Tod Browning created an English language and George Melford, a Spanish language version of Dracula at Universal in 1931. At different hours, they utilized the same sets. For numerous scenes, their scripts differed little.
But each director interpreted the action—and positioned the camera—idiosyncratically. Shot sequences and cutting pace diverged. Browning stays cool where Melford becomes florid.
What a writer expresses in syllables, a director suggests with the setup of a camera.
Dracula, English Language Version (1931), dir. Tod Browning
Drácula (1931), Spanish Language Version ( 1931) dir. George Melford
In four shots, each equally long, Browning advances Mina to her assignation with Count Dracula. Neither Dracula nor Mina, we regard the action as a garden shrub might.
As Dracula sees it, Eva approaches. From close or afar, we are seeing Dracula or seeing what he sees. In long shots,full shots, and close shots, Eva advances in eight stages as Dracula beholds. Neither garden shrub nor Eva, we are Dracula.
