Film Analysis-Dracula 1931

Film Analysis-Dracula 1931

The film Dracula was directed and released for public viewing in 1931, depicting the existence of a horrifying culture of mortals and immortals on planet earth. The film employs the concept of vampirism and its fascinating and horrifying features to portray many of the fears that haunted London in the beginning of the new century. However, the fears in the film to a larger extent depict a series of clashes and contrasts between new ideas and old traditions. Often, the vampire is a contradictory figure that is a peculiarly alluring representation of potent sexuality and nocturnal glamour on one hand while on the other, it is a blood-thirsty repellant creature. The vampire is horrifying and alluring, at once caught between life and death. In this sense, Dracula portray fears of moral degeneration and sexual promiscuity that haunted the society in the late 19^th century while alluding to the clashes and contrasts between the new ideas and old traditions.

The production setting of the movie is designed in a manner that reveals the characters to be dressed in official outfit and a larger part of the screen play is presented in black and white color. The aforementioned styles of cinematography unravel the ancient forms of fashion outfits that individuals used in to wear during official business interactions, which are particularly black suits and white collar-shirts. Also, the black and white color of talking-motion pictures is an indication that the technology by then was yet to advance and people were still tied to tradition forms of living. There were no issues of facial make-ups since the technology could not allow the media production houses to create colorful presentation of such beauty. The film is produced in an eerie atmosphere, following the lack of background music in the scenes screen play. The production utilizes Lugosi’s Hungarian accent and his poor English to construct a halted speech that increases the frightening appeal of this film. Thus, the lack of music in the screen play, combined with the long tension-triggering pauses in the protagonist’s speech, helps to make the film a suitable medium of horror genre. The terrifying events of the vampire Dracula take place in his Transylvanian castle, which included drugging his guest and drinking his blood.

The fears of moral degeneration and sexual promiscuity are portrayed by the notion tainted blood and vampirism itself. Dracula film presents consecutive scenes that portray a culture of human-immortals rivalry in the ancient London. This has been illustrated through Count Dracula’s lifestyle for he never interacted with mortals peacefully. The Count places all women at risk as he focuses on them being selfless. For instance, the Count tells Helsing that he possesses all women he has. Lucy is representing the aspect of a new changed woman who is struggling to find her position. However, Dracula repeatedly preys on her because of her moral weakness. The place and timing of the film production reveals that young virgin females were respected and valuable persons in different communities of London in the early 19^th century. This is why Dracula hunted and drunk the blood of such females like Mina and Lucy. On the other hand, the setting within which the film has been produced, the Count Dracula’s castle in Transylvania, depicts a horrifying nature of the things that took place in those big luxurious houses that were secluded to areas resided by wealthy people of London. As vampire and an immortal, Dracula usually fed on humans’ blood. The blood is symbolic of fears of moral decay that afflicted the society. Such features include sexually transmitted diseases that are largely embodied in the notion of tainted blood. Thus, the place of shooting the film, informs about the weird, satanic acts that took place in the lives of rich fellows like Lugosi, and the high levels of sexual immorality in London streets by then.

Dracula makes references to latest ideas to mark the transition to new technology. Most reference is made to new technologies such as blood transfusion. The timing of the film displays a prevalence of religious culture of exorcism to rebuke and overpower evil spirits. As the film suggests, the technology came with new concepts of the supernatural and domains of religious faith. The move by character Van Helsing justifies the above claim in the view that he not only acted as a doctor who performs tests on renfield, but also uses the power and protection of the Holy Spirit (manifested in him through the crucifix) to kill Dracula using a sharp piece of wood. Therefore, the scene reflects on the ancient forms of tackling evil spirits and their associated satanic deeds such as Dracula’s effort to transform Mina into a vampire (immortal). Thus, the timing of the film indicates that humans were good believers in the spiritual works enacted through the Christianity doctrine. Ancient London used to have vampires living amongst humans but they would only interact during the night hours, while during the day they spent time resting in coffins; a lifestyle that baffles mortals since a casket in the last place for humans to rest when they die. There was no explanation that could justify why human-preying monsters like vampire Dracula could take the human body forms and socially interact with people as if they were of the same species.

Conclusion

The film, Dracula is a perfect representation of the moral terror and technological clash that engulfed London in the late 19^th century. The film analysis informs that ancient London used to be inhabited by both humans and vampires, though they resided in secluded areas away from human population. In those times, the different walks of religious faith and evil spirits were present, and humans lived in conflict with immortals (vampires). Hence, Dracula marks this important transition to the new era.