[37] The day before the scene was to be shot, Universal's Harry Zehner asked Breen to read a draft of the scene. In response, Breen wrote:
The present suggestion that ... Lili poses in the nude will be changed. She will be posing her neck and shoulders, and there will be no suggestion that she undresses, and there will be no exposure of her person. It was also stated that the present incomplete sequence will be followed by a scene in which Lili is taken to a hospital and there it will be definitely established that she has been attacked by a vampire. The whole sequence will be treated in such a way as to avoid any suggestion of perverse sexual desire on the part of Marya or of an attempted sexual attack by her upon Lili.[37]
Gay film historian Vito Russo noted in his book The Celluloid Closet that Universal highlighted Countess Zaleska's attraction to women in some of its original advertising for the film, using the tag line "Save the women of London from Dracula's Daughter!" He further cited Countess Zaleska as an example of the presentation of the "essence of homosexuality as a predatory weakness".[38] Some reviewers of the day picked up on and condemned the lesbian content, including the New York World-Telegram, which noted the Countess's tendency to wander around "giving the eye to sweet young girls".[39] Other reviews missed it entirely, including the aforementioned The New York Times, which advised "Be sure to bring the kiddies".[25]Entertainment Weekly describes the encounter between the Countess and Lili as "so hot it's impossible to imagine how it ever got past '30s censors"[27] whereas Time Out London finds only a "subtle suggestion" of lesbianism.[40] Horror scholar Skal notes that the scene has come to be seen as a "classic 'lesbian' sequence, although of a decidedly negative stripe".[41] The scene between Countess Zaleska and Lili was included in the 1995 documentary film adaptation of Russo's book.[citation needed]
Another lesbian-tinged scene which has received less critical attention comes when the Countess is holding Janet captive. Described as "the longest kiss never filmed", Countess Zaleska "hovers lovingly over Janet ... hovers ... and hovers ... slowly descending to kiss the recumbent Janet..."[42] until interrupted by the arrival of Dr. Garth.[citation needed]
A 1998 article published by Bright Lights Film Journal said "Gloria Holden in the title role almost singlehandedly redefined the '20s movie vamp as an impressive Euro-butch dyke bloodsucker", but draws an implicit comparison between Countess Zaleska's seeking to cure her vampirism through psychiatry and the former position of mainstream psychiatry of homosexuality as a mental illness. Zaleska's cruising the streets of London is seen as parallel to cruising for sex (although that tends to be a gay male activity) and as suggesting "society's image of the lesbian as soulless predator", but the conclusion is that "Holden's striking, masklike face and haunting, luminous eyes [are] the intoxicating essence of transgressive lesbian power".[43]
In April 2023, it was reported that Universal Pictures was developing a monster thriller film for Universal Pictures, with Matt Bettinelli-Olpin and Tyler Gillett attached to co-direct, from a script co-written by Stephen Shields and Guy Busick. The project was stated to be a modern-day adaptation of one of the Universal Classic Monsters characters, similar in approach to The Invisible Man (2020) or Renfield. The synopsis was described as "a unique take on legendary monster lore and will represent a fresh, new direction for how to celebrate classic characters". Chad Villella, William Sherak, Paul Neinstein and James Vanderbilt serve as producers while the project was a joint-production between Universal Pictures, Radio Silence Productions, and Project X Entertainment.[44]
The project was later stated to have originally been titled Dracula's Daughter;[45] while Universal restated that though they had considered a singular continuity with Dracula Untold and The Mummy (2017), each installment will continue to be standalone in nature following the successes of The Invisible Man. Each release will continue to be "rooted in the horror genre, with no restrictions on budget, rating or genre. They are not part of a shared interconnected universe, which allows each film to stand on its own. This new direction is filmmaker-driven, inviting innovative filmmakers with original, bold ideas for these characters to develop the stories and pitch them."[46][45][47][48] The film was officially titled Abigail in January 2024.[49]
Van Helsing is a 2004 action horror film written and directed by Stephen Sommers. It stars Hugh Jackman as monster hunter Van Helsing and Kate Beckinsale as Anna Valerious. Van Helsing is both an homage and tribute to the Universal Horror Monster films from the 1930s and 1940s, of which Sommers is a fan.
Professor Abraham Van Helsing is a fictional character from the 1897 gothic horror novel Dracula written by Bram Stoker. Van Helsing is a Dutch polymath doctor with a wide range of interests and accomplishments, partly attested by the string of letters that follows his name: "MD, D.Ph., D.Litt., etc.", indicating a wealth of experience, education and expertise. He is a doctor, professor, lawyer, philosopher, scientist, and metaphysician. The character is best known through many adaptations of the story as a vampire slayer, monster hunter and the arch-nemesis of Count Dracula, and the prototypical and the archetypical parapsychologist in subsequent works of paranormal fiction. Some later works tell new stories about Van Helsing, while others, such as Dracula (2020) and I Woke Up a Vampire (2023) have characters that are his descendants.
R. M. Renfield is a fictional character who appears in Bram Stoker's 1897 Gothic horror novel Dracula. He is Count Dracula's deranged, fanatically devoted servant and familiar, helping him in his plan to turn Mina Harker into a vampire in return for a continuous supply of insects to consume and the promise of immortality. Throughout the novel, he resides in an asylum, where he is treated by Dr. John Seward.
Dracula is a 1931 American pre-Code supernatural horror film directed and co-produced by Tod Browning from a screenplay written by Garrett Fort and starring Bela Lugosi in the title role. It is based on the 1924 stage play Dracula by Hamilton Deane and John L. Balderston, which in turn is adapted from the 1897 novel Dracula by Bram Stoker. Lugosi portrays Count Dracula, a vampire who emigrates from Transylvania to England and preys upon the blood of living victims, including a young man's fiancée.
Dracula is a 1979 gothic horror film directed by John Badham. The film starred Frank Langella in the title role as well as Laurence Olivier, Donald Pleasence and Kate Nelligan.
Wilhelmina "Mina" Harker is a fictional character and the main female character in Bram Stoker's 1897 Gothic horror novel Dracula.
Vampire films have been a staple in world cinema since the era of silent films, so much so that the depiction of vampires in popular culture is strongly based upon their depiction in films throughout the years. The most popular cinematic adaptation of vampire fiction has been from Bram Stoker's 1897 novel Dracula, with over 170 versions to date. Running a distant second are adaptations of the 1872 novel Carmilla by Sheridan Le Fanu. By 2005, the Dracula character had been the subject of more films than any other fictional character except Sherlock Holmes.
Lesbian vampirism is a trope in early gothic horror and 20th century exploitation film. The archetype of a lesbian vampire used the fantasy genre to circumvent the heavy censorship of lesbian characters in the realm of social realism.
House of Dracula is a 1945 American horror film released and distributed by Universal Pictures. Directed by Erle C. Kenton, the film features several Universal Horror properties meeting as they had done in the 1944 film House of Frankenstein. The film is set at the castle home of Dr. Franz Edelmann, who is visited first by Count Dracula and later by Larry Talbot, the Wolf Man, who are trying to cure their vampirism and lycanthropy, respectively. Talbot is eventually cured, which leads him to discover the body of Frankenstein's monster in a cave below the base of the castle. Edelemann takes the monster's body back to his laboratory but finds Count Dracula has awakened and by attacking his assistants, he captures Edelmann and forces a reverse blood transfusion, which gives Edelmann a split personality and makes him a killer.
Count Dracula is the title character of Bram Stoker's 1897 gothic horror novel Dracula. He is considered the prototypical and archetypal vampire in subsequent works of fiction. Aspects of the character are believed by some to have been inspired by the 15th-century Wallachian prince Vlad the Impaler, who was also known as Vlad Dracula, and by Sir Henry Irving, an actor for whom Stoker was a personal assistant.
Dracula is a 1931 Spanish-language American horror film directed by George Melford. The film is based on both the novel Dracula by Bram Stoker and the play Dracula by Hamilton Deane and John L. Balderston. The film is about Renfield, who travels to Translyvania to visit Conde Drácula. He is drugged by the Count and becomes his minion. The two travel to England, where Drácula begins to seduce Lucía Weston as she becomes his first victim. This leads Professor Van Helsing to investigate, who confirms that Drácula is a vampire.
Dracula, also known as Bram Stoker's Dracula and Dan Curtis' Dracula, is a 1974 British made-for-television gothic horror film and adaptation of Bram Stoker's 1897 novel Dracula. It was written by Richard Matheson and directed by Dark Shadows creator Dan Curtis, with Jack Palance in the title role. It was the second collaboration for Curtis and Palance after the 1968 TV film The Strange Case of Dr. Jekyll and Mr. Hyde.
The character of Count Dracula from the 1897 novel Dracula by Bram Stoker, has remained popular over the years, and many forms of media have adopted the character in various forms. In their book Dracula in Visual Media, authors John Edgar Browning and Caroline Joan S. Picart declared that no other horror character or vampire has been emulated more times than Count Dracula. Most variations of Dracula across film, comics, television and documentaries predominantly explore the character of Dracula as he was first portrayed in film, with only a few adapting Stoker's original narrative more closely. These including borrowing the look of Count Dracula in both the Universal's series of Dracula and Hammer's series of Dracula, including include the characters clothing, mannerisms, physical features hair style and his motivations such as wanting to be in a home away from Europe.
Dracula is a stage play written by the Irish actor and playwright Hamilton Deane in 1924, then revised by the American writer John L. Balderston in 1927. It was the first authorized adaptation of Bram Stoker's 1897 novel Dracula. After touring in England, the original version of the play appeared at London's Little Theatre in July 1927, where it was seen by the American producer Horace Liveright. Liveright asked Balderston to revise the play for a Broadway production that opened at the Fulton Theatre in October 1927. This production starred Bela Lugosi in his first major English-speaking role.
Rebekah Isabelle Laemmle, known professionally as Carla Laemmle, was an American actress and dancer, and the niece of Universal Pictures studio founder Carl Laemmle. As an actress/dancer, she is known primarily for her roles in The Phantom of the Opera (1925) and Dracula (1931). At the time of her death, she was one of the last surviving actors of the silent film era, with her career spanning nearly 90 years, also with one of the longest gaps.
"Dracula's Guest" is a short story by Bram Stoker, first published in the short story collection Dracula's Guest and Other Weird Stories (1914). It is believed to have been intended as the first chapter for Stoker's 1897 novel Dracula, but was deleted prior to publication as the original publishers felt it was superfluous to the story.
David John Skal was an American cultural historian, critic, writer, and on-camera commentator known for his research and analysis of horror films, horror history and horror culture.
Bram Stoker's Dracula's Curse is a 2006 horror film by The Asylum, written and directed by Leigh Scott. Despite featuring Bram Stoker's name in the title, the film is not directly based on any of his writings or a mockbuster to the 1992 film Bram Stoker's Dracula, but shares similarities to films such as Blade: Trinity, Dracula 2000, Underworld: Evolution and Van Helsing. The film also shares some similarities with the 1971 Hammer horror film Countess Dracula, which also features a Dracula-esque femme fatale in the lead role.
Hamilton Deane was an Irish actor, playwright and director. He played a key role in popularising Bram Stoker's 1897 novel Dracula as a 1924 stage play and a 1931 film.
Dracula is a film series of horror films from Universal Pictures based on the 1897 novel Dracula by Bram Stoker and its 1927 play adaptation. The series is a loose collection of films, with historians stating that the films all reference characters, events or at least passing knowledge of the 1931 English-language production of Dracula, with historians noting that Dracula's Daughter and Son of Dracula are more closely related to the 1931 film while the character of Dracula would make smaller appearances in later films such as House of Frankenstein and House of Dracula. After Dracula's Daughter, the character of Dracula and other vampires in the series became more Americanized, starting with the release of Son of Dracula, and the later House of films. The character of Dracula appears in all the films outside of Dracula's Daughter, where he is portrayed by Bela Lugosi, Lon Chaney Jr., and John Carradine in the House of films.
1 2 Simels, Steve (11 December 1992). "Dracula's Daughter". Entertainment Weekly. Archived from the original on 7 February 2009. Retrieved 3 November 2008.
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