As a lifelong fan of both movies and music, I must say that this upcoming event at the LA Opera is an absolute dream come true! The opportunity to witness the rarely seen Spanish-language Dracula with a live score by two-time Oscar winner Gustavo Santaolalla, played by none other than the maestro himself on electric guitar, is something I simply cannot miss.
Perfectly timed for Halloween, the LA Opera has prepared an extraordinary offering for both film and music enthusiasts: a screening of the seldom-seen 1931 Spanish-language Dracula, accompanied by a freshly composed score from two-time Oscar-winning composer Gustavo Santaolalla.
Live performance of the music will be handled by the LA Opera Orchestra, led by their resident conductor, Lina González-Granados. Additionally, Argentine musician Santaolalla, aged 73, will join in, playing an electric guitar; however, his traditional ronroco instrument won’t be featured this time.
On the 25th, 26th, and 27th of October, screenings are scheduled at the historic United Theater in downtown L.A., a grand venue that was established in 1927 and can accommodate around 1,600 people. The event will feature English subtitles, and attendees are encouraged to dress up for the occasion.
Before silent films were common, movie studios could simply translate the captions to communicate their messages to international audiences. However, with the arrival of “talkies” (movies with sound), some chose to produce new versions in foreign languages instead.
In the Spanish-language adaptation of “Dracula”, Universal opted for a different director, cast, and team to film at night on the identical sets, and in some instances the same costumes, which were utilized during the day for the Tod Browning production that catapulted Bela Lugosi to stardom.
In an interview with THR during his tour in Istanbul, celebrating the 25th anniversary of his album Ronroco, which he mentioned led him to the film industry, the daring Santaolalla confessed that he wasn’t aware this adaptation of Dracula was available.
When he watched the film, he instantly felt compelled to be a part of it and yearned for an opportunity to perform it live,” he expressed. “He had a strong desire to combine the classic, eerie tunes common in horror films with contemporary sounds.
Additional performers joining us are Javier Casalla playing the Stroh violin, Michael Ward-Bergeman on the accordion, which occasionally produces a sound reminiscent of a church organ, Foley artist Joanna Fang (whose surname is fittingly apt for this project, Santaolalla humorously pointed out), and Foley mixer Blake Collins.
In these extended sections, there’s neither dialogue nor music, according to Santaolalla. This allows him ample room to generate unique sounds using instruments such as the guitar, bells, accordion, and violin. He also emphasizes the romantic aspect of the narrative through his compositions.
In a captivating turn of events, I found myself immersed in the Spanish adaptation where I became Carlos Villarías, the mesmerizing Count Drácula; Lupita Tovar, the enchanting Eva Steward, daughter of a sanatorium owner, was bewitched by my character’s evil allure; and Pablo Álvarez Rubio, a performer Santaolalla deemed “incredible,” portrayed the role of Renfield.
George Melford examined Browning’s daily footage and made a few changes during his nighttime filming sessions. His movie, lasting 104 minutes, is approximately half an hour longer than Browning’s; it includes extended dialogue, reorganized scenes, additional atmospheric shots that were omitted from the English version, and bolder costumes for Tovar. Many people believe that the Spanish edition surpasses the original.
The individual who passed away in 2016 at the age of 106, she was the mother of Susan Kohner, a star known for her role in “Imitation of Life”, and the grandmother of screenwriters Chris and Paul Weitz. In Michael G. Ankerich’s book titled “The Sound of Silence“, published in 2011, she shared her experiences working on the movie.
As a devotee, I can’t help but reflect on the stark transformation that unfolded for me. Instead of slumbering during the night, I found myself resting during the daylight hours. The sets were downright chilling, and I must admit that they filled me with dread. I would often arrive an hour ahead of schedule, settling in to try and focus amidst the gloominess. It was a harrowing experience, shrouded in darkness and fear. Our meals occurred at midnight, and we’d depart before the English cast even started their day.
Following its debut, the movie fell into obscurity. The sole remaining copy, preserved well, lacked the third reel, containing scenes of Renfield’s temptation by Dracula’s brides and the count’s tumultuous sea journey to England.
In 1989, a badly damaged copy of a movie was found in Havana, which allowed Universal Studios to restore it. As a result, the full film was viewed publicly after many years, in 1992.
Santaolalla, who has teamed up with Guillermo del Toro on a stage musical adaptation of Pan’s Labyrinth, compares this project to his initial experience composing music for a video game.
Back in 2013, it was the initial release of “The Last of Us” that he was referring to (and this year, he received an Emmy nomination for his contributions to the HBO version). “I’m constantly aiming to grow as an artist,” he expressed.
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2024-10-04 20:25