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<v Speaker 1>You know this voice I am Dracula.

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<v Speaker 2>But maybe not this one from Fudromidia and pr X.

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<v Speaker 2>It's Latino Usa. I'm Marienno Posa. Today the story of

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<v Speaker 2>a scarier, sexier Dracula. The Dracula story continues to fascinate

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<v Speaker 2>audiences around the world. In fact, most recently, Hollywood took

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<v Speaker 2>a stab at it no pun intended with the film

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<v Speaker 2>nos Ferratu. The movie about the early days of Dracula,

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<v Speaker 2>received four Oscar nominations this year. So today it seems

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<v Speaker 2>fitting to uncover a scarier, but sexier Spanish language version

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<v Speaker 2>of Dracula. Nowadays, we're used to movies and TV shows

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<v Speaker 2>being dubbed into other languages. You can watch something in Spanish, French, Arabic.

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<v Speaker 2>But way back when, that's not the way it used

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<v Speaker 2>to be. Back in the nineteen twenties, there was no

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<v Speaker 2>sound in film. All movies were silent, so studios didn't

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<v Speaker 2>have to worry about what language was spoken when they

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<v Speaker 2>were filming because dubbing wasn't part of the formula. But

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<v Speaker 2>then in nineteen twenty seven, talking pictures or talkies hit Hollywood,

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<v Speaker 2>and soon they became the norm. The transition sent studio

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<v Speaker 2>executives into panic because moviegoers would now expect to hear

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<v Speaker 2>the actors' voices. Movies film in just English meant the

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<v Speaker 2>studios were gonna lose about half of their revenues. So

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<v Speaker 2>they came up with a plan B.

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<v Speaker 3>And it's something that today would sound just totally crazy.

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<v Speaker 2>That's the voice of Vanessa Rasso, the former head film

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<v Speaker 2>nerd at Tremescla, a website about Latin culture, music and movies.

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<v Speaker 2>Vanessa has the rest of today's story, which we first

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<v Speaker 2>ran in twenty seventeen.

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<v Speaker 3>It's a story that I've been looking into with my

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<v Speaker 3>colleague from DAMESCLA, Yara Simon, and she's here today to

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<v Speaker 3>help me tell you about it.

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<v Speaker 4>So it's September twenty nine, nineteen thirty and the classic

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<v Speaker 4>black and white Jacula movie just began filming at Universal

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<v Speaker 4>Studios in California.

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<v Speaker 3>The movie starred Bella Lagosi as Dracula, and it was

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<v Speaker 3>actually the first ever horror TALKI film.

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<v Speaker 5>This is Dracula, the original terrifying story of a miniac

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<v Speaker 5>and a man who lived after death, lived on human blood,

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<v Speaker 5>took the form of a vampire bat and lured innocent

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<v Speaker 5>girls to a fate truly worse than death.

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<v Speaker 4>Well, you already know the basic plot of Jacula. There's

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<v Speaker 4>this creepy aristocrat who's living in a castle in a

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<v Speaker 4>far off land known as Transylvania, and he has a

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<v Speaker 4>taste for drinking blood.

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<v Speaker 3>But Bela Lugosi wasn't the only Dracula giving people nightmares.

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<v Speaker 3>At night, after Lagosi and the rest of the cast

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<v Speaker 3>and crew went to bed, an entirely different group of

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<v Speaker 3>actors would show up and film another version of Dracula,

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<v Speaker 3>and this one was in Spanish.

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<v Speaker 5>So blaula now plenty oftulo.

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<v Speaker 6>They decided to make the Spanish version at the same

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<v Speaker 6>time that they made it the English That.

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<v Speaker 4>Was the star of the Spanish language, Jacula Lupita Doad.

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<v Speaker 4>She's speaking in an interview included in the film's DVD release.

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<v Speaker 6>So the cast for the English version would come in

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<v Speaker 6>the morning, that started shooting at eight o'clock, and the

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<v Speaker 6>Spanish cass will come in the evening. We shot all

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<v Speaker 6>night long, fieling next morning because we use exactly the

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<v Speaker 6>same set.

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<v Speaker 3>Not only did they use the same sets, but they

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<v Speaker 3>used the same props and a lot of the same costumes.

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<v Speaker 3>The cast, however, that was different. It was made up

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<v Speaker 3>of actors from across Latin America.

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<v Speaker 1>In Spain, the actor Carlos Varias, who played Dracula, wore

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<v Speaker 1>the same hair piece that Legosi wore. It didn't didn't

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<v Speaker 1>get much of a rest. Lugosi would take it off,

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<v Speaker 1>and then Carlos would wear it all night and would

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<v Speaker 1>be there for Legosi to put on in the morning.

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<v Speaker 4>That was film historian David's call. He's the author of

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<v Speaker 4>a book called Gothic Hollywood, which is basically like a

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<v Speaker 4>Jaculine encyclopedia. David had heard about this mysterious version of

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<v Speaker 4>Jaculine Spanish, so when he sat down to write his book,

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<v Speaker 4>he knew he had to find out more.

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<v Speaker 1>I'd spent three amazing days with the only complete print

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<v Speaker 1>of the Spanish Dracula in existence.

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<v Speaker 4>David realized right away that the Spanish was much better

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<v Speaker 4>than the English one.

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<v Speaker 1>The first time I saw the film, I was kind

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<v Speaker 1>of amazed. It was akin to one of those dreams

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<v Speaker 1>where you're discovering brand new rooms in an old familiar house,

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<v Speaker 1>things you never knew were there before. The film was

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<v Speaker 1>so fascinating because it was recognizably the same story, but

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<v Speaker 1>it was told in a technically superior.

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<v Speaker 6>Way calladiroso or less corlos pampios.

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<v Speaker 1>The lighting was better, the camera work was better, more fluid,

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<v Speaker 1>it seemed, the editing was better.

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<v Speaker 3>For example, there's a scene early on in the movie

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<v Speaker 3>where a character named mister Renfield goes to visit Count

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<v Speaker 3>Dracula for a business.

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<v Speaker 1>Meeting, the one in which Dracula makes his first appearance

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<v Speaker 1>at the top of the staircase in Castle Dracula. In

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<v Speaker 1>the American film, Legosi simply appears, walks down the steps,

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<v Speaker 1>takes his mark, and introduces himself.

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<v Speaker 4>Here the camera doesn't move at all, It just seems

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<v Speaker 4>perfectly still and keeps cutting back and forth between Dracula

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<v Speaker 4>and mister Renfield.

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<v Speaker 1>But in the Spanish film, we see mister Renfield, the visitor,

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<v Speaker 1>turn around and he's startled by the sudden appearance of Dracula,

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<v Speaker 1>who's appeared out of nowhere. And suddenly the camera is

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<v Speaker 1>set on a moving crane just sweeps up the staircase

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<v Speaker 1>to focus in on on the vampire holding his candle,

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<v Speaker 1>and that's how he is introduced. And then he says Dracula,

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<v Speaker 1>and it's just a much more cinematic moment.

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<v Speaker 6>Be a cubocato.

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<v Speaker 5>The cast, more than.

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<v Speaker 3>The Spanish version of Dracula was also just more fun

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<v Speaker 3>to watch, and that's mostly because the actors working the

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<v Speaker 3>graveyard shift for the Spanish film were just so much

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<v Speaker 3>more animated, especially the leading lady Lupita.

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<v Speaker 1>I mean, Lupito was a very vivacious personality.

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<v Speaker 4>Lupita has those old Hollywood style fingerwaves in her hair,

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<v Speaker 4>and she's wearing this white, flowing nightgown. She's sitting on

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<v Speaker 4>a fancy flower print couch and she tells her fiance

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<v Speaker 4>about a terrible dream she just had.

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<v Speaker 2>Spisa Capinosa, as.

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<v Speaker 3>Lupita, didn't have a lot of experience as an actor,

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<v Speaker 3>but as she continues to describe the nightmare she had,

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<v Speaker 3>we really get a sense of how expressive she could be.

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<v Speaker 6>You not got mazima santizo, Liana.

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<v Speaker 7>It's love you.

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<v Speaker 1>Helen Chandler, by contrast, was almost lifeless.

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<v Speaker 6>Helene in bed for quite a while, really, and just

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<v Speaker 6>as I was commencing to get drowsy, I heard dogs howling.

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<v Speaker 4>That's Helen Chandler. She's the actress in the English version

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<v Speaker 4>of Jacula. She played the same role as Upita.

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<v Speaker 2>It was so sick I could just see the lamp

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<v Speaker 2>by the bed.

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<v Speaker 1>She seems already drained by Dracula before he even attacks her.

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<v Speaker 3>Here's Lupita talking about what made her character so different.

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<v Speaker 6>We Latins have a different way of expressing ourselves. You know,

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<v Speaker 6>We're very emotional, and I think the American people were

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<v Speaker 6>kind of subdued. I was very lively because that's the

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<v Speaker 6>way I was, and nobody said and I look toning

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<v Speaker 6>down or anything.

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<v Speaker 4>Lupita and the other actors in Spanish Dracula were given

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<v Speaker 4>much more freedom to express themselves. But it wasn't by accident. See,

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<v Speaker 4>the English version faced a pretty big obstacle something called

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<v Speaker 4>the Hayes Code.

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<v Speaker 3>The Hayes Code was a set of rules that Hollywood

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<v Speaker 3>had adopted in nineteen thirty, which is the very same

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<v Speaker 3>year that Dracula began filming, and it dictated what could

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<v Speaker 3>and what couldn't be shown in movies. A lot of

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<v Speaker 3>the rules were about policing sexuality. For example, there would

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<v Speaker 3>be no quote excessive and lustful kissing, no lustful embraces,

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<v Speaker 3>or no suggestive postures. Other rules were more bizarre, and

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<v Speaker 3>this is a direct quote. White slavery shall not be treated.

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<v Speaker 4>Since the English version of Jacula was shot to conform

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<v Speaker 4>with the code. It made for a much tamer film.

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<v Speaker 1>The big difference you see is in how the female

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<v Speaker 1>characters were dressed. Lupita Tovar's neglige was far more revealed.

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<v Speaker 1>In fact, it was see through in a way that

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<v Speaker 1>Helen Chandler never could have gotten away with wearing.

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<v Speaker 3>So Dracula is a vampire movie, but in the English

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<v Speaker 3>version you never actually see him bite anyone. In one scene,

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<v Speaker 3>count Tracula creeps up on an unsuspecting victim while she's sleeping,

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<v Speaker 3>and slowly his face gets closer and closer to her neck,

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<v Speaker 3>and right when he's just close enough to sink his

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<v Speaker 3>teeth into her, it just fades into the next scene.

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<v Speaker 3>We know he bites her, but don't ever see it happen.

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<v Speaker 3>But in the Spanish language movie, it's way more suggestive.

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<v Speaker 3>Dracula slowly crawls into her bed, and right as he

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<v Speaker 3>bites her neck, he dramatically pulls his long black cape

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<v Speaker 3>over both of their faces.

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<v Speaker 4>And the Spanish film had another advantage. The director could

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<v Speaker 4>watch the footage shot during the day by the English crew.

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<v Speaker 1>The daily rushes were there, they could observe what Todd

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<v Speaker 1>Browning was doing with the American cast and crew, and

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<v Speaker 1>then they could improve on it or just duplicate it.

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<v Speaker 1>The production moved more quickly because the roadmap was all there, and.

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<v Speaker 4>That's one theory on why the Spanish version ended up

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<v Speaker 4>being a better movie.

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<v Speaker 3>The supervising producer on both of these films was a

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<v Speaker 3>man named Paul Koher, and he split his time between

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<v Speaker 3>the English and the Spanish shoots. He was working day

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<v Speaker 3>and night, grabbing a nap when he could on the

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<v Speaker 3>couch in his office. He really just lived and breathed Dracula.

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<v Speaker 3>But behind the scenes, he was actually crafting his own

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<v Speaker 3>love story.

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<v Speaker 2>Coming up on Latino USA. It was love at first

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<v Speaker 2>sight behind the scenes of Dracula, lurks, a real love story.

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<v Speaker 2>Stay with us, no, yes, hey, we're back and now

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<v Speaker 2>we're going to take a look behind the scenes of

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<v Speaker 2>Spanish Dracula because with all of those late nights at work, well,

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<v Speaker 2>it actually set off a little romance. Vanessa Rasso and

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<v Speaker 2>Jarasimon of Remesgre pick up this story here.

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<v Speaker 7>Oh, that's a great love story. Paul Conor Lupida.

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<v Speaker 4>Davar, that's Bancho Conor he's the son of Lupita Vard,

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<v Speaker 4>the star of Jaqula, and Paul Cohner, the movie's producer.

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<v Speaker 4>Paul was working his way up the Hollywood ladder. Meanwhile,

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<v Speaker 4>in Mexico City, Lupitato Vard is a seventeen year old

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<v Speaker 4>who was discuss by Fox Film Studios, so she packed

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<v Speaker 4>up her things, leaves high school and her family so

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<v Speaker 4>she can move to Los Angeles.

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<v Speaker 3>Lupita ended up booking a few small roles in some

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<v Speaker 3>silent films, but then the first talkies came and everything

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<v Speaker 3>changed for her. Because Lupita didn't really speak much English.

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<v Speaker 4>Fox didn't renew her contract, but they did suggest that

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<v Speaker 4>she'd try her luck over at Universal, where they were

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<v Speaker 4>dubbing talkies into Spanish, and that's where she met this

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<v Speaker 4>young Czechoslovakian producer, Paul Coher.

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<v Speaker 7>It was love at first sight he saw her. He

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<v Speaker 7>hired her for three nights dubbing of a picture into Spanish.

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<v Speaker 3>But of course that's Paul's version of the story. In

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<v Speaker 3>her memoir, Lupita remembers things a little bit differently. She

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<v Speaker 3>says that there was this strange guy who kept walking

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<v Speaker 3>into the waiting room at Universal Pictures over and over again,

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<v Speaker 3>and would creepily stare at her. That creepy dude turned

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<v Speaker 3>out to be Paul Coner, her future husband.

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<v Speaker 4>When those three days of debbing work were over at Universal,

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<v Speaker 4>Lupita thought she'd have to return to Mexico.

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<v Speaker 7>She went back to Universal too, as she's told me

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<v Speaker 7>to say goodbye to that nice man, I think, knowing

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<v Speaker 7>fully well that he was smitten with her. And when

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<v Speaker 7>she said she was going back, he said, wait a minute,

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<v Speaker 7>give me twenty four hours.

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<v Speaker 3>Paul was so head over heels for Lupita that he

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<v Speaker 3>was determined to keep her in the US no matter what.

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<v Speaker 3>So he stormed into Carl Lenley's office with a plan.

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<v Speaker 3>It was something that the other movie studios had already

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<v Speaker 3>been experimenting with.

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<v Speaker 7>We should bring in another crew Spanish speaking actors used

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<v Speaker 7>the same everything sets in the works, and for Peanuts,

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<v Speaker 7>will be able to make the film in Spanish. Lemley said,

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<v Speaker 7>that's a brilliant idea, and my father quickly said, and

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<v Speaker 7>there's an actress here, we should sign to a year's contract.

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<v Speaker 4>Paul's sales pitch convinced the head of Universal that it

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<v Speaker 4>was a quick to make more money, but really it

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<v Speaker 4>was just an elaborate ruse to hang out with this

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<v Speaker 4>crush Lupita Dovad and it worked.

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<v Speaker 3>Not only did Lupita fall in love with him, but

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<v Speaker 3>just two years after filming Dracula, they got married and

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<v Speaker 3>the rest is history.

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<v Speaker 7>They were married their whole lives, and my mother just

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<v Speaker 7>passed away at one hundred and six. My father passed

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<v Speaker 7>away about twenty eight years ago. He was eighty five.

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<v Speaker 4>Together, Paul and Lupita Koner had two children who also

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<v Speaker 4>worked in the movie business. Bancho, whose voice you've been hearing,

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<v Speaker 4>is a producer. His older sister, Susan, is an Oscar

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<v Speaker 4>nominated actress, and her sons co directed a few films

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<v Speaker 4>you might have heard of, movies like American Pie and

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<v Speaker 4>About a Boy, and one of them is a co

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<v Speaker 4>writer of the Star Wars film Rogue One.

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<v Speaker 3>The Spanish version of Dracula ended up bringing Lupita and

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<v Speaker 3>Paul closer together, and it also turned Lupita into one

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<v Speaker 3>of Mexico's biggest movie stars.

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<v Speaker 4>Around this time, the Mexican press started calling her Landovia

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<v Speaker 4>de Mexico or Mexico's Sweetheart. Here's her grandson, Chris Whitez,

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<v Speaker 4>one of the writers on Rogue One.

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<v Speaker 8>She had a real quality of innocence and charm, not

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<v Speaker 8>a kind of a femme fatale. Nothing really fill noir

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<v Speaker 8>about her.

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<v Speaker 3>After Dracula, Paul Khner became well known in his own right,

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<v Speaker 3>but more so behind the scenes. He was a big

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<v Speaker 3>talent agent who managed the careers of super famous actors

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<v Speaker 3>like Greta Garbo and Henry Fonda. So Paula Lupita's home

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<v Speaker 3>became sort of a meeting place for some of Hollywood's

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<v Speaker 3>biggest stars.

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<v Speaker 8>Grandma had stories about all kinds of extraordinary Hollywood figures.

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<v Speaker 8>You're just kind of hanging around the house. There's Preston Sturgis,

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<v Speaker 8>or you know Marlena Dietrich. She said, Oh, Marlena, she's

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<v Speaker 8>so self absorbed.

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<v Speaker 4>Lupita even became friends with Mexican supercouple Frida Callo and

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<v Speaker 4>Diego Rivera, who actually painted a portrait of her. They

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<v Speaker 4>lived a pretty charmed life, and a lot of it

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<v Speaker 4>is thanks to Dracula.

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<v Speaker 3>Even though Dracula launched Lupita's career and was a big

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<v Speaker 3>hit with audiences, the original Negatives had been lost for

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<v Speaker 3>many years, but in nineteen ninety two renewed interest in

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<v Speaker 3>the film led to a home video release.

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<v Speaker 4>Here's David Scall again. He's the Jacula scholar we heard

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<v Speaker 4>from before.

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<v Speaker 1>It was very gratifying to see how well the film

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<v Speaker 1>was received. Lupita did not expect that late in life

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<v Speaker 1>that she would be getting all this kind of public attention.

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<v Speaker 4>In the nineteen nineties, at the Dallas Film Festival during

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<v Speaker 4>her revival screening, her grandson Chris saw her most iconic

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<v Speaker 4>role for the very first time.

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<v Speaker 8>That was amazed. I mean, I think her vivacity was

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<v Speaker 8>what really struck me. It was just very exciting to

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<v Speaker 8>see her as a young person. I mean, she always

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<v Speaker 8>sort of maintained that energy and interest in life, and

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<v Speaker 8>and she was always very sparkly. But you could see

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<v Speaker 8>where did it come from.

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<v Speaker 3>Dracula turned to Lupita dovad into a star for Paul Khoner.

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<v Speaker 3>It gave him a chance to court the woman that

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<v Speaker 3>he was completely crazy for. And for the movie business,

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<v Speaker 3>Dracula provided a model of how they could make films

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<v Speaker 3>for Latin American audiences by shooting Spanish versions simultaneously with

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<v Speaker 3>the English ones, but that model ended up being pretty

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<v Speaker 3>short lived. Eventually, dubbing and subtitling went over.

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<v Speaker 4>But who knows. After all, Latin America is still a

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<v Speaker 4>huge market for movies, and in the United States, Latino's

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<v Speaker 4>buy more movie tickets than any other ethnic group. Maybe

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<v Speaker 4>the Dracula model could come back from the dead one day.

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<v Speaker 2>We first reported this story in March of twenty seventeen,

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<v Speaker 2>and to see some of the clips of the Spanish

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<v Speaker 2>language version of Dracula, stop by your website Latino USA

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<v Speaker 2>dot org. This episode was produced by Vanessa Rasso and

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<v Speaker 2>Jarra Simon, who was edited by Marlon Bishop and Navia Raimond.

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<v Speaker 2>Engineering support from JJ Krubin and David Skahl. The film

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<v Speaker 2>historian you heard from, passed away early last year, so

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<v Speaker 2>rest in peace, David. The Latino USA team also includes

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<v Speaker 2>Rosanna Guire, Julia Caruso, Felicia Romnuez, Fernando Charari, Jessica Ellis,

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<v Speaker 2>Victoria Strada, Dominiquinestrosa Rinaldo, Leanos Junior, Stephanie Lebau, Andre Lopez Cruzsado,

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<v Speaker 2>Luis Luna Marta Martinez, Tasha san At Lorsaudi and Nancy Trujillo,

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<v Speaker 2>Benilee Lamidez, Marlin Bishop, Maria Gracia and myself are co

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<v Speaker 2>executive producers and I'm your host, Mariana Rosa. Join us

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<v Speaker 2>in next time, and in the meantime, I'll see you

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<v Speaker 2>on social media. And remember raha ha ha ha ha ha.

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<v Speaker 2>That's that Abrosima Choo.

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<v Speaker 4>Latino USA is made possible in part by California Endowment,

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<v Speaker 4>building a strong state by improving the health of all Californians,

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<v Speaker 4>Skyline Foundation and the William and Flora Hewlett Foundation for

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<v Speaker 4>more than fifty years, advancing ideas and supporting institutions to

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<v Speaker 4>promote a better world at Hewlett dot org.