(Note: A few years ago, I wrote a piece on DRACULA that was later revised and published in our first book. With the arrival of the third book in that series expected later this week, if felt like a good time to finally share this piece.) By WALLACE McBRIDE It’s fair to say that nobody has much interest in adapting Bram Stoker’s 1897 novel,. The character has been making dramatic rounds since that first, hastily organized reading was staged at the Lyceum Theatre just a few months after the novel was published.

The reading was a cynical affair, designed to secure the theatrical rights to the book, paving the way for a series of slipshod adaptations for more than a century. Sure, a few directors have paid lip service to Stoker’s work, most famously Francis Ford Coppola’s 1992 adaption that spackled over the original source material to make room for backstory and subplots not even hinted at in the original novel. The book has more in common with THE BLAIR WITCH PROJECT than in any of the films produced by Hammer, and therein lies the problem: Dracula is mostly absent in his own novel. It’s difficult to create a compelling villain who spends most of his time as the topic of others’ conversations.

Arguably the most important movie to spring from Stoker’s book is the 1931 Tod Browning film, the connective tissue between earlier stage productions written by Hamilton Deane and John L. Balderston, with Universal’s cinematic (frequently operatic) sensibilities. Few of Stoker’s ideas made it into the final film, which bears little resemblance to the epistolary novel.

A solicitor named Renfield (no first name is given) falls under the thrall of a mysterious Count Dracula while visiting his home in Transylvania to discuss leasing an English abbey. The legal consultation soon turns violent as the Count and his wives attack Renfield in the night. When next we see the doomed solicitor, he’s the only warm body on a ship of corpses that’s sailed into an English harbor. Driven mad by his experiences, Renfield is arrested and institutionalized in a London asylum. Dracula soon turns his violent attentions to the daughter of the asylum’s administrator, but meets his match in Prof.

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Abraham Van Helsing, an unorthodox scientist with a fascination for the occult. There are few scenes in the movie that aren’t overtly about sex — particularly oral sex — beginning with the moment poor Renfield sucks at a wound on his own finger. By the end of the picture, Dracula has put his mouth on half the movie’s cast members, pun intended, and his behavior suggests he has no sexual preference. Contrary to popular belief, though, it takes more than sex to hold people’s attention, especially during the many decades since was first released. If it was just some creaky old film about outdated sexual mores, who would care?

But there’s something else going on in the film that continues to speak to audiences, even if we have to listen a little harder these days to hear the message. Is more than just a movie about sexual confusion. It’s a movie about fear of the future. The many subtexts of are well established. So much of what people take away from the story depends on when and where they first experience it. It’s been called a story about repressive homo- and heterosexuality, xenophobia, a Biblical parable, class warfare and just about anything else you want to read into it. Complicating matters are the great many unanswered questions, the most pressing being “Why did Dracula travel to England?” The 1931 movie makes no effort to answer this question (or any of the other riddles of the novel), deciding instead to hang its entire narrative on a conflict of belief systems.

Cl studio torrent. DRACULA is a movie about the fear of change, a warning for us not to abandon superstition without first putting it to the rigors of the scientific method. It’s a concept that gives the film an unusual perspective, to say the least.