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Celebrate 89 Years of ‘Dracula’ This Valentine’s Day!

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Dracula

Love is in the air and plastered across every stationary surface right now as we prepare for Valentine’s Day. Across the country, millions will sit down to candlelit dinners, pour up some wine, and snuggle up on the couch to watch their favorite romantic movies. If you horror lovers out there are unsure what to watch, iHorror humbly suggests 1931’s Dracula.

This film has everything!

Brooding vampires, beautiful women, brave men willing to do whatever it takes to save the love of their life, and doctors bent on destroying ancient evil abound, and it just so happens, it was unleashed upon the world on Valentine’s Day 1931 making 2020 its 89th birthday.

Dracula

The story of Dracula‘s journey to the silver screen is an interesting one that began in 1914 when Carl Laemmle moved Universal Studios from New York to California. It was one of the first properties Laemmle wanted to make, but it took over 15 years and more than a few compromises to find its way into theaters.

The studio head initially envisioned it as a sprawling epic based entirely upon Bram Stoker’s novel. Unfortunately, after the stock market crash and with the Great Depression looming, they were wary of risking that type of money on a film that wasn’t a guaranteed success. Instead, they turned to Hamilton Deane, a playwright who had already adapted the novel for the stage starring none other than Bela Lugosi.

Even using Deane’s play as a source, however, they still had to secure the rights to adapt Stoker’s story for the big screen from his widow. She had already proven herself a shrewd businesswoman when she had taken F.W. Murnau to task for basing Nosferatu on her husband’s work. She sued Murnau and had all of the known prints of his film destroyed! (Thankfully one or two remained for posterity.)

Bram Stoker’s widow, Florence Balcombe, was very particular about how her husband’s works were used.

It seems that Florence Balcombe had been a fan particularly of Lugosi’s performance in the stage version, and so the studio used him as a go-between, dangling the role of Dracula in the film in front of him to see if he could convince her to lower her asking price of $200,000, a remarkable sum of money at the time.

Lugosi was ultimately successful and the studio was granted permission by the Stoker estate to move ahead for an estimated $60,000.

However, despite his work on their behalf, Universal still did not guarantee the role to Lugosi, and in fact, they saw a number of other actors for the role before finally committing to hire him for the meager sum of $500 per week for a seven week shoot. To put that into perspective, David Manners who played Jonathan Harker in the film was paid $2000 per week for his work.

David Manners was paid four times Lugosi’s salary on the film.

Despite these foibles, however, the film soon went into production under the direction of Tod Browning who was seemingly barely up to the job at the time. His drinking had become excessive, and he would often walk off the set leaving his cinematographer, Karl Freund, to direct the action and had been known to rip pages from the script when he was less than pleased with the writing.

The studio, meanwhile, had plenty of notes for the production.

Early on, they apparently were afraid that Dracula might appear to be gay if he was shown attacking another man so they sent a note to the director and writers that “Dracula should only bite women.” Furthermore, very little score was added to the film unless there was a scene where an orchestra would/should already be in place. They feared that, with sound pictures being relatively new, audiences might be confused if there was music without visible musicians in a scene.

Universal worried that scenes like this might give the audience the impression that Dracula was gay.

Furthermore, and this was especially interesting, the bite marks on the neck, though discussed in the film, are never actually shown! It’s possible they thought this might be too suggestive for the audience, but you’ll also note that Lugosi’s Dracula never had elongated fangs, either.

Finally, when the film was completed and a print was sent to the studio heads to watch, Laemmle wrote back that the film was too scary and ordered it recut. Unfortunately, the cuts made left the final product filled with continuity errors.

Still, the film was finalized and the studio had to find a way to sell it to a larger audience. They held a premiere for the film two days before the official theatrical release date and invited critics, many of whom reported audience members fainting at the horrors they witnessed in the theater.

This was all carefully crafted publicity by the studio, of course, and not the only one Universal had up its sleeve.

Dracula was set to premiere on Valentine’s Day in 1931, and while some posters spoke of the vampire horror, others called the film, “The story of the strangest PASSION the world has ever known.”

Dracula

Between the horror and the sexiness and the sensationalized reported responses to the film, Dracula was almost an immediate success at the box office selling a reported 50,000 tickets in its first 48 hours and eventually turning in a more than $700,000 profit, and its success would open up the floodgates for more Universal monsters.

In its own way, Dracula really is a romantic story about an undying love that borders on obsession, and is really a perfect film for a horror lover’s Valentine’s Day.

Regardless, the fact that we are still talking about the film almost 90 years after it was first released says something about the film and its place in our culture.

So I say happy birthday to Dracula and happy Valentine’s Day to all you horror fans out there.

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‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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Strange Darling Kyle Gallner

‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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Sydney Sweeney Barbarella

Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

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‘The First Omen’ Almost Received an NC-17 Rating

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the first omen trailer

Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

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