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'Spanish Dracula' with new score; Cole's
Oct. 28th, 2024 07:01 am LA Times:
When L.A. Opera invited Gustavo Santaolalla to write a new score for the Spanish version of the 1931 film “Dracula” to be performed live with an orchestra, the Oscar-winning composer was intrigued by the potential to combine traditional movie soundtrack techniques with an experimental approach.
A couple photos.
--
Dr. Pookie and I went to the third and final show on Sunday afternoon at the gorgeous United [Artists] Theater on Broadway, built in 1927 in the style of the cathedral in Segovia, Spain. [OMG, for a time, Gene Scott broadcast from there!] Inside, everything was lit up luridly in red.
In short, it was a fantastic experience. The film was great; the music was great; the film (1930s Universal style) with the music (modern film score style) was great.
For those not in the know, a largely Spanish-language cast and crew took over the sets of the Tod Browning/Bela Lugosi Dracula production, shooting at night while the English cast shot by day. Many claim it's a better version, and they are right. Much of the beginning is largely a shot by shot match for the English version, but it departs quite a bit later on with longer takes, additional dialogue, and a few pieces of absolutely superior staging. 'Spanish Dracula' is nearly a half hour longer. And this additional material helps the whole story cohere much better and makes the ending much less abrupt. [About a week before we watched the Bela Lugosi version for some reference.]
I'll mention two significant improvements. In both, there's a scene where Van Helsing discovers Dracula has no reflection (in the lid of a cigarette box). In the English version, we see Dracula standing (and not standing in the reflection) next to Mina bidding her goodbye. In the Spanish version, he kisses her hand, so in reflection we see her holding her hand up to empty air, making the point much better. Shortly thereafter, the Count is tricked into looking into the cigarette box lid. Bela Lugosi does do a great take, where his face swells with rage and fear and he slaps the box to the ground with his hand. Spanish Dracula upstages him slightly by dashing the box with his cane and cigarettes go flying cinematically.
In one of the comedic sections, the sanatorium ward and a nurse are commiserating that they are the only two sane people "and sometimes I worry about you" the ward says to the nurse. And the scene sort of ends with them standing there awkwardly. Spanish nurse sticks her nose in the air and strides away in a huff.
Anyway, it seemed clear that Spanish Dracula is more satisfying and just better as a film. I would say one critical minus is that Spanish DP could never get the proper focus on Dracula's eyes. So Bela's mesmeric stare (and the film shot of it) is better than Spanish Dracula.
It's possible I'm swayed by the additional effect of the music, and what music! Beyond the orchestra, there was effective and extensive use of accordion, electric guitar and the additional bonus of some foley work, occasionally timed to the beat of the music [typewriter clicking and dinging as we read the headlines about the fate of the Demeter.]
Santaolalla played guitar (and drums!) for the performance which was an added bonus. I could feel some connection to his work for The Last of Us, but where that was intimate, this is big and melodramatic with full orchestra. I might quibble that the 'sting' when Dracula first gets Dracul-y is too melodramatic, but hey, this is freaking Dracula here.
Honestly much better than I had hoped and expected.
--
Afterwards, we strolled to Cole's, which I'm sorry to say is sliding into dive bar territory. The French Dips and drinks were still great, and the horseradish mustard remains addictive, but economics (I assume) have eliminated the wait staff, so you order at the bar. Tables in the back have been removed and pool tables put in. The formerly ironic signs about ladies being requested to be discreet in their soliciting seem more sincere. Still worthy, but not like it was when we wore onions on our belts.
When L.A. Opera invited Gustavo Santaolalla to write a new score for the Spanish version of the 1931 film “Dracula” to be performed live with an orchestra, the Oscar-winning composer was intrigued by the potential to combine traditional movie soundtrack techniques with an experimental approach.
A couple photos.
--
Dr. Pookie and I went to the third and final show on Sunday afternoon at the gorgeous United [Artists] Theater on Broadway, built in 1927 in the style of the cathedral in Segovia, Spain. [OMG, for a time, Gene Scott broadcast from there!] Inside, everything was lit up luridly in red.
In short, it was a fantastic experience. The film was great; the music was great; the film (1930s Universal style) with the music (modern film score style) was great.
For those not in the know, a largely Spanish-language cast and crew took over the sets of the Tod Browning/Bela Lugosi Dracula production, shooting at night while the English cast shot by day. Many claim it's a better version, and they are right. Much of the beginning is largely a shot by shot match for the English version, but it departs quite a bit later on with longer takes, additional dialogue, and a few pieces of absolutely superior staging. 'Spanish Dracula' is nearly a half hour longer. And this additional material helps the whole story cohere much better and makes the ending much less abrupt. [About a week before we watched the Bela Lugosi version for some reference.]
I'll mention two significant improvements. In both, there's a scene where Van Helsing discovers Dracula has no reflection (in the lid of a cigarette box). In the English version, we see Dracula standing (and not standing in the reflection) next to Mina bidding her goodbye. In the Spanish version, he kisses her hand, so in reflection we see her holding her hand up to empty air, making the point much better. Shortly thereafter, the Count is tricked into looking into the cigarette box lid. Bela Lugosi does do a great take, where his face swells with rage and fear and he slaps the box to the ground with his hand. Spanish Dracula upstages him slightly by dashing the box with his cane and cigarettes go flying cinematically.
In one of the comedic sections, the sanatorium ward and a nurse are commiserating that they are the only two sane people "and sometimes I worry about you" the ward says to the nurse. And the scene sort of ends with them standing there awkwardly. Spanish nurse sticks her nose in the air and strides away in a huff.
Anyway, it seemed clear that Spanish Dracula is more satisfying and just better as a film. I would say one critical minus is that Spanish DP could never get the proper focus on Dracula's eyes. So Bela's mesmeric stare (and the film shot of it) is better than Spanish Dracula.
It's possible I'm swayed by the additional effect of the music, and what music! Beyond the orchestra, there was effective and extensive use of accordion, electric guitar and the additional bonus of some foley work, occasionally timed to the beat of the music [typewriter clicking and dinging as we read the headlines about the fate of the Demeter.]
Santaolalla played guitar (and drums!) for the performance which was an added bonus. I could feel some connection to his work for The Last of Us, but where that was intimate, this is big and melodramatic with full orchestra. I might quibble that the 'sting' when Dracula first gets Dracul-y is too melodramatic, but hey, this is freaking Dracula here.
Honestly much better than I had hoped and expected.
--
Afterwards, we strolled to Cole's, which I'm sorry to say is sliding into dive bar territory. The French Dips and drinks were still great, and the horseradish mustard remains addictive, but economics (I assume) have eliminated the wait staff, so you order at the bar. Tables in the back have been removed and pool tables put in. The formerly ironic signs about ladies being requested to be discreet in their soliciting seem more sincere. Still worthy, but not like it was when we wore onions on our belts.
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