Dracula (Universal Studios, 1931)

1931 One Sheet Poster, Style A

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Six and a half years after its stage debut in England, Bram Stoker’s 1897 Gothic masterpiece received its first official screen adaptation with Bela Lugosi reprising his acclaimed stage role as Count Dracula. The film gave Lugosi the movie stardom he craved, but also cemented an unbreakable link between the actor and the character which would dog the rest of his career. Stoker’s novel was one of the first properties considered for production by Carl Laemmle when he founded Universal Pictures in 1915. Fifteen years later when Dracula was finally given the green light, it was envisaged as a lavish big budget adaptation of the novel, but financial difficulties caused by the stock market crash and the Great Depression led to the budget being severely slashed and the play being used as the basis of the film. When Dracula was re-released in 1936 several cuts were made as a result of the Motion Picture Production Code, a strictly enforced moral guideline, including an epilogue speech by Edward Van Sloan. The only known copy of this cut segment is now too deteriorated to restore to the film. A silent print of Dracula, which is currently unavailable, was produced for cinemas which had yet to convert to sound. In 2000, Dracula was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant.”

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Production company: Universal Studios

Producer: Carl Laemmle, Jr.,

Associate Producer: E.M. Asher

Director: Tod Browning (some scenes by Karl Freund)

Assistant Director: Scotty R. Beal

Second Assistant Director: Herman Schlom

Script: Garrett Fort

Adapted from the play by Hamilton Deane and John L. Balderston, based on the novel Dracula by Bram Stoker

Continuity: Louis Bromfield

Additional Dialogue: Dudley Murphy

Adaptation: Louis Stevens

Treatment: Fritz Stephani

Scenario Supervisor: Charles A. Logue

Art Director: Charles D. Hall

Cinematography: Karl Freund

First Assistant Cameramen: King Gray

Second Assistant Cameramen:  Frank H. Booth

Second Unit Director of Photography: Joseph Brotherton

Editor: Milton Carruth

Supervising Film Editor: Maurice Pivar

Set Designers: Herman Rosse and John Ivan Hoffman

Recording Supervisor: C. Roy Hunter

Boom Operator: Jack Bolger

Sound Mixer: William Hedgcock

Musical Supervisor & Conductor: Heinz Roemheld

Make-up: Jack P. Pierce

Set Decoration: Russell A. Gausman

Photographic Effects: Frank A Booth

Miniatures: William Davidson

Matte Artist: John P. Fulton

Costumes: Ed Ware and Vera West

Casting: Phil M. Friedman

Research: Nan Grant

Script Girl: Aileen Webster

Foley Artist: Jack Foley

Art Titles: Max Cohen

Still Photographer: Roman Freulich

Running Time: 78 minutes

Copyright number: LP1947, February 2nd 1931

Cast:

Bela Lugosi: Count Dracula

Helen Chandler: Mina

David Manners: Johnathan Harker

Dwight Frye: Renfield

Edward Van Sloan: Dr. Van Helsing

Herbert Bunston: Dr. Seward

Francis Dade: Lucy

Joan Standing: Briggs

Charles Gerrard: Martin

Moon Carroll: Maid

Josephine Velez: Grace, English nurse

Michael Visaroff: Innkeeper

Anna Bakacs: Innkeeper’s daughter

Barbara Bozoky: Innkeeper’s wife

Wyndham Standing: Surgeon

Geraldine Dvork: Dracula’s vampire bride

Dorothy Tree: Dracula’s vampire bride

Cornelia Thaw: Dracula’s vampire bride

Daisy Belmore: English coach passenger

Nicholas Bela: Transylvanian coach passenger

Carla Laemmle: Sara, the reading coach passenger

Donald Murphy: Coach passenger

John George: Van Helsing’s assistant

Tod Browning: Voice of the Harbor Master

Anita Harder: Flower girl

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Universal Exhibition Book, Universal Weekly, 1930-1931

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Telegram from Carl Laemmle Jr., March 27, 1930

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Unknown Newspaper, July, 1930

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Tampa Tribune, September 18, 1930

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The Norwalk Hour, September 24, 1930

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The Pitsburgh Press, September 28, 1930

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The New York Times, September 28th 1930

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Boston Herald, September 29, 1930

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The Milwaukee Sentinel, October 4, 1930

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San Francisco Chronicle, October 5, 1930

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Motion Picture News, October 25, 1930

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The Portsmouth Sunday Times, October 5, 1930

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Pitsburgh Post-Gazette, October 10, 1930

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San Francisco Chronicle, October 19, 1930

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The Pitsburgh Press, November 2, 1930

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Motion Picture News, November 3, 1930

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Variety, November 5, 1930

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 The Pitsburgh Press, November 9, 1930

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San Francisco Chronicle, November 9, 1930

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The Film Daily, November 9, 1930

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Evening Tribune, December 5, 1930

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Motion Picture News, December 6, 1930

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San Francisco Chronicle, December 21, 1930

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The New York Times, December 28th 1930

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Variety, December 31, 1930

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Plattsburgh Daily Press, January, 1931

Screen Life in Hollywood by Hubbard Keavy

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Silver Screen, January 1931

A mysterious figure, a great actor, will this man replace Lon?

Is HE the Second Chaney?

HIS NAME is Bela Lugosi.

Like the beloved Lon, he is a man of mystery and a master of make-up.

He is working in movies at Universal, where Lon Chaney worked, being directed by Tod Browning, the man who directed nearly all of Lon’s greatest pictures.

His great role, “Dracula,” is that of an “undead” vampire who lives on the blood of humans, a part, that had he lived, would inevitably have gone to Chaney.

Lugosi, when first approached to make a picture of “Dracula” – he had played it on the stage – refused. Tests of other players were made. No one could be discovered who could effectively portray this supernatural character. Finally Lugosi signed for four weeks.

Before the cameras, he completed his work in one day. Again like Lon – an artist who knows his job and does it quietly and quickly.

Only in appearance does he differ. He is six feet one in height, with the dreamy, strange face of a mystic. His deep-set eyes have a peculiar fascinating quality.

Lon is gone but his art lives after him. May Lugosi be worthy of following in the path he made so thoroughly his own.

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Oregonian, January 18, 1931

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San Diego Union, January 25, 1931

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Lewisburg Journal (Pennsylvania), February 5, 1931

(From the collection of Adele Mason aka Noufaux)

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The Bangor Daily News (Bangor, Maine), February 5, 1931

(From the collection of Adele Mason aka Noufaux)

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New York Times, February 12, 1931

(From the collection of David Brudie)

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Unknown newspaper

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The Optimist (Abilene, Texas), February 12, 1931

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The New York Times, February 13, 1931

THE SCREEN

Bram Stoker’s Human Vampire

By MORDAUNT HALL

Count Dracula, Bram Stoker’s human vampire, who has chilled the spines of book readers and playgoers, is now to be seen at the Roxy in a talking film directed by Tod Browning, who delights in such bloodcurdling stories. It is a production that evidently had the desired effect upon many in the audience yesterday afternoon, for there was a general outburst of applause when Dr. Van Helsing produced a little cross that caused the dreaded Dracula to fling his cloak over his head and make himself scarce.But Dracula’s evil work is not ended until Dr. Van Helsing hammers a stake through the Count’s heart as he lies in his native earth in a box.Mr. Browning is fortunate in having in the leading rôle in this eerie work, Bela Lugosi, who played the same part on the stage when it was presented here in October, 1927. What 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.As the scenes flash by there are all sorts of queer noises, such as the cries of wolves and the hooting of owls, not to say anything of the screams of Dracula’s feminine victims, who are found with twin red marks on their white throats.The Count is able to change himself into a vampire that flies in through the window and in this guise he is supposed to be able to talk to his victims, who are either driven insane or are so thoroughly terrified that they would sooner do his bidding that pay heed to those who have their welfare at heart. Martin, the keeper in the sanitarium in which an unfortunate individual named Renfield is under supervision, fires at the big bat with a shot gun, but, of course, misses.To enhance the supernatural effect of this film there is a fog in many of the scenes. The first glimpses are of ordinary humans, but so soon as Renfield goes to the Transylvania castle of the Count, who lives on for centuries by his vampirish actions, there are bony hands protruding from boxes, rats and other animals fleeing, and corridors that are thick with cobwebs and here and there a hungry spider.Most of the excitement takes place in Carfax Abbey and other places in England, the Count having traveled there to accomplish his blood-thirsty intentions. To start the grim work he causes all the ship’s crew to go insane and commit suicide, but his subsequent activities are not as fruitful as he anticipates.Helen Chandler gives an excellent performance as one of the girls who is attacked by the “undead” Count. David Manners contributes good work. Dwight Frye does fairly well as Renfield. Herbert Bunston is a most convincing personality. Charles Gerrard affords a few laughs as Martin.This picture can at least boast of being the best of the many mystery films.Bram Stoker’s Human Vampire. DRACULA, with Bela Lugosi, Helen Chandler, David Manners, Dwight Frye, Edward Van Sloan, Herbert Bunston, Frances Dade, Charles Gerrard, Joan Standing, Moon Carroll and Josephine Velez, based on Bram Stoker’s novel, directed by Tod Browning; overture, “Rhapsody in Blue”; Movietone news real: “Hello, New York!” with Santry and Norton and others, including Leonide Masine and the Roxyettes. At the Roxy.

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Daily Herald, February 13, 1931

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The Simmons Brand (Abilene, Texas), February 14, 1931

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Evening Star Washington, February 15, 1931

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New Yorker Volkszeitung, February 15, 1931

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The New York Times, February 15 1931

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The Evening Independent, February 20, 1931

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The Evening Independent, February 21, 1931

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Omaha World Herald, February 22, 1931

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Augusta Chronicle, February 22, 1931

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Macon Telegraph, February 22, 1931

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St. Petersburgh Times, February 22, 1931

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Boston Herald, February 22, 1931

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The New York Times,February 22, 1931

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The Evening Independent, February 23, 1931

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Omaha World Herald, February 25, 1931

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The Pitsburgh Press February 26, 1931

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Unknown newspaper, courtesy of  Vintage Cinema Ads

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Oregonian, February 26, 1931

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The Pittsburgh Post, February 26, 1931

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The Kingston Daily Freeman, February 26, 1931

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The Pittsburgh Post, February 27, 1931

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Seattle Daily Times, February 27, 1931

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Tampa Tribune, February 28, 1931

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Seattle Daily Times, February 28, 1931

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Omaha World Herald, February 28, 1931

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Tampa Tribune, February 28, 1931

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Photoplay Magazine, March 1931.

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The Pitsburgh Press, March 1, 1931

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Yale Daily News no. 118, March 2, 1931

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Oregonian, March 2, 1931

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Springfield Republican, March 2, 1931

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Canton Repository, March 3, 1931

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Springfield Republican, March 4, 1931

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The Ogdensburg Republican-Journal, March 4, 1931

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Cleveland Plain Dealer, March 5, 1931

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Ottawa Citizen, March 6, 1931

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Boston Herald, March 6, 1931

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Ottawa Citizen, March 7, 1931

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Cleveland Plain Dealer, March 7, 1931

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Cleveland Plain Dealer, March 8, 1931

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Charlotte Observer, March 8, 1931

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The Washington Reporter, March 9, 1931

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Dallas Morning News, March 9, 1931

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The Washington reporter, March 10, 1931

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Charlotte Observer, March 10, 1931

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State Times Advocate, March 10, 1931

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State Times Advocate, March 11, 1931

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Tampa Tribune, March 11, 1931

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Cleveland Plain Dealer, March 12, 1931

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Daily Illinois State Journal, March 12, 1931

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Eugene, Register-Guard, March 13, 1931

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The Montreal Gazette March 13, 1931

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The Montreal Gazette March 14, 1931

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Dallas Morning News, March 14, 1931

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Eugene, Register-Guard, March 14, 1931

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Eugene, Register-Guard, March 15, 1931

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Eugene, Register-Guard, March 16, 1931

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Unknown newspaper

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 Sheboygan Press, March 16,1931

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The Montreal Gazette, March 16, 1931

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Akron Beacon Journal, March 16, 1931

“Dracula,”

Palace Theater

by Edward E. Gloss:

Half-forgotten superstitions are revived with Bela Lugosi, who played the role of Count Dracula on the stage, bringing it to the screen. Dracula, eerie, evil, gruesome, lures his victims to a fate worse than death, eventually ensnaring the principals of the story.

Recent attempts at thrillers of this sort have failed. But ‘Dracula’ proves a picture capable of making you give a wide berth to shadows on the way home and may have you whistling loudly as you enter a darkened house for the next week or so.

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Eugene, Register-Guard, March 17, 1931

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Rivoli Theatre, Matawan, New Jersey, March 1931

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Edmonton Journal, March 17, 1931

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The Westfield Leader, March 18, 1931

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Eugene, Register-Guard, March 18, 1931

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Edmonton Journal, March 19, 1931

Foot Light Glow

Capitol: The strange mysterious, “Dracula” will rise and dingy in the monastery mouse to be displayed on the Capitol screen in a series of horrible almost scene-infested, out of the shadow of musty old coffin. There, live in the shadow of the night to weild for a supernatural power over the rising hum the specter of the past of the dead again, without leaving visible traces without the massacre of the devil, he is again in the mist of dawn melting. By the Bela Lugosi, powerful figure of Count Dracula, which came into effect in this dramatic picture is like that.Would you be horrified to hear that draws howls a long night? If you had a premonition about the crash is bad for you, thinking to freeze you in fear you? If you met him, what afraid of hypnosis this maniac? Alternatively, the fear of the dead 500 years ago of ARS neighbor pounces quietly and quickly to his victims – all is very real in the “Dracula”, that there is one of these grip sheet.If you serve him through his use of hypnosis, still, calm, this power TOS was afraid, to understand this great phenomenon, there is a professor of strong will and try to destroy him. Dramatic situation, he has to look at the face Dracula and horrible finally, the risk of facing with others to keep track of Dracula in his coffin in the elbow of Professor Most you he and put you, you are full of grip adventiures. . . Professor and win! You go by all means, “Dracula” will be displayed. You afraid to miss it now.Talkartoon, there is a comedy snappy “caption. You news of Fox movie tone, two days more, to” go one yard to give laugh a lot to relieve taken you from tension attituyou in order to give a contrast to the program It is very interesting that you complete the program with excellent Congress – CEB

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Cleveland Plain Dealer, March 20, 1931

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Reading Eagle, March 21, 1931*

Cleveland Plain Dealer, March 22, 1931

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The Reading Eagle, the March 22, 1931

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Cleveland Plain Dealer, March 23, 1931

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Lexington Herald, March 23, 1931

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Sarasota Herald-Tribune, March 23, 1931

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San Francisco Chronicle, March 24, 1931

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Sarasota Herald-Tribune, March 24, 1931

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Sarasota Herald-Tribune, March 25, 1931

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San Francisco Chronicle, March 27, 1931

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San Francisco Chronicle, March 28, 1931

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Trenton Evening Times, March 29, 1931

San Francisco Chronicle, March 30, 1931

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San Diego Union, March 31, 1931

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Toledo Blade, date unknown

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Berkeley Daily Gazette, April 2, 1931

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Berkeley Daily Gazette, April 3, 1931

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Unknown newspaper

Courtesy of  Vintage Cinema Ads

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Boston Herald, April 4, 1931

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Boston Herald, April 5, 1931

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San Francisco Chronicle, Sunday, April 5, 1931

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Charleston Daily Mail, April 5, 1931

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Boston Herald, April 7, 1931

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Spokane Daily Chronicle, April 9, 1931

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De Stad, April 10, 1931

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Spokane Daily, April 10, 1931

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Pensa, April 10, 1931

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Spokane Daily, April 11, 1931

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The Times-Picayune, April 11, 1931

Evansville Courier and Press, April 12, 1931

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Aberdeen Daily News, April 12, 1931

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Richmond Times Dispatch, April 12, 1931

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Spokane Daily, April 13, 1931

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The Boston Globe April 13, 1931

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The Evening Huronite, April 13, 1931

Dracula Is Called Most Weird Story 

Bram Stoker’s Famous Mystery Story Comes To Screen At Huron Tomorrow

“The weirdest story in the world” has been dramatized on the talking screen.  The story in question is Bram Stoker’s immortal and nerve-tingling novel of a deathless vampire, entitled “Dracula.” So if you plan to go to the Huron theatre during the week of Sunday, Monday or Tuesday prepare yourself for a truly different and exciting evening’s entertainment.

Of course, if you’ve read “Dracula” there is no need to tell you more. All the king’s horses and all the king’s men won’t be able to keep you from seeing the picture. And if you’ve never heard of “Dracula” you owe it to yourself to see this uncanny dramatization of Bram Stoker’s justly famous novel. For “Dracula” is a mystery story unlike any other you have ever seen. And meeting “Dracula” for the first time is an experience in theatre-going you will long remember.Without telling you too much, suffice to say that “Dracula” is a story of a vampire man, dead more than five hundred years, who comes to life between the hours of sunset and sunrise, stalking the earth to search out young and beautiful victims. Sometimes he comes to life in the form of a wolf, other times as a soft, choking, mysterious mist, wreaking his strange vengeance on all those who cross his path”. This combat of deathless forces, as you may well imagine, makes for gripping, fantastic, awe inspiring drama that arouses and maintains intense interest from beginning to end.The role of the vampire. Count Dracula, is played with remarkable skill by Bela Lugosi, noted actor of the legitimate stage, who originally created this role in the highly successful stage version of Stoker’s “Dracula.” Sinister, evil and terrifying to look upon, Lugosi’s Dracula is a high mark in unusual and fantastic characterization. David Manners portrays the role of the young boy who desperately attempts to save his finance from the influence of Dracula; and Dwight Frye is convincing as the lawyer who fails under the spell of the deathless vampire.Others in the cast include Helen Chandler, in a fine role, Edward Van Sloan, a member of the stage cast, Frances Dade, Joan Standing and Herbert Bunston. “Dracula” was directed by Tow Browning, remembered for many of Lon Chaney’ssuccesses.

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Greensboro Record, April 15, 1931

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Greensboro Record, April 16, 1931

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Greensboro Record, April 17, 1931

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Greensboro Daily News, April 18, 1931

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Riverside Daily Press, April 20, 1931

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San Luis Obispo Daily Telegram, April 22, 1931

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The Leamington Post. April 23, 1931

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Fox Gillioz Cinema, unknown newspaper

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Idaho Statesman, August 23, 1931

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Seattle Daily Times, February 24, 1931

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Berkeley Daily Gazette, April 24, 1931

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Idaho Statesman, April 26, 1931

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The Breckenridge American (Breckenridge, Tex), April 26, 1931

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Schenectady Gazette, April 27, 1931

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Hyde Park Herald, May 1, 1931

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Casa Grande Dispatch, May 1, 1931

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Cleveland Plain Dealer, May 3, 1931

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Unknown newspaper

Courtesy of   Vintage Theatre Ads

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La Opinion (Los Angeles), May 7, 1931

This ad for the Spanish version of Dracula mistakenly features the images of Bela Lugosi, David Manners and Helen Chandler

(Courtesy of John Donaldson)

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La Opinion (Los Angeles), May 8, 1931

This ad for the Spanish version of Dracula mistakenly features the images of Bela Lugosi and Helen Chandler

(Courtesy of John Donaldson)

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Lexington Herald, May 20, 1931

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The Afro American May 23, 1931

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Unknown newspaper, May, 1932

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Lewiston Morning Tribune, May 29, 1931

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Courtesy of  Vintage Cinema Ads

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The Modern Screen, June, 1931

DRACULA (Universal) – A weird story about creatures who are “undead.” It’s thrilly and creepy. Bela Lugosi, David Manners and Helen Chandler. Very Good – but not for children.

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San Diego Union, June 6, 1931

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The Cumberland Evening Times, June 10, 1931

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Unknown newspaper

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The Kingsport Times, June 12, 1931

Spooks Will Invade Strand Theatre Wednesday 10:30 pm

One of the most famous of all actors on stage or screen would like to forget the character that made him famous! Audiences on Broadway were thrilled for more than two years by his artistry; millions of picture fans throughout the country are being fascinated by the startling impersonation he gives on the screen. But the character haunts him, and he never wants to play it again.

The actor is Bela Lugosi, and the character is Count Dracula in the most startling of all plays or pictures — “Dracula.” Bram Stoker, the famous English novelist, wrote it first as a novel — this terrifying narration of an “undead” being who rises from his grave at night and through his horrible influence brings death and suffering to his victims.

For more than a thousand nights, Lugosi played it in the theatre. Then when the Universal Studios decided to produce the great story as a picture, Lugosi was the natural choice for the role he had made so famous on

the stage. At first, it was difficult to prevail upon him to appear on the screen. He had lived with the horrible vampire character so long on the stage that he wanted to forget, and how could he forget if  he played it again on the screen?

But he finally consented, and  for weeks at the Universal City studios while the picture was in production, he lived again the startling’, fantastic role of Count Dracula. Those who have seen both play and picture assert that his impersonation for the films is even greater than his stage work.But, now that the picture is finished and shortly to be shown at the Strand Theatre, Lugosi says he will nver play the role again.And Lugosi’s determination is in itself a great tribute to his ability as an actor. If he had  been able to act the part mechanically —had not thrown himself heart and soul into the role—it would not have the terrors that it now has. But a great artist does not play mechanically, and Lugosi is a great artist.  Thus, each night in the theatre and for .many days at the picture studios, his nervous system has been  subjected to a terrible strain.“Dracula” brought him fame and fortune, but Lugosi, wants more than anything else, to escape from Count Dracula. It is well, however, that he die not reach this decision before the marking of the picture—well for the millions of fans who will be fascinated by his great work on the screen.When “Dracula” is shown at the Strand Theatre, local theatre-goers will see one of the most remarkable casts ever assembled. Besides Lugosi, two other, players of the original stage cast appear — Edward Van Sloan and Herbert Bunston. In addition, there are many other favorites, including David Manners, Helen Chandler, Dwight Frye, Francis Dade, Charles Gerrard and Joan Standing.Tod Browning, creator of weird and unusual films, directed the picture.In addition to .the feature, “Dracula,” there will be a stage show in the form of Ali-Din. Ali-Din will present a spook party featuring spirit slate writing, talking skulls and handkerchiefs taring into snakes.The admission will be the same to everyone. No half fare tickets will be sold as the program is not recommended for children under twelve. The box office opens at 10:15 — program starts at 10:45.

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San Diego Union, June 15, 1931

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Spokane Daily Chronicle, June 20, 1931

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Spokane Daily Chronicle, June 22, 1931

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 Spokane Daily Chronicle, June 23, 1931

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Variety, July 21, 1931

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Modern Screen, August, 1931

Dracula (Universal) – A story of the souls who are dead yet not dead – “undead” they are called. They prey upon the living. A creepy and chilling story. Bela Lugosi, Helen Chandler and David Manners have the chief roles. Very good but hardly suitable for children.

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Eugene, Register-Guard, August 21, 1931

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The 1931 Film Daily Year Book of Motion Pictures

The Calgary Herald September 1, 1931

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The Caldwell News and The Burleson County Ledger (Caldwell, Tex.),September 4, 1931

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The Florence Times-News, September 23, 1931

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Bela Lugosi by Joseph Grant for the Los Angeles Record, 1931

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Tulia Herald, November 12, 1931

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Wisconsin, Daily Journal, date unknown

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Keith’s Theatre, Baltimore

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 Film Daily Year Book of Motion Pictures, 1931

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Aberdeen Daily News, February 7, 1932

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Sydney Newspaper, February 18, 1932

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New Zealand Trade Ad

Courtesy of http://www.facebook.com/pages/Classic-Monsters-Classic-Horror-the-silent-era-1966

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Wallace County Chronicle and Otautau Standard (New Zealand), July 1932

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Picture Show Annual 1932

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Times-Picayune, October 27, 1948

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Posters

1931 Twenty-Four Sheet (original in full colour)

1931 One Sheet

1931 One Sheet

1931 One Sheet

1931 Three Sheet (original in full colour)

1931 Three Sheet (original in full colour)

1931 22″ x 28″ Poster

1931 Six Sheet (original in full colour)

1931 Window Card

1931 3’x10′ Banner

(original in purple, silver and green -metallic letters on felt background)

1931 Three Sheet Block

1938 Re-Release One Sheet

1947 Re-Release One Sheet

1947 Re-Release Insert

1947 Re-Release Three Sheet1951 Re-Release One Sheet

1951 Re-Release Half Sheet

1951 Re-Release Insert

1951 Re-Release Banner

French Poster date unknown

1960 Re-Release One Sheet

French 1966 Re-Release Grande

Spanish 1971 Re-Release One Sheet

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Lobby Cards

Jumbo lobby card

1931 Lobby Cards

1938 Re-Release Lobby Cards

1947 Re-Release Lobby Cards

1951 Re-Release Lobby Cards

Mexican Lobby Cards (Date Unknown)

1960s Mexican Lobby Cards

The lobby card below mistakenly features a scene from Universal’s 1931 Spanish language version of Dracula

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Publicity Stills

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British Front of House Cards

Dates unknown

The card below mistakenly features a scene from Universal’s1931 Spanish language version of Dracula

1951 Re-Release

(Courtesy of David J. Skal)

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Roxy Cinema Advertising

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Heralds

5.5″ x 7″ Herald

8″ x 10.5″ Herald

Prince’s Theatre Herald

Spanish Heralds

Singapore Herald

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Cinema Programmes

The Roxy Theatre, New York

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The Capitol, Bombay, India

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Pressbooks

1931 Pressbook

1937 Pressbook

Date unknown

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French Pressbook

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Advertising Blocks

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A promotional packet of wolfbane 

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Photoplay Edition of Dracula

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A letter from Universal President Carl Laemmle to a fan of Dracula

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Cinemas

The Stanley, Jersey City

Kentucky Theatre, Lexington

New Cross Kinema

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Stills

Tod Browning filming Frances Dade and Helen Chandler

Bela Lugosi

Edward Van Sloan (Courtesy of David J. Skal)

Helen Chandler (Courtesy of David J. Skal)

Helen Chandler and Frances Dade (Courtesy of David J. Skal)

Bela Lugosi

Bela Lugosi

Bela LugosiBela Lugosi

Bela Lugosi

Courtesy of  www.doctormacro.com

Bela Lugosi

Bela Lugosi

Bela LugosiBela LugosiBela Lugosi

Bela Lugosi

Bela Lugosi

Bela Lugosi

Bela Lugosi

Edward Van Sloan and Bela Lugosi (Courtesy of Paul Seiler)

Edward Van Sloan and Bela Lugosi

Bela Lugosi

Bela Lugosi

Bela Lugosi

Bela Lugosi, Helen Chandler and Tod Browning

Tod Browning, Bela Lugosi, Horace Liveright, and Dudley Murphy

Edward Van Sloan, David Manners, Helen Chandler and Bela Lugosi

Bela Lugosi, David Manners, Helen Chandler, Dwight Frye and Edward Van Sloan

Bela Lugosi, David Manners, Helen Chandler, Dwight Frye and Edward Van Sloan

Helen Chandler and Bela Lugosi (Courtesy of Paul Seiler)

Frances Dade and Bela Lugosi

Frances Dade and Bela Lugosi

Helen Chandler and Bela Lugosi

 Helen Chandler and Bela Lugosi

Helen Chandler, Bela Lugosi and Dwight Frye

Helen Chandler, Bela Lugosi and Dwight Frye

Dwight Frye

Bela Lugosi

Geraldine Dvorak, Dorothy Tree and Cornelia Thaw

Bela Lugosi and Dwight Frye

Bela Lugosi in a scene deleted from the final cut

Bela Lugosi in a trick shot which didn’t appear in the film

Bela Lugosi

Dwight Frye and Bela Lugosi

Dorothy Tree, Geraldine Dvorak and Cornelia Thaw

Dorothy Tree, Geraldine Dvorak and Cornelia Thaw

Bela Lugosi is rumoured to be one of the seated medical students in this scene

(Courtesy of David J. Skal)

Bela Lugosi

Courtesy of  www.doctormacro.com

Bela Lugosi and Frances Dade

Bela Lugosi and unidentified extra

Frances Dade and Bela Lugosi

Bela Lugosi and Helen Chandler

Bela Lugosi and Helen Chandler

Courtesy of  www.doctormacro.com

Edward Van Sloan and Bela Lugosi

Edward Van Sloan and Bela Lugosi

Edward Van Sloan and Bela Lugosi

Helen Chandler and David Manners

Helen Chandler and David Manners

Helen Chandler and David Manners

Bela Lugosi and Helen Chandler

Courtesy of  www.doctormacro.com

Bela Lugosi and Helen Chandler on a portion of the set which didn’t appear in the final cut of the film.

Bela Lugosi and Helen Chandler on a portion of the set which didn’t appear in the final cut of the film.

Bela Lugosi and Helen Chandler

Bela Lugosi and Dwight Fyre

Helen Chandler, Bela Lugosi and Dwight Fyre

David Manners, Helen Chandler and Edward Van Sloan

Edward Van Sloan delivering his epilogue speech. Cut upon Dracula’s re-release in 1936, the surviving footage is now too deteriorated to reinstall into the film.

Click on the link below for details of the 1938 Dracula and Frankenstein double-bill

The 1938 Dracula & Frankenstein Double-Bill