Dracula

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

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. Read full review

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. Read full review

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. Read full review

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. Read full review

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. Read full review

Despite having been directed by Tod Browning, the classic 1931 version of the oft-told horror tale suffers from a poor script, a deservedly forgotten supporting cast and a stately pace better suited to silent films. But it does have the suavely sinister Bela Lugosi and superb cinematography by Karl Freund. [09 Sep 1990, p.22]

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. Read full review

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. Read full review

This first American version, directed by Tod Browning, was adapted from a play based on the Bram Stoker novel, rather than from the novel itself, and it becomes too stagey.