A Reel Opinion: Unearthing the Music of DRACULA

Happy Halloween, mortals! In this time of scary stories that can only be delivered by celluloid, the question that horror fans have been debating for over 25 years has risen again: which is the best, and proper way to watch the classic horror film, DRACULA from 1931? 

 

In 1998, composer Phillip Glass was commissioned to compose a score for DRACULA, which was originally released without one. Since its release, horror fans have been debating if this was an improvement, or an abomination. 

 

Because of costs that came with producing an original score to a film’s soundtrack in 1931, DRACULA never had its own music, with only an excerpt from Tchaikovsky’s Swan Lake used in the opening credits, and short bits from Wagner and Schubert in a theater scene. In 1998 for a home video release, Glass, who would win an Oscar in the same year for THE TRUMAN SHOW, was brought in to compose an original score for the film. Glass would take a minimalist approach, using the Kronos Quartet. The release came in 1999 on VHS, and later editions on DVD and Blu-Ray would give fans the option of watching with, or without the score. 

 

But which is better? There are good and bad points to both. In its original form without music, DRACULA can be a drag, with longer scenes without dialogue that seem to take forever to unfold…with only the crackle and hiss to keep us company. And film music, as we all know, goes a long way in helping the audience read the tone of a scene. The absence of this makes DRACULA difficult to take in. On the other hand, with no score we are seeing (and hearing), the film as audiences in 1931 did, with eerie silences and sparse sound. There is also an argument that the lack of music makes us focus more on sounds like footsteps, creaking doors, and star Bela Lugosi’s voice. 

 

The voices in support of the Glass score are strong. The added music gives the film a hypnotic vibe and adds a lot of creepy atmospheres. The score fills the silence, giving us a sense of momentum and tension. It also bridges the gap between old and new audiences, making the film more accessible to modern audiences without altering visuals (like colorization or CGI effects). 

 

For this Blogger, the scored version is the way to go. It feels less cobbled together, and the pacing is magically improved. The film is just better. The original version offers a pure sense of cinema history, but if revisiting or showing it to someone new who may struggle with the pacing, the Glass version is a tasteful, and elegant bridge into classic horror. DRACULA is creeping up on its 100th anniversary, and if it is to endure the ages, the scored version is the gateway. 

 

A Reel Review - SPRINGSTEEN: DELIVER ME FROM NOWHERE

In late 1981, born-to-be-mega-rockstar Bruce Springsteen secluded himself in Colts Neck, New Jersey…to work on his sixth studio album. The end result was the quiet acoustic record, Nebraska. The story of the making of this album has been well-documented over the years, which makes it a challenge to put to film. The idea behind SPRINGSTEEN: DELIVER ME FROM NOWHERE is to make the journey the story over the destination. 

 

After wrapping up his tour in support of his album The River, Springsteen (Jeremy Allen White), goes into seclusion and begins the writing process for his next record. With his audio engineer Mike (Paul Walter Hauser), and support from his manager Jon Landau (Jeremy Strong), Springsteen revisits his troubled past with his father (Stephen Graham), to battle his own depression and find inspiration for what would become Nebraska. 

 

Directed by Scott Cooper and based on the book of the same name by Warren Zanes and Springsteen’s biography Born to Run, DELIVER ME FROM NOWHERE is an intimate, and often stunning look at one man’s depression intertwined with his musical journey. The Springsteen we have been so used to seeing over the years, with his swagger and top-of-the-world vibe, doesn’t exist yet in 1981, and what we follow here is an artist struggling with uncertainty and anguish. 

 

Director Scott Cooper guides us through Springsteen’s musical journey with a steady hand, taking us through his romance with Faye (Odessa Young), and his deep dive into film and literature to find inspiration for the album. Cooper films his actors as if he is framing an album cover in every scene, and the results are gorgeous. The musical scenes, from Springsteen’s thunderous stage performances to his quieter strumming, are excellent. 

 

Jeremy Allen White recaptures Springsteen in breathtaking fashion, and his vocals on the tracks are good enough to fool anyone. The rest of the cast, including Odessa Young, Jeremy Strong, Paul Walter Hauser, David Krumholtz, Stephen Graham, Marc Maron, and Gaby Hoffman are all excellent. 

 

When Springsteen finished recording his acoustic demos for Nebraska, he tried to produce them traditionally with his full band, but later elected to release the stripped-down versions. It was a bold move at the time, and it’s a bold move for Springsteen to be on board with DELIVER ME FROM NOWHERE, as it strips away the larger-than-life myth of Bruce Springsteen. Much like the album it documents, it is non-traditional and quiet, and worth the journey. 

 

BOTTOM LINE: See it 

A Reel Preview: The Year in Film 2025 - Episode X

The glorious winds of Fall have arrived, bringing in a packed month of awards hopefuls, horror, and sci-fi. This month will also have re-releases back on the big screen including AVATAR: THE WAY OF WATER, GOLDENEYE, CASPER, THE LAST DRAGON, and BACK TO THE FUTURE. 

 

Here now is a preview for new films coming to theatres in October: 

 

 

THE SMASHING MACHINE – Dwayne Johnson stars in this biopic about MMA fighter Mark Kerr. Emily Blunt co-stars, and it is directed by Benny Safdie (UNCUT GEMS). 

 

 

ANEMONE – Acting legend Daniel Day-Lewis returns for his first film since 2017, taking on the role of a recluse coming home to his family. Sean Bean co-stars, and it is directed by Ronan Day-Lewis (son of Daniel). 

 

 

KISS OF THE SPIDER-WOMAN – A musical drama based on the stage production of the same name. Jennifer Lopez and Diego Luna star. It is helmed by acclaimed director Bill Condon (GODS AND MONSTERS, CHICAGO). 

 

 

TRON: ARES – This standalone sequel to TRON: LEGACY (2010), has the advanced program coming into the real world out of the digital realm. The cast includes Jared Leto, Greta Lee, Evan Peters, Gillian Anderson, and Jeff Bridges. 

 

 

AFTER THE HUNT – Acclaimed director Luca Guadagnino (CALL ME BY YOUR NAME, QUEER), returns with this drama about a college professor caught up in a sexual abuse scandal. It stars Julia Roberts, Andrew Garfield, Michael Stuhlbarg, and Chloe Sevigny. 

 

 

BLACK PHONE 2 – Ethan Hawke reprises his role as the serial killer in this sequel to the 2021 slasher hit. 

 

 

FRANKENSTEIN – Guillermo del Toro (PAN’S LABRYNTH, THE SHAPE OF WATER), is back with this remake/retelling of the classic novel. Oscar Isaac stars as victor, and Jacob Elordi plays the creature. The rest of the cast includes Mia Goth, Lars Mikkelsen, Christoph Walz, and Charles Dance. 

 

 

SPRINGSTEEN: DELIVER ME FROM NOWHERE – Jeremy Allen White (TV’s THE BEAR), plays The Boss Bruce Springsteen in this biopic which follows the creation of the Nebraska album. The cast includes Jeremy Strong, Paul Walter-Hauser, and Stephen Graham. It is directed by Scott Cooper (CRAZY HEART). 

 

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Next month, Reel Speak previews November.