Introduction: Castles, Cobwebs, and Candelabra
4 BE THOU A SPIRIT OF HEALTH, OR GOBLIN DAMN’D Hamlet 1:4.
Chapter One: Mr. Stoker’s Book of Blood
11 YOU THINK TO BAFFLE ME Bram Stoker, Dracula: A Norton Critical Edition, Nina Auerbach and David J. Skal, eds. (New York and London: W W Norton and Company, 1996), p. 267.
13 A PERSON MAY HAVE FALLEN Jane Stoddard [“Lorna”], “Mr. Bram Stoker: A Chat with the Author of ‘Dracula,’” The British Weekly, July 1, 1897, p. 185.
13 MODERN PSYCHOANALYTIC THEORY Ernest Jones’s On the Nightmare (New York: Liveright, 1951), contains the best Freudian exegesis of the vampire myth.
13 INCESTUOUS GUILT Ibid., p. 127. “The incest complex, which underlies the Incubus belief, shows itself equally in the Vampire one … the whole superstition is shot through with the theme of guilt … .”
14 BUT FIRST ON EARTH, AS VAMPYRE SENT George Gordon, Lord Byron, “The Giaour,” in Jerome J. McGann, ed., Lord Byron: The Complete Poetical Works (Oxford: Clarendon Press, 1981), vol. 3, p. 64.
15 AUTOBIOGRAPHICAL NOVEL For a fuller account of the Glenarvon affair and its literary context, see Mario Praz, The Romantic Agony (London/New York/ Toronto: Oxford University Press, 1933).
15 GOETHE … COMPLETELY TAKEN IN Ibid., p. 76. Elsewhere in Europe, the readers of the French translation of Byron’s works were outraged when “The Vampyre” was removed. Bowing to public opinion, the publisher reinstated it. For an excellent overview of early literary vampirism, see Frayling’s Vampyres: From Lord Byron to Count Dracula (London and Boston: Faber & Faber, 1991). The most authoritative edition of the Polidori tale is D. L. Macdonald and Kathleen Scherf’s The Vampyre and Ernestus Berchtold; or The Modern Oedipus:
Collected Fiction of John William Polidori (Toronto/Buffalo/London: University of Toronto Press, 1994).
15 LORD RUTHVEN The spelling of the name varies among adaptations and translations and in accounts of the same—Ruthven, Ruthwen, Rutwen, etc. (The correct pronunciation of the name, incidentally, is “RUH-ven.”) The latest resuscitation of the name can be credited to the Lord Ruthven Assembly, an association of vampire and gothic literature scholars who gather annually under the aegis of the International Association for the Fantastic in the Arts.
16 AN IMMENSE SUCCESS Ibid., p. 293–94.
16 IMMEDIATELY UPON THE FURORE Montague Summers, The Vampire: His Kith and Kin (1928; repr: Hyde Park, N.Y.: University Books, 1960), p. 290. This book has subsequently been republished under the simplified title The Vampire (New York: Dorset Press, 1991).
16 NOT A THEATRE IN PARIS WITHOUT ITS VAMPIRE Ibid., p. 303.
16 OTHER PARISIAN STAGE VAMPIRES Ibid., p. 305.
16 THÉÂTRE DES VAMPIRES Anne Rice, The Vampire Lestat (New York: Alfred A. Knopf, 1985).
16 ALMOST IMPENETRABLE DARKNESS Herbert Gorman, The Incredible Marquis: Alexandre Dumas (New York: Farrar & Rinehart, 1929), p. 71.
17 HE GROANED Ibid., pp. 78–80.
17 VAMPIRE TRAP Summers, op. cit., p. 306. Summers quotes, without attribution, a description of the device: “A vampire trap consists of two or more flaps, usually india-rubber, through which the sprite can disappear almost instantly, where he falls into a blanket fixed to the under surface of the stage.”
17 AN ANIMATED CORPSE WHICH GOES ABOUT Ibid., p. 313.
18 MR. BOUCICAULT, WHO IS VERY HANDSOME Richard Fawkes, Dion Boucicalt: A Biography (London / Melbourne / New York: Quartet Books, 1979), p. 74
18 A DREADFUL AND WEIRD THING George Clinton Densmore Odell, Annals of the New York Stage (New York: Columbia University Press, 1927-49), vol. 6, p. 447
19 THE FIGURE TURNS HALF-ROUND James Malcolm Ryder, Varney the Vampyre, or, the Feast of Blood (1847), excerpted in David J. Skal, ed., Vampires: Encounters with the Undead (New York: Black Dog and Leventhal, 2001), p. 100.
20 I WAS NATURALLY THOUGHTFUL Bram Stoker, Personal Reminiscences of Henry Irving (New York: The Macmillan Company, 1906), vol. 1, p. 31.
22 SOMETIMES AFTER AN HOUR OF APATHY J. Sheridan Le Fanu, “Carmilla,” in Skal, ed., Vampires: Encounters with the Undead, p. 118.
24 THE WEIRDEST OF WEIRD TALES 1897 Review of Dracula in Punch, quoted by Harry Ludlam, A Biography of Dracula: The Life Story of Bram Stoker (1962; reprint, London: New English Library, 1977 as A Biography of Bram Stoker, Creator of Dracula), p. 122.
24 HOW SWEET A THING IT IS FOR A STRONG HEALTHY MAN Bram Stoker’s correspondence with Walt Whitman, quoted in Horace Traubel, With Walt Whitman in Camden, vol. 4 (Philadelphia: University of Pennsylvania Press, 1953), pp. 181-85.
24 THEY EVENTUALLY MET Stoker, Personal Reminiscences, vol. 2, pp. 96–108.
25 ART CAN DO MUCH Stoker, Personal Reminiscences, vol. 1, p. 31.
25 SOMETHING LIKE HYSTERICS Ibid.
25 FROM THAT HOUR BEGAN A FRIENDSHIP. Ibid., p. 33.
25 TO SEE STOKER IN HIS ELEMENT Horace Wyndham, The Nineteen Hundreds (New York: Thomas Seltzer, 1923), pp. 118–19.
26 HE WAS PAID HANDSOMELY Records of Henry Irving’s 1893–94 American tour, Folger Shakespeare Library, Washington, D.C.
26 CONSIDERED WELL PAID Sylvia Starshine, ed., Dracula: or the Un-Dead (Nottingham : Pumpkin Press, 1997), p. xxvi.
26 MADE PEOPLE LAUGH AT HIM. Ibid., pp. 117–18.
27 SUBSIDIZED, AT LEAST IN PART, BY STOKER Daniel Farson, The Man Who Wrote Dracula (New York: St. Martin’s Press, 1975), p. 87.
27 WHOSE ANGEL DOTH BEHOLD Bram Stoker, Under the Sunset (London: Sampson Low, Marston, Searle, and Ribington, 1882), dedication page.
27 IT WAS A THING OF DAILY OCCURRENCE Bram Stoker, “The Dualitists; or, the Death Doom of the Double Born,” The Theatre Annual (London: Carson and Comerford, 1887), pp. 23–27.
28 EMILY GERARD’S ESSAY Emily Gerard, “Transylvanian Superstitions,” The Nineteenth Century, July 1885, pp. 128–44.
30 CHINA, ICELAND, GERMANY Stoddard, op. cit.
30 YOUNG MAN GOES OUT Bram Stoker, undated working notes for Dracula, Rosenbach Museum and Library.
30 TOO GENEROUS A HELPING OF DRESSED CRAB Ludlam, op. cit., p.112.
32 VERY TESTY Harry Ludlam, My Quest for Bram Stoker (Chicago: Adams Press, 2000), p. 26.
32 MY LATE HUSBAND Florence Stoker’s introduction to the 1926 serialization of Dracula in The Argosy (London). Text transcript courtesy of Robert Eighteen-Bisang.
33 WHEN HE WAS AT WORK ON ‘DRACULA’ Quoted by Frank Dello Stritto and Andi Brooks, Vampire over London: Bela Lugosi in England (Los Angeles/Houston: Cult Movies Press, 2001), p. 6. Harry Ludlam, in My Quest for Bram Stoker, recalled using the same quote in his 1962 biography, but changed the word “bat” to “seabird” at the request of Stoker’s son Noel.
33 I KNOW AN OLD LADY H. P. Lovecraft, letter to Robert Barlow, December 10, 1932; Lovecraft collection, John Hay Library, Brown University. Quoted in Raymond McNally and Radu Florescu, eds., The Essential Dracula (New York: Mayflower Books, 1979), p. 24. Whatever has been said about Lovecraft, nobody has ever painted him as a prevaricator, and certainly not a jokester. I am inclined to accept Lovecraft’s account as probably accurate in terms of what was told him, but not necessarily so the account of the old lady herself. Her identity remains unknown. One candidate suggested to me by a Lovecraft aficionado was a New England writer named Edith Mintner, but I have, thus far, been unable to learn anything about her.
33 SERIOUS FINANCIAL PRESSURE Vivien Allen, Hall Caine: Portrait of a Victorian Romancer (Sheffield: Sheffield Academic Press, 1997), pp. 249–250.
33 IF THE NEW BOOK COMES OUT WELL Ibid.
34 PROVIDED EDITORIAL ASSISTANCE Allen op. cit, pp. 275, 325.
35 HIS FACE WAS A STRONG Stoker, Dracula: A Norton Critical Edition, op. cit., p. 24.
36 THE FAIR GIRL WENT ON HER KNEES Ibid., pp. 42–43.
37 SHE SEEMED LIKE A NIGHTMARE Stoker, Dracula: A Norton Critical Edition, op. cit., p. 190.
37 THE THING IN THE COFFIN Ibid., p. 192.
38 RATS! RATS! RATS! Stoker, Ibid., p. 244.
38 AS MANY AS FIFTY LETTERS A DAY Stoker, Reminiscences, op. cit., vol. 1., p. 62.
40 THE BEST EVIDENCE In Dracula: The Ultimate, Illustrated Edition of the World-Famous Vampire Play (New York: St. Martin’s Press, 1994), I proposed Whitworth Jones, an actor who specialized in kings, wizards, and other imposing and fantastic
characters, as the most likely candidate for Dracula in Stoker’s staged reading. But Sylvia Starshine’s careful research of Lyceum records for Dracula: or, the Un-Dead (1997) convinces me that T Arthur Jones is indeed the most likely culprit.
41 HI! HI! Starshine, op. cit., p. 1.
41 DREADFUL! Farson, op. cit., p.164.
42 WHEN THE LATE BRAM STOKER TOLD ME Frederick Donaghey, review of Deane and Balderston’s Dracula, Chicago Daily Tribune, April 3, 1929, p. 37.
44 REALLY SEEMED TO SHINE LIKE CINDERS Stoker, Personal Reminiscences, op. cit., vol. 1, p. 56
44 I BELIEVED IN THE SUBJECT Ibid., vol. 2, p. 123.
44 IRVING HAD A GREAT OPINION Ibid.
44 DURING MANY YEARS Quoted in Harry Ludlam, op. cit., pp. 109–10.
44 GRAIH MY CHREE Allen, op. cit., p. 238. Stoker, in his Reminiscences, dispenses with the Manx title and simply calls the poem “The Demon Lover.”
45 IN SPITE OF THE UTMOST SINCERITY Allen, op. cit. pp. 249–50.
45 SHILLING SHOCKER Donaghey, op. cit.
48 INCUBUS George du Maurier, Trilby (New York: Harper & Brothers Publishers, 1894), p. 137.
48 LAMENTED THAT HENRY IRVING HAD NOT STRUCK FIRST “The Lounger,” The Critic (New York), April 20, 1895, p. 297. “Mr. Paul M. Potter’s dramatization of “Trilby” has made a popular success in New York as well as in Boston. Hundreds of people were turned away from the Garden Theatre on Monday night. Mr. Potter has just signed a contract with Mr. Beerbohm Tree, giving that actor the right to produce the play in London. Mr. Tree will play Svengali. What a pity that Mr. Irving did not secure the play! He would have made a wonderful Svengali, and Ellen Terry would have been Trilby without trying.” The Critic noted other, unlicensed depictions of Trilby. “At the Eden Musee, a Miss Gathony has been restrained from impersonating Du Maurier’s heroine, and at ‘The Greatest Show on Earth,’ Miss Marie Meers, who has not been restrained, appears nightly in Trilby costume, riding bareback (not barefoot), around the tan-bark to the snapping of Svengali’s whip.”
48 MENTIONS CHARCOT’S DEATH Stoker, Dracula: A Norton Critical Edition, op. cit., p. 171. Van Helsing on Charcot: “ … alas that he is no more!”
49 “EXPERIMENTS” OF SPIRITUALISM The most stimulating account of the spiritualist movement I have ever read is Peter Washington’s Madame Blavatsky’s Baboon:
A History of the Mystics, Mediums, and Misfits who Brought Spiritualism to America (New York: Schocken Books, 1995).
49 I WANT NO SOULS Stoker, Dracula: A Norton Critical Edition, op. cit., p. 236.
49 AN ACTIVE MATERIALIST Clive Leatherdale, Dracula: The Novel and the Legend (Wellingborough, North Hamptonshire: The Aquarian Press, 1985), p. 203.
51 THINGS AS THEY ARE TOTTER AND PLUNGE Quoted in Bram Stoker, Dracula; Glennis Byron, ed. (Petersborough, Ontario: Broadview Literary Texts, 2000), p. 472.
51 DEGENERATES ARE NOT ALWAYS CRIMINALS Max Nordau, Degeneration (New York: D. Appleton and Co., 1895), p. vii.
51 A KEEN PHYSIOGNMIST Traubel, op. cit., pp. 183–84.
51 CRIMINOLOGY TEXTS See Cesar[e] Lombroso, Criminal Man (New York: G. P. Putnam’s Sons, 1911). Not a direct translation of Lombroso, this is instead a useful English-language précis of his theories, written by his daughter.
52 FILTHY BLACK HEBREW Bram Dijkstra, Idols of Perversity: Fantasies of Feminine Evil in Fin-de-Siecle Culture (New York, Oxford: Oxford University Press, 1986), p. 343.
52 COUNT DRACULA, WITH HIS SATYR EARS For an extended discussion of Pan’s relation to demonic dreams, see Wilhhelm Heinrich Roscher and James Hillman, Pan and the Nightmare (Dallas: Spring Publications, Inc., 1988).
53 MAN’S FEAR OF WOMAN Peter Gay, The Bourgeois Experience: Victoria to Freud, Vol. 1: Education of the Senses (New York/Oxford: Oxford University Press, 1984), p. 169.
53 TO DENY WOMAN Ibid., p. 197.
53 THE MAJORITY OF WOMEN Acton, quoted by Gay, op. cit., p. 153.
53 A UNIVERSAL AND VIRTUALLY INCURABLE SCOURGE Steven Marcus, The Other Victorians: A Study of Sexuality and Pornography in Mid-Nineteenth Century England (New York: Basic Books, 1966), p. 28.
54 SPERMATORRHEA Ibid., p. 27.
54 COMMONPLACE BOOK OF THE ANTIFEMININE OBSESSION. Dijkstra, Op. cit., p. 342.
54 THE WOMEN ARE TRANSFORMED INTO PREDATORS Andrea Dworkin, Intercourse (New York: The Free Press, 1987), p. 119.
55 THE COUNT IS REDUCED Nina Auerbach, Woman and the Demon: The Life of a Victorian Myth (Cambridge, Mass., and London: Harvard University Press, 1982), pp. 22, 24.
55 OTHER KINDS OF FEAR Gay, op. cit., p. 212.
56 MRS. BRAM Wyndham, op. cit., p. 119.
56 AN ELEGANT, ALOOF WOMAN Farson, op. cit., pp. 213.
57 YOU DON’T LOOK AT ME Punch, September 11, 1886, p. 126.
57 SHE TOLD ME THAT SHE DOUBTED Farson, op. cit., pp. 213–14.
58 SECRET IDENTITIES AND ALTERNATIVE SELVES See Phyllis A. Roth, Bram Stoker (Boston: Twayne Publishers, 1982), pp. 127-28.
58 GOD’S MERCY IS BETTER Stoker, Dracula: A Norton Critical Edition, op. cit., p. 55.
58 DERIVES FROM DRACULA’S HOVERING INTEREST Christopher Craft, “Kiss Me with Those Red Lips: Gender and Inversion in Dracula,” Representations 8 (Fall 1984), pp. 109–10. A slightly revised version of the essay appears in Craft’s book Another Kind of Love: Male Homosexual Desire in English Discourse, 1850–1920 (Berkeley/Los Angeles/London: University of California Press, 1994) under the title “Just Another Kiss: Inversion and Paranoia in Bram Stoker’s Dracula.” The original piece is excerpted at length in the Norton Critical Edition of Stoker’s novel.
59 ON THE BED BESIDE THE WINDOW Stoker, Dracula: A Norton Critical Edition, op. cit., pp. 246–47.
59 THE WHOLE ROOM BEHIND ME Ibid., p. 31.
59 FEELINGS OF MURDEROUS ENVY Joseph S. Bierman, “Dracula: Prolonged Childhood Illness and the Oral Triad,” American Imago, vol. 29, no. 2 (Summer 1972), pp. 186–98.
60 EXQUISITELY PRETTY Rupert Hart-Davis, ed., The Letters of Oscar Wilde (New York: Harcourt, Brace & World, Inc., 1962), p. 24.
62 ALMOST LEADEN-COLORED Horace Wyndham, The Nineteen Hundreds (New York: Thomas Selzer, 1924), p. 62.
62 SET AMONGST SWOLLEN FLESH Stoker, Dracula: A Norton Critical Edition, op. cit., p. 53.
62 THERE WAS A SCANDALOUS TRIAL H. G. Wells, preface to Collected Works, vol. 2 (London: T. Fisher Unwin, 1924), p. ix.
62 AS A REVENANT George Sylvester Viereck, “Is Oscar Wilde Living or Dead?” The Critic, July 1905, pp. 86-88.
63 “THE CULT” OF OSCAR WILDE Evening Telegraph, undated, unpaginated clipping, Robinson Locke dramatic scrapbooks of Henry Irving, New York Public Library for the Performing Arts.
63 HIS OWN BOOK OF FAIRY TALES Rupert Hart-Davis, ed., More Letters of Oscar Wilde (New York: Vanguard Press, 1985), p. 75. The editor notes that the autographed copy of The Happy Prince and accompanying letter fetched $8,500 at Christie’s, New York, in 1984.
63 ROSS’S GALLERY Emmanuel Cooper, The Sexual Perspective: Homosexuality and Art in the Last 100 Years in the West (London and New York: Routledge & Kegan Paul, 1986), p. 80.
65 LOATHSOME … PUTRID INDECORUM C. E. Bentley, “The Monster in the Bedroom : Sexual Symbolism in Bram Stoker’s Dracula,” Literature and Psychology, vol. 22, no. 1 (1972), p. 33.
65 HIS OBJECT, ASSUMING IT TO BE GHASTLINESS Unsigned review of Dracula; Athanaeum, No. 3635, June 26, 1897, p. 835.
65 IN A RECENT LEADER Stoddard, op. cit.
65 A BISHOP’S WIFE Quoted in David Glover, Vampires, Mummies and Liberals: Bram Stoker and the Politics of Popular Fiction (Durham/London: Duke University Press, 1995), p. 4.
65 BRINGS IN, MUTATIS MUTANDIS Quoted in Dello Stritto and Brooks, op. cit., p. 313.
66 APPEAR TO HAVE ORIGINATED Quoted in Elizabeth Miller, Dracula: Sense and Nonsense (Westcliff-on-Sea, Essex: Desert Island Books, 2000), p. 41.
66 ACCOUNTS WOULD PERSISTENTLY NAME STOKER Ellic Howe, The Magicians of the Golden Dawn: A Documentary History of a Magical Order 1887–1923 (London: Routledge & Kegan Paul, 1972), p. 285; see also Farson, p. 207.
66–67 CURIOUS VICISSITUDES “Frankenstein,” The Bookman, June 1912, pp 342-48.
68 MUCH SUCCESS IN ENGLAND Doubleday & McClure advertisement, The New York Times, October 7, 1899.
72 THE DRAINAGE OF WAR HOSPITALS Bram Stoker, The Lair of the White Worm (1911; reprint, Dingle, Ireland: Brandon Book Publishers, 1991), p. 91.
72 THE WHOLE SURFACE Ibid., p. 159.
73 THE ONLY EMOTIONS Bram Stoker, “The Censorship of Fiction,” The Nineteenth Century 64 (July-December 1908), pp. 479–87.
73 PERHAPS ON A TRIP ABROAD There is only the slightest and most indirect evidence (if it can really be called evidence) for any extramarital dalliance on the part of Stoker. There is mostly a supposition that Stoker, separated from an (also supposedly) sexually inattentive wife, would have, as a matter of course, sought sexual companionship elsewhere, and he did travel extensively during his years at the Lyceum. Cleveland Moffett, in “How I Interviewed Irving” in The Theatre, January 1, 1902, reported that Stoker kept his American lodgings oddly separate from the rest of the Irving entourage. “He stops with friends” was the only explanation given. The argument, recently made, that Stoker was simply too busy with his overwhelming duties at the Lyceum to have time for any extramarital sex strikes me as ignorant of basic male psychology and physiology.
74 SENSIBLE, NOT FRIGID Carol E. Senf, The Vampire in Nineteenth Century English Literature (Bowling Green State University Popular Press, Bowling Green, Ohio, 1988), p. 67.
74 OF THE DEVOTION OF HIS WIFE Hall Caine, “Bram Stoker: The Story of a Great Friendship,” The Telegraph, April 24, 1912.
Chapter Two: The English Widow and the German Count
77 IN ACCORDANCE WITH MY PROMISE G. Herbert Thring, letter to Florence Stoker, April 27, 1922, Society of Authors collection, British Library.
78 FRENCH RIGHTS Eve Paul Margueritte, letter to Society of Authors, June 30, 1933, Ibid.
79 A WONDERFUL EVENING WRAP Montgomery Hyde, Oscar Wilde (New York: Da Capo, 1983), p. 136.
79 CAPITALIZATION OF TWENTY THOUSAND MARKS M. Bouvier and J. L. Leutrat, Nosferatu (Paris: Cahiers du Cinéma/Gallimard, 1981), p. 230.
79 NEW PRINCIPLES Ibid., p. 234.
79 EVOCATIVE TITLES Ibid., p. 230.
79 ARDENT SPIRITUALIST Lotte H. Eisner, Murnau (Berkeley and Los Angeles: University of California Press, 1973), p. 109.
80 DOES NOT EXIST IN THE ROMANIAN LANGUAGE For an authoritative debunking of this and countless other ingrained myths surrounding Dracula, see Elizabeth Miller, Dracula: Sense and Nonsense (Westcliff-on-Sea, Essex: Desert Island Books, 2000).
81 EVERY KIND OF CULTURAL COMMITMENT John D. Barlow, German Expressionist Film (Boston: Twayne Publishers, 1982), p. 15.
83 DENIED ANY EXPRESSIONIST INTENTIONS Lotte H. Eisner, The Haunted Screen (Berkeley and Los Angeles: University of California Press, 1973), pp. 56-58.
84 A ROPE IS DANGLING Ibid., p. 41.
84 TINTED DEEP BLUE Enno Patalas, “Propos sur la reconstruction du Nosferatu,” La Cinématèque Française no. 15 (November 1986).
84 LIVE ORCHESTRAL SCORE Berndt Heller, “La musique de la fete de Nosferatu,” La Cinématèque Française no. 15 (November 1986).
86 SHYLOCK OF THE CARPATHIANS Bouvier and Leutrat, op. cit., p. 26.
86 ANTICIPATION OF HITLER See Siegfried Kracauer, From Caligari to Hitler: A Psychological History of the German Film (Princeton: Princeton University Press, 1947).
86 BORN IN 1879 Bouvier and Leutrat, op. cit., p. 224.
86 PHALLAMBULIST Roger Dadoun, “Fetishism in the Horror Film,” in James Donald, ed., Fantasy and the Cinema (London: British Film Institute, 1989), p. 55.
87 DELIBERATE EXERCISE IN CAMP Stan Brakhage, “F. W. Murnau,” Film Biographies (Berkeley: Turtle Island Press, 1977), pp. 245–70.
87 CABBALISTIC AND ASTROLOGICAL SYMBOLS Sylvain Exertier, “La lettre oubliee de Nosferatu,” Positif, March 1980, pp. 47-51.
87 PUBLICITY EXPENSES Bouvier and Leutrat, op. cit., p. 231.
88 NOSFERATU–WHO CANNOT DIE Eisner, Murnau, op. cit., p. 108.
88 YOU NO LONGER SEE THE TERROR Albin Grau, “Vampires,” in David J. Skal, ed., Vampires: Encounters with the Undead (New York: Black Dog and Leventhal, 2001), p. 317.
88 WRAPPING THE WORKER … IN A SUPERNATURAL FOG Bouvier and Leutrat, op. cit., pp. 245–46. English translation by the author.
89 THE SINCERITY OF HER INTEREST Thring to Stoker, May 9, 1922, Society of Authors collection, op. cit.
89 ON THE UNDERSTANDING Thring to Stoker, May 15, 1922, Ibid.
89 SOME FOOLISH POINTS Thring to Stoker, July 10, 1922, Ibid.
89 NOW-LOST HUNGARIAN FILM For the most detailed account in English of this cinematic curiosity, see Lokke Heiss, “Dracula Unearthed,” Cinefantastique, October 1998, p. 90.
93 A VERY EXPENSIVE AND DANGEROUS EXPERIMENT Thring to Stoker, January 23, 1923, Ibid.
95 EVERY POSSIBLE LEGAL METHOD Thring to Stoker, June 5, 1923, Ibid.
98 I AM QUITE PREPARED TO CARRY ON Stoker to Thring, May 12, 1925, Ibid.
98-99 MONTAGU ON THE TELEPHONE Stoker to Thring, October 12, 1925, Ibid.
100 I HAVE FOR A CONSIDERABLE TIME Stoker to American Dramatists and Composers, October 12, 1925, Ibid.
100 I MUST APOLOGIZE Montagu to Bang, October 10, 1925, Ibid.
100 STOLEN GOODS Bang to Stoker, October 15, 1925, Ibid.
100 NO DOUBT HE KNOWS Bang to Stoker, October 20, 1925, Ibid.
101 I BEG TO INFORM YOU Thring to Stoker, January 6, 1926, Ibid.
Chapter Three: “A Nurse Will Be in Attendance at All Performances”
105 DEVELOPED A SEVERE COLD Harry Ludlam, A Biography of Dracula: The Life Story of Bram Stoker (London: Fireside Press/W. Foulsham & Co. Ltd., 1962), p. 154.
105 PALTRY 10 PERCENT John L. Balderston, letter to Harold Freedman, November 28, 1927. Balderston papers, Brandt and Brandt Dramatic Department, New York.
107 TROUSERS MUST BE STRAPPED Hamilton Deane, manuscript prologue to Dracula (1924), Lord Chamberlain Collection, British Library.
107 THE PROLOGUE WAS NEVER ACTUALLY STAGED Ivan Butler, interviewed by author, October 1989, London.
108 [DRACULA’S] REAL BODY Hamilton Deane and John L. Balderston, Dracula: The Ultimate, Illustrated Edition of the World-Famous Vampire Play; David J. Skal, ed. (New York: St. Martin’s Press, 1994), p. 63.
108 THE AUDIENCE SEES NOTHING OF THE KILLING Ibid.
108 DRAYTON WAS A SHORT YORKSHIREMAN Ivan Butler, interviewed by the author, September 1996, London.
109 AT THE TIME I WAS PLAYING Raymond Huntley, interviewed by author, October 1989, London.
III THERE IS VERY LITTLE OF BRAM STOKER IN IT Review of Deane’s Dracula; The Times (London), February 15, 1927.
111 APPALLINGLY POMPOUS Unsourced newspaper review, February 20, 1927, clipping collection of the Theatre Museum, London.
112 THE INCREDIBLE THING Undated, unsigned review of Dracula in the Era.
113 AT LEAST IT is MY OWN Evening Standard, February 19, 1927.
113 A GOOD, PLAIN, UPRIGHT WOMAN Ludlam, op. cit., p. 180.
113 OR, JUST GIVE ME A BRANDY Butler interview (1997), op. cit.
113 SUICIDE OF A SIXTEEN-YEAR-OLD Unsourced clipping from Hamilton Deane’s scrapbook, the Dracula Society, London.
114 HAS GONE ON DRINKING BLOOD NIGHTLY Quoted by Ludlam, op. cit., p. 161.
114 SURPRISE MOVE OF “DRACULA” Undated clipping, Westminister Gazette, Society of Authors collection, British Library.
115 RATHER HARD Thring to Stoker, June 11, 1928, op. cit.
115 I HAVE LIVED TOO LONG IN ITALY Charles Morrell, Dracula (1927), London: Lord Chamberlain’s Collection, British Library.
117 PROPELLED BY AN ELASTIC BAND Ludlam, op. cit., p. 163.
117 HERE YE SEE A MIGHTY DRAMA Anonymous, burlesque version of Dracula in verse, performed at the New Recreation Hall, Penbeth, February 1930. Lord Chamberlain’s Collection, British Library.
118 I GOT A KICK OUT OF IT Unsourced newspaper article quoting Horace Liveright, December 10, 1927. New York Public Library for the Performing Arts clipping collection.
118 20,000 COPIES PER YEAR Ibid.
119 FAIRLY TAME DRAMA ABOUT LESBIANISM Walker Gilmer, Horace Liveright: Publisher of the Twenties (New York: David Lewis, 1970), pp. 154–55.
119 SHE DISLIKED HIM IMMEDIATELY Balderston to Freedman, January 15, 1929: “She refused to have anything to do with him and said she didn’t like him and would only deal with me …” Balderston papers, Brandt and Brandt Dramatic Department, New York.
120 A $1,000 ADVANCE Draft contract between Florence Stoker and Horace Liveright, undated. Ibid.
121 I HAVE SORROW Deane and Balderston, op. cit., pp. 7-8.
121 MY FOOTFALL IS NOT HEAVY Ibid., p. 100.
124 THEY FOUND OUT HE COULDN’T SPEAK ENGLISH Arthur Lubin, undated audio interview by film historian Scott MacQueen; Transcript provided by Mr. MacQueen.
125 Miss LUGOSI New York World clipping, undated, in scrapbook of actor Dwight Frye.
125 NOT LIKE THE ONE CURRENTLY BEING SHOWN Robert Cremer, Lugosi: The Man Behind the Cape (Chicago: Henry Regnery, 1977), pp. 100-101.
125 REFUSAL TO RELINQUISH FILM RIGHTS Thring to Stoker, March 5, 1925. Society of Authors collection, op. cit.
125 LIVERIGHT AUDITIONED HIM IMMEDIATELY Cremer, op. cit., p. 101.
126 HIS ONLY DISPLAYS OF EMOTION Ibid., p. 102.
126 IT WAS JOLLY TO SEE THE COUNT Gilbert Gabriel, undated review of Dracula in The Sun (New York), quoted in Deane and Balderston, op. cit., p. 77.
127 YE WHO HAVE FITS Alexander Woollcott, review of Dracula, New York World, October 6, 1927.
127 DRACULA IS FUN Unsigned review of Dracula, Vogue, November 1927.
127 TERRIBLY ENTERTAINING Gabriel review, op. cit.
128 I WENT INTO ‘DRACULA’ Undated clipping from The San Francisco Examiner.
129 CYNICAL HINTS “A Mystery Play Took to the Road,” The New York Times, March 2, 1930.
131 THE PLAY IS DOING EXTREMELY WELL Memorandum, Freedman to Carl Brandt, December 8, 1927. Balderston papers, op. cit.
132 YOU CAN’T COPYRIGHT THE VAMPIRE IDEA Balderston to Freedman, November 28, 1927, Ibid.
132 CLOSED AT THE FULTON AFTER THIRTY-THREE WEEKS Undated earnings statement, Brandt and Brandt Dramatic Department, Inc., New York. Balderston papers, op. cit.
132 AWESOME, EXCITING, REVOLTING “Dracula Provides Thrilling Entertainment at Lobero,” Daily News, Santa Barbara, Calif., June 14, 1929.
133 I ONCE CONVERTED THE HEAD OF A FAMOUS DETECTIVE Unsourced newspaper clipping, Free Library of Philadelphia Theatre Collection.
134 “FAINT CHECKS” “A Mystery Play Took to the Road,” op. cit.
134 EXCEEDED A MILLION DOLLARS Dracula earnings statement, Balderston papers, op. cit.
134 SOME VERY TEMPERAMENTAL PEOPLE Balderston to Freedman, January 8, 1929, Ibid.
137 “DRACULA” TO BE FILMED To-Day’s Cinema (London), October 6, 1928.
Chapter Four: A Deal for the Devil Or, Hollywood Bites
139 I CONSIDER NO TIME MUST BE LOST Stoker to Thring, December 16, 1928. Society of Authors collection, British Library.
139 WHETHER THE PERFORMANCE IS PUBLIC OR PRIVATE Thring to Stoker, December 17, 1928, Ibid.
140 PARTICULARLY AS I FIND IT WAS HE C. D. Medley to Thring, January 22, 1929, Ibid.
142 ANY PERSON WHO ATTEMPTS TO INTERFERE Medley to Thring, February 7, 1929, Ibid.
142 I AM NOT ANXIOUS TO GO TO LAW Stoker to Medley, February 21, 1929, Ibid.
142 I DO NOT MYSELF KNOW HOW THESE FILMS ARE DESTROYED Medley to Thring, March 25, 1929, Ibid.
143 LAWSUIT AND COUNTERSUIT Balderston to Louis Cline, December 27, 1928, Balderston papers, op. cit.
143 THE STOKERS WERE suspicious Dorothea Fassett to Carl Brandt, August 30, 1930, Ibid.
143 DOROTHEA WASN’T TRULY HAPPY Laurence Fitch, interviewed by author, October 1989, London.
144 THESE PEOPLE ARE SO PIG-HEADED Balderston to Freedman, November 6, 1928. Balderston papers, op. cit.
145 OWING TO THE PECULIARITIES OF THE PEOPLE CONCERNED Balderston to Cline, December 27, 1928, Ibid.
145 WOULD NOT HAVE BEEN A SUCCESS Balderston to Freedman, January 8, 1929, Ibid.
145 MRS. STOKER AND I HAVE BECOME VERY FRIENDLY Balderston to Freedman, January 15, 1929, Ibid.
148 BAUHAUS-DECO EXTRAVAGANZA For a detailed photographic look at the Film Guild Cinema, see Lisa Phillips, Frederick Kiesler (New York: Whitney Museum of American Art in association with W. W. Norton & Company, New York, London, 1989), pp. 16-18, 91, 144, 162.
148 THERE IS NO QUESTION Cline memorandum to Horace Liveright, June 4, 1929. Balderston papers, op. cit.
148 MORE OF A SOPORIFIC THAN A THRILLER New York Times, June 4, 1929.
148 JUMBLED AND CONFUSED New York Herald Tribune, June 4, 1929.
148 NOT SINCE CALIGARI New York Post, undated clipping, June 1929.
149 RESPONSIBLE FOR THE MONTAGE M. Bouvier and J.-L. Leutrat, Nosferatu (Paris: Cahiers du Cinema/Gallimard, 1981), p. 261.
150 WE HAVE AT PRESENT NO REAL EVIDENCE Thring to Stoker, July 1, 1929. Society of Authors collection, op. cit.
150 I AM SORRY TO WORRY YOU AGAIN Balderston to Stoker, December 16, 1929. Balderston papers, op. cit.
150 SMALL PEOPLE WHO ARE QUITE IRRESPONSIBLE Balderston to Stoker, December 17, 1929, Ibid.
151 ADVERTISED FRANKLY AS DRACULA Cline to Balderston, November 30, 1929, Ibid.
151 ANY DOPE YOU CAN GET FROM MRS. STOKER Ibid.
1 I AM TRYING TO GET HIM DOWN Freedman to Balderston, January 31, 1930, Ibid.
151 I AM STRONGLY OF THE OPINION Fassett to Freedman, November 14, 1929, Ibid.
151 RAYMOND HUNTLEY’S NAME Fassett to Freedman, November 27, 1929, Ibid.
151 STOKER INSISTED ON THIRTY-FIVE THOUSAND Fassett to Freedman, November 28, 1929, Ibid.
152 STILL SEEMS TO NARROW ITSELF Freedman to Balderston, January 31, 1930, Ibid.
152 UNLESS THEY CAN GET CHANEY Freedman to Balderston, February 14, 1930, Ibid.
153 CHANEY HAD A FULL SCENARIO AND A SECRET MAKEUP “Vampires, Monsters, Horrors!” The New York Times, March 1, 1936.
155 SHE WOULD LIKE TO HAVE DETAILS Fassett to Freedman, March 4, 1930, Ibid.
156 THE EFFECT OF THESE SCENES ON CHILDREN Thomas Schatz, The Genius of the System: Hollywood Filmmaking in the Studio Era (New York: Pantheon Books, 1988), p. 89.
156 I GOT AT UNIVERSAL Freedman to Balderston, August 13, 1930. Balderston papers, op. cit.
157 I FINALLY PUT THROUGH THE SALE Freedman to Fassett, August 13, 1930, Ibid.
158 I DON’T BELIEVE IN HORROR PICTURES Gladys Hall, “Uncle Carl and Junior Laemmle Have Made Movie History,” Picture magazine, undated clipping, circa 1932.
158 STILL A MATTER OF DEBATE See Schatz, op. cit., for a positive revisionist assessment.
158 LOVED EVERYTHING MACABRE Carla Laemmle, interviewed by author, August 1997.
158 LINE HIS UNDERWEAR WITH SANITARY NAPKINS Tom Weaver, I Was a Monster Movie Maker (Jefferson, N.C. and London: McFarland and Company, 2001), p. 230.
158 VARIOUS THINGS THAT HAD TO BE DONE Freedman to Balderston, August 13, 1930. Balderston papers, op. cit.
160 HORACE LIVERIGHT, STUNG Freedman to Balderston, August 5, 1930, Ibid.
160 BELIEVE CAN GET PRINT Freedman to E. M. Asher, July 31, 1930, Ibid.
160 THIS, I PRESUME, IS THE PRINT Freedman to David C. Werner, August 15, 1930, Ibid.
Chapter Five: The Ghost Goes West
163 BROMFIELD HAD BEEN LURED Damon Runyon, “Damon Runyan Says” column, Rochester Democrat-Chronicle, December 13, 1938. Cited by Morrison Brown, Louis Bromfield and His Books (Fair Lawn, N.J.: Essential Books, Inc., 1957), p. 77.
164 “NATURAL ARISTOCRACY” David D. Anderson, Louis Bromfield, (New York: Twayne Publishers, Inc., 1963), p. 12.
165 IT WILL BE A DIFFICULT TASK Philip J. Riley, ed. Dracula: The Original 1931 Shooting Script (Abescon, N.J.: Magicimage Filmbooks, 1990), p. 30. Riley reproduces five original reader reports on Dracula, as well as Bromfield’s fifty-page treatment, the subsequent treatment by Fritz Stephani, and the final shooting script.
165 ABSOLUTELY NO!! Ibid.
167 $1.45 MILLION UNIVERSAL HAD SPENT Thomas Schatz, The Genius of the System: Hollywood Filmmaking in the Studio Era (New York: Pantheon Books, 1988), pp. 85-90.
168 WORK IN HOLLYWOOD FROM THE WRITER’S POINT OF VIEW Screenland, March 1931, p. 31.
171 GO BITE YOURSELF Fred Pasley, “What a Life! Directing Freaks Is a Man’s Job in the ‘Talkies,’” The Evening Bulletin (Philadelphia), February 11, 1932, p. 16.
172 JOSEPH SCHILDKRAUT MIGHT BE A BRILLIANT PIECE OF CASTING Freedman to Verne Porter, March 13, 1930.
174 His OWN ENTHUSIASTIC MINI-TREATMENT Wood Soanes, “Jane Fooshee Will Open Special Fulton Season Following Lugosi Week,” Oakland Tribune, July 6, 1930, p. 8. “As the vessel comes on to the rockbound coast Dracula is at the wheel of the charnal vessel but the countryside had been aroused. The Britons are awaiting him, prepared to drive the stake through his heart … . Dracula runs the ship onto the rocks, wrecks it and turns himself into a wolf. As they shoot at him, he changes to a bat, flies away and escapes. It should make a most stirring picture.” The interview suggests that Lugosi may have read other, speculative treatments of Dracula, perhaps in connection with his efforts to interest studios other than Universal.
174 DEAR ROLAND Scott MacQueen, “Roland West,” in Frank Thompson, ed., Between Action and Cut (Metuchen, N.J.: Scarecrow Press, 1985), p. 146.
175 OUT OF NOTHING INTO NOTHING Life, October 11, 1948.
175 PEOPLE, OFTEN BRILLIANT, MAKING COMPROMISES Marguerite Tazelaar, “Film Personalities,” New York Herald Tribune, April 2, 1933.
179 I PLAYED ONE OF THOSE BEWILDERED LITTLE GIRLS Ruth Rankin, “A Child of the Theater,” The New Movie Magazine, January 1932, p. 109.
179 THE GUY WHO ATE THE FLIES AND SPIDERS Lew Ayres, in conversation with Ronald V. Borst, 1988. Quote provided to author by Mr. Borst.
180 SULKY, BAD-TEMPERED AND WOULDN’T STOP DRINKING New York Daily News clipping, October 17, 1930.
180 HANDSOME WITHOUT BEING DISTRACTINGLY SEXY Gregory Mank, “David Manners: Surrendered Stardom for Privacy and Peace of Mind,” Films in Review (December 1977), p. 599.
180 TWO-THOUSAND-DOLLAR-A-WEEK SALARY Confirmed by David Manners, interview with the author, April 1991.
182 FILLED THE SOUNDSTAGE UP TO THE ROOF David Manners, correspondence with John Norris, 1972. Transcript provided by Mr. Norris.
183 PUBLISHED SHOOTING SCRIPT Philip J. Riley, ed., Universal Filmscripts Series: Dracula (Abescon, N.J.: MagicImage Filmbooks, 1990).
183 NEARLY THREE MINUTES WITHOUT A CUT Arthur Lennig, The Count: The Life and Times of Bela “Dracula” Lugosi (New York: G. P. Putnam’s Sons, 1974), p. 100.
184 A MOTION PICTURE DIRECTOR-SPEECHLESS Ed Thomas, advance press book copy for Dracula, November 15, 1930.
184 TOD BROWNING WAS ALWAYS OFF TO THE SIDE John Norris, interview with David Manners, 1974. Transcript provided by Mr. Norris.
185 I DON’T REMEMBER HIM DOING A THING Borland interview, op. cit.
185 THE STUDIOS WERE HELL-BENT Bela Lugosi, quoted in Tom Hutchinson and Roy Pickard, Horrors: A History of Horror Movies (Seacaucus, N.J.: Chartwell Books, 1984), pp. 15-16.
185 BROWNING WAS DEVASTATED Schatz, op. cit., p. 90.
185 ARMADILLOS AS ANIMAL BIT PLAYERS San Francisco Chronicle, September 11, 1927.
186 CLASHED WITH UNIVERSAL’S MAKEUP MAN Gregory William Mank, It’s Alive!: The Classic Cinema Sage of Frankenstein (San Diego and New York: A.S. Barnes & Company, Inc., 1981), p. 14.
186 HE WAS POLITE, BUT ALWAYS DISTANT Manners to Norris, 1974, op. cit.
186 I NEVER THOUGHT HE WAS ACTING Ibid.
187 GENERIC MISTERIOSO ACCOMPANIMENT William H. Rosar, “Music for the Monsters: Universal Pictures’ Horror Film Scores of the Thirties,” The Quarterly Journal of the Library of Congress, Fall 1983, p. 393.
189 JUST A MOMENT, LADIES AND GENTLEMEN! Hamilton Deane and John L. Balderston, Dracula, the Vampire Play (New York: Samuel French, Inc., 1933), p. 74. The epilogue was cut from the film after its first release, and, when rediscovered at the British Film Institute in the late 1980s, was in such poor condition to be deemed unusable for Universal’s restoration of the film. However, this author’s documentary The Road to Dracula, produced for Universal Home Video’s special edition DVD (2000), does incorporate much of the footage, including Van Sloan’s “There are such things.”
189 ALMOST FOURTEEN THOUSAND DOLLARS UNDER BUDGET George Turner, “The Two Faces of Dracula,” American Cinematographer, vol. 69, no. 5 (May 1988), p. 37.
191 VIOLENT HEEBIE-JEEBIES Marcella Burke, “Hollywood’s Youngest Genius,” Hollywood Magazine (undated clipping, circa 1932), p. 62.
191 NOVEMBER 1930 PREVIEW Schatz, op. cit., p. 90.
200 TOD BROWNING DIRECTED Hollywood Filmograph, April 4, 1931.
200 GROSSED $112,000 Variety, March 11, 1931.
200 LET LOOSE A FLOCK OF BATS Ibid.
200 CLASSICAL SCORES IN THE PUBLIC DOMAIN Rosar, op. cit.
200 IT REALLY WASN’T A BIG DEAL Gregory Mank, Karloff and Lugosi (Jefferson, N.C.: McFarland & Company, 1990), p. 15.
200 BRAM STOKER’S CLASSIC OF A GENERATION Los Angeles Times, March 30, 1931.
203 PALTRY DELINQUENT SUM Contract between Stoker, Deane, Balderston, and Alfred Wallerstein, October 7, 1931.
204 WOULD GROSS ALMOST $700,000 From documents submitted as evidence in the antitrust case U.S. v. 20th Century Fox Film Corporation, December 5, 1955.
204 WORLD RECEIPTS BY 1936 Ibid.
Chapter Six: “La Sangre Es la Vida”: The Romance of the Spanish Dracula
208 I WENT TO MY DANCING TEACHER Lupita Tovar Kohner, interviewed by author, April 1989, Los Angeles. All subsequent quotes are from this interview.
209 MY SALARY is PUNY Frederick Kohner, The Magician of Sunset Boulevard: The Improbable Life of Paul Kohner, Hollywood Agent (Palos Verdes, CA: Morgan Press, 1977), p. 54.
210 IF THERE’S ONE THING THE KID CANT STAND Quoted in Neal Gabler, An Empire of Their Own: How the Jews Invented Hollywood (New York: Crown Publishers, Inc., 1988), p. 75.
212 SMALL FRACTION OF THE ORIGINAL COSTS Thomas Schatz, The Genius of the System: Hollywood Filmmaking in the Studio Era (New York: Pantheon Books, 1988), p. 87.
221 TWO WERE DARK Bram Stoker, Dracula: A Norton Critical Edition, Nina Auerbach and David J. Skal, eds. (New York and London: W. W. Norton and Company, 1996), p. 42.
226 POSITIVE TRIUMPH Review of Dracula, El Universal (Mexico City), April 9, 1931, p. 6.
226 UNLIKE ANYTHING WE’VE SEEN BEFORE Review of Dracula, Excelsior (Mexico City), April 4, 1931, p. 9.
Chapter Seven: The Dracula Century
232 SHE WAS VERY HARD UP Daniel Farson, correspondence with author, September 1989.
232 MRS. STOKER INVITED ME Vincent Price, correspondence with author, October 1989.
234 STOKER HAD FAILED TO COMPLY California Reporter, Sup. 160 (Lugosi v. Universal Pictures), p. 325.
235 HER WILL “Mrs. F. A. L. Stoker,” The Times (London), July 28, 1937, p. 14.
235 FORGOTTEN IN IRVING’S WILL Harry Ludlam, A Biography of Dracula: The Life Story of Bram Stoker (London: The Fireside Press, 1962), pp. 135-36.
237 PENNILESS AND ALONE Walker Gilmer, Horace Liveright: Publisher of the Twenties (New York: David Lewis, 1970), p. 236.
237 FILM VERSION OF ALICE IN WONDERLAND Nancy North Vine, “Cute,” The New Movie Magazine, January 1932, p. 62.
237 COMMITTED TO A SANITARIUM The New York Times, January 25, 1940.
237 IN SEARCH OF A CURE The New York Times, November 10, 1950.
238 NAME WAS STILL FREQUENTLY RECOGNIZED Dwight D. Frye, interviewed by author, August 1989.
239 HE SUED UNIVERSAL Donald E Glut, The Frankenstein Legend (Metuchen, NJ.: The Scarecrow Press, Inc., 1973), p. 45.
240 SELL DRACULA AS A MUSICAL Balderston to Freedman, March 31, 1944. Balderston papers, Brandt and Brandt Dramatic Department, New York.
240 THOUGH OFTEN CRITICIZED Thomas Schatz, The Genius of the System: Hollywood Filmmaking in the Studio Era (New York: Pantheon Books; 1988), p. 97.
241 FEARED HE MIGHT DIE Neal Gabler, An Empire of Their Own: How the Jews Invented Hollywood (New York: Crown Publishers, Inc., 1988), p. 418.
242 BORIS KARLOFF WAS OUTSIDE, WAITING FOR HIM Gregory Mank, It’s Alive: The Classic Cinema Saga of Frankenstein (San Francisco and New York: A. S. Barnes & Company, 1981), p. 167.
243 COULD HARDLY HAVE ENDEARED HIM TO UNIVERSAL Philip J. Riley, London after Midnight (New York/London/Toronto: Cornwall Books, 1985), p. 29.
244 CHANCE TO PLAY THE PART IN BERMUDA Lugosi correspondence, autograph collection of the New York Public Library for the Performing Arts.
250 THERE LAY THE COUNT Bram Stoker, Draula: A Norton Critical Edition, Nina Auerbach and David J. Skal, eds. (New York and London: W W Norton and Company, 1996), p. 53.
250 JUST TWENTY-NINE HUNDRED DOLLARS Arthur Lennig, The Count: The Life and Films of Bela “Dracula” Lugosi (New York: G. P. Putnam’s Sons, 1974), p. 317.
251 POPULUXE A term coined by Thomas Hine for his book Populuxe (New York: Alfred A. Knopf, 1986), a study of American culture in the 1950s and early ’60s.
251 NOTHING BUT PLAYBOY Ira Mothner, “Those Clean-Living All American Monsters,” Look, September 8, 1964, p. 50.
251 ACTION AGAINST UNIVERSAL Lugosi v. Universal Pictures, plaintiff’s replies to defendant’s interrogatories, Los Angeles County Superior Court, July 19, 1971.
252 MIMINUM DAMAGES OF TWENTY-FIVE THOUSAND DOLLARS Ibid., plaintiff’s complaint for declaratory relief, etc., February 3, 1966.
252 CHILDREN’S PHONOGRAPH RECORDS Ibid., court transcript, pp. 155-85; see also plaintiff’s petition for hearing before the California Supreme Court, p. 11.
253 THE ESSENCE OF THE THING UNIVERSAL LICENSED California Reporter, op. cit.
253 THE PRODUCER SHALL HAVE THE RIGHT Employment contract between Universal Pictures and Bela Lugosi, September 11, 1930, submitted as evidence in Lugosi v. Universal Pictures.
254 BY EXPRESS LANGUAGE Hon. Bernard S. Jefferson, memorandum opinion, January 31, 1972, p. 7.
254-55 UNTENABLE AND UNACCEPTABLE Ibid.
255 IF PLAINTIFF’S EMPLOYMENT Ibid., p. 24.
255 LUGOSIS WERE ENTITLED TO RECOVER DAMAGES Ibid.
255 UNIVERSAL APPEALED Appellant’s reply brief, Court of Appeals, Second Appellate District, State of California, January 24, 1977, p. 8.
255 DISTRICT COURT OF APPEALS AGREED District Court of Appeals opinion, p. 12.
256 UNFAIRLY DISCRIMINATE IN FAVOR Plaintiff’s petition, p. 4.
256 CLEAR BASIS IN COMMON LAW Ibid., p. 5.
256 PLAINTIFFS NOTED THE DISPARITY Ibid., p. 24.
256 LUGOSI’S RIGHT TO CREATE A BUSINESS California Reporter, op. cit., p. 326.
256 FACTUALLY, NOT UNLIKE THE HORROR FILMS Ibid., p. 329.
256 THAT BELA LUGOSI DID NOT PORTRAY HIMSELF Ibid., p. 330.
256 PAID “HANDSOMELY” Ibid., p. 331.
256 HE RAISED THE SPECTRE Ibid.
257 DISSENTING OPINION Ibid., pp. 335-36.
257 DOUBLE STANDARD Ibid., p. 345, note 33.
257 I GO TO SLEEP IN MY Box Hamilton Deane and John L. Balderston, Dracula, the Vampire Play (New York: Samuel French, Inc., 1933), p. 69.
257 THE BLOW WAS A POWERFUL ONE Stoker, Dracula: A Norton Critical Edition, op. cit., p. 266.
258 TANGLED, NEARLY INCOMPREHENSIBLE LEGAL WEB Hammer Film Productions memorandum, October 31, 1956; reproduced in David Pirie, Hammer: A Cinema Case Study (London: British Film Institute, 1980). Unpaginated booklet and unbound study materials.
258 WHOLE UNIVERSAL CONTRACT PACKAGE Excerpt from contract agreement dated March 31, 1958, between Universal-International and Cadogan Films, Ltd. for Hammer’s Dracula. Ibid.
259 A FIRST CLASS MOTION PICTURE Ibid.
259 I HAD NEVER SEEN BELA LUGOSI’S ‘DRACULA’ Christopher Lee, introduction to graphic novel edition of Stoker’s Dracula (New York: Ballantine Books/Russ Jones Productions, 1966), unpaginated.
260 I HAVE ALWAYS TRIED Ibid.
262 A SANE SOCIETY Critic Derek Malcolm, quoted by Pirie, op. cit.
262 FROM THE MOMENT DRACULA APPEARS Nina Hibbin, “Dracula’s Macabre Decline,” Daily Worker, undated 1958 review, Ibid.
264 CAPITALISES ON CURRENT FASHION Unsigned review of The Brides of Dracula; The Evening Standard (London) July 7, 1960.
264 A LUDICROUS MONSTROSITY Unsigned review of Brides of Dracula; The Observer (London), July 10, 1960.
265 THE BUSINESS OF KLOVE DECAPITATING ALAN Motion Picture Association of America, letter to Hammer Film Productions, April 15, 1965; reproduced in Pirie, op. cit.
265 WE SHOULD NOT SEE STAKES ACTUALLY GOING INTO VAMPIRES British Board of Film Censors, letter to Anthony Nelson Keys, March 19, 1965, Ibid.
266 YELPING GERMAN SHEPHERD DOGS Review of Count Dracula; Variety, April 7, 1971.
267 A HALCYON DECADE FOR VAMPIRES Nina Auerbach, Our Vampires, Ourselves (Chicago: University of Chicago Press, 1995), p. 131.
268 COMPLAINTS FROM JEWISH GROUPS Caroline E. Mayer, “Necklace Chokes Count Chocula,” Los Angeles Times, October 19, 1987, p. IV-2.
270 THE CURTAIN RISES Walter Kerr, “Stage View: Parody in and out of Focus,” The New York Times, October 30, 1977, p. D-5.
271 “ELEGANT” YET “BLOODLESS” Richard Eder, “Theater: An Elegant, Bloodless ‘Dracula,’” The New York Times, October 21, 1977, p. C-3.
272 I NEED YOUR BLOOD Ellen Farley, “Langella’s Dracula, with Just a Nip of Sensuality,” Los Angeles Times, July 15, 1979.
273 THEY CRITICIZE ME IN THE PAPERS Quoted in Donald Spoto, Laurence Olivier: A Biography (New York: HarperCollins, 1992), pp. 389–90.
274 DEAD-RINGER SCREEN DOUBLE Tom Weaver, “The Vampire’s Return: John Badham on the Making of Dracula,” in Bob Madison, ed., Dracula: The First Hundred Years (Baltimore: Midnight Marquee Press, 1997), p. 244.
274 PURCHASED A NEW LONDON HOME Barbara Belford, Bram Stoker: A Biography of the Author of Dracula (New York: Alfred A. Knopf, 1997), p. 331.
274 THIS WAS TO BE A DRACULA FOR ADULTS Richard Shickel, “Stuffy Nonsense,” Time, July 7, 1979.
274 PRESENTED AS CLOSE TO ANIMALS Katherine Ramsland, “Hunger for the Marvelous: The Vampire Craze in the Computer Age,” Psychology Today (November 1989), p. 35.
277 ACTRESS GLENN CLOSE Quoted in The Cable Guide, January 1990.
277 DRACULA-INSPIRED IN ITS FIRST DRAFT Ronald Christ, “Interview with Manuel Puig,” Christopher Street, April 1979, p. 26.
277 WE’LL MAKE IT AS SCARY AND EROTIC AS POSSIBLE James Steranko, “First Bite to Final Shiver: Collaborating with Francis Ford Coppola on the Ultimate Horror Thriller … Dracula,” Prevue, November/February 1992–1993, p. 31.
278 DRAG QUEEN IN GEISHA GEAR Duane Byrge, review of Bram Stoker’s Dracula; Hollywood Reporter, November 9, 1992.
278 MOST AGGRESSIVELY SILLY VERSION Terrence Rafferty, “The Current Cinema,” The New Yorker, November 30, 1992.
278 AN UNHOLY MESS Review of Bram Stoker’s Dracula; New York, November 16, 1992.
280 THINK ABOUT IT Steranko, op. cit., p. 23.
281 EXPERIMENTAL FILM APPROACH HAS DECREASED Ibid., p. 39.
281 INVISIBLE WAR Ibid., p. 25.
284 GLASS’S PULSING MUSIC Undated quote in Pomegranate Arts press kit for Dracula: The Music and Film.
285 THE IDEA OF COMMISSIONING A NEW SCORE Allan Koznin, “Dracula Hears Philip Glass and Gets Thirsty,” The New York Times, October 28, 1999.
285 A MARKETING IDEA FOR REVENUE GENERATION Quoted by Kenneth Turan, “Live Musical Accompaniment Drains ‘Dracula’ of Its Scariness,” Los Angeles Times, November 1, 1999, p. F3.
285 I WANTED SOMEHOW TO EMBRACE THE STYLE Quoted in Nick Kimberley, “Rave from the Grave,” The Independent (U.K.), October 7, 1999.
287 I WANT YOUR FEAR Steven Dietz, Dracula (New York: Dramatist’s Play Service, 1998), p. 28.
288 BEEN-THERE, SUCKED-THAT Michael Phillips, “The Blood Count Is Down,” Los Angeles Times, October 30, 2001, p. F-1.
289 THE VAMPIRE IS A KIND OF ARTIFACT Ron Stringer, “Interview with the Vampire Hunter,” L.A. Weekly, June 27, 2003.
290 I AM THE IMAGE THAT DARKENS YOUR GLASS Dana Gioia, Nosferatu: An Opera Libretto (St. Paul, Minn.: Graywolf Press, 2001), p. 43.
290 SUCH A RE-EMERGENCE SEEMS APPROPRIATE “Dracula Fails to Fly,” unsigned online article, CNN.com, April 18, 2002.
290 EXPECTED THE MANUSCRIPT TO BE RETURNED “Christie’s Bites Man over ‘Dracula,’” unsigned Associated Press article, San Francisco Examiner (online edition), May 14, 2002.
291 A MERCENARY FOR THE CATHOLIC CHURCH “World Exclusive: Hugh Jackman on Van Helsing,” unsigned article, Empire (U.K., online edition), March 17, 2003.
291 BRING YOUR OWN STUFF TO IT Abbie Bernstein, “International House of Monsters,” Fangoria, May 2004, pp. 25–26.
292 IT IS IN THE ARCANA OF DREAMS Bram Stoker, The Jewel of Seven Stars (1904; reprint, New York: Carroll & Graf Publishers Inc., 1989), p. 10.