Dracula (Universal, 1931), Historic 1930 Typed Letter Signed by Carl Laemmle Sr. Concerning Potential Interest in ...

Description

Dracula (Universal, 1931), Historic 1930 Typed Letter Signed by Carl Laemmle Sr. Concerning Potential Interest in Dracula as a Film Property, Together with 5-pg Typed Story Synopsis and (2) Studio Transmittal Envelopes. Vintage original 1-pg typed letter on "Universal Pictures Corporation" onionskin letterhead stationery, dated June 16, 1930, and signed in fountain pen by Carl Laemmle [Sr.]. Together with 5-pg studio typed synopsis titled "DRACULA/ novel/ by Bram Stoker" with same date, and (2) transmittal envelopes, a Universal letterhead size 10, postmarked June 17, 1930, addressed to a "Mr. W. G. Long" of Palo Alto, Ca., and a smaller, stamped return envelope addressed to "Mr. Carl Laemmle, President" at Universal Pictures, with notation "PERSONAL".
Carl Laemmle Jr., the 21-year-old son of Universal Studios president Carl Laemmle, was a big fan of mystery and horror films. With the advent of sound and the loosening of censorship restrictions, he was able to convince his father to buy the rights to both the Dracula novel and play, giving Universal the exclusive rights to the character, in August of 1930 for $40,000. Laemmle Jr. wanted to make a grand-scale production that rivaled The Phantom of the Opera (1925) and The Hunchback of Notre Dame (1923). Universal hired Pulitzer Prize winner Louis Bromfield to write the script. Bromfield's draft combined the novel and stage play, and suggested that Count Dracula be presented as existing in two very different physical conditions and apparent ages, depending entirely upon his access to fresh human blood. Dracula would be the studio's first outright supernatural horror talking picture. Universal had previously produced sound mystery/horror pictures-The Terror (1928), The Cat Creeps (1930) and The Gorilla (1930)-however, the supernatural elements in those films were always exposed as being the result of the intermingling of crooks or tricksters whereas Dracula would be the first film in which the audience was meant to accept the villain as a genuine supernatural being. Originally planned to be based on the book, the rising technical difficulties and cost of production resulted in the film being adapted from the theatrical play instead. Despite being based on the stage production which starred Bela Lugosi, he was not Carl Laemmle Jr.'s first choice to portray the Count on film, preferring the great MGM star Lon Chaney Sr., but Chaney was already in the process of succumbing to lung cancer by this time.
In addition to Laemmle Sr.'s solicitation letter, an equally fascinating and crucial artifact is the studio-typed synopsis which Laemmle supplied to Mr. Long (whose place in film history appears lost to the ages) for his valued, expert opinion on its potential popularity as a filmed photoplay. The plot and particulars described here vary quite drastically from the comparatively elegant, sophisticated, and in its own unique way, intensely gothic/romantic classic film we see on screen. This initial outline has children as the various vampires' primary source of human blood; much more of the story takes place in Transylvania rather than London; the principal protagonists are the characters of Jonathan Harker and his fiancée Mina, and her friend Lucy; the character of Dracula first appears as a withered old white-haired man, then is fully "refreshed" when he is able to access human blood; the first sign to Harker of some supernatural element is witnessing Dracula crawling straight down a sheer castle wall, "clinging like a lizard"; the principal element of defense against vampires is the "holy host" (sacramental bread representing the body of Christ); and more. A number of these discrepancies from the eventual filmed screenplay can be attributed to not only the original novel, but as well to F. W. Murnau's much earlier, unauthorized version of the story, Nosferatu.
Under the direction of Tod Browning, the cinematography of German expressionist Karl Freund and prominent Art Director Charles D. Hall, Dracula would launch the American horror film genre and establish the iconography-the decrepit old castle or mansion, cobwebs, bats, mold and decay-that would forever be associated with the genre. At the same time that Laemmle Jr., Browning, and Freund were filming their iconic masterpiece, another producer, director and crew were working simultaneously to produce a Spanish language version of the same picture; which serves as an interesting microcosm of how studios were dealing with the transition to sound films.
In sum, Carl Laemmle's letter to W.G. Long holds historical value because it marks the beginning of Universal Pictures' association with Dracula-a film that became one of the defining classics of horror cinema and helped establish the legendary Universal Monsters franchise. The letter also underscores the importance of intellectual property rights in early Hollywood and the way studios like Universal crafted their iconic films. In spite of Laemmle's implication that some (50) such expert-opinion solicitations were being pursued in this unique, historic venture, we have neither handled nor found archival reference to any other examples.
The Laemmle letter is tri-folded for transmittal, bears a faint "w" pencil marking within the body of text, retains a rusted paperclip impression at center top margin, and a small spot of soiling at lower right corner, resembling a thumbprint. Synopsis is also tri-folded for transmittal, bears the above-mentioned paperclip impression at same location throughout all 5- pages, with slight rust stain to the last page, and several paragraphs throughout are marked at right margin (presumed by recipient), variously "-", "o", "+", "?" or "?", though is otherwise virtually free of age/wear or handling. Larger envelope shows uneven age toning and rough opening at top edge; smaller return envelope appears unused and retains its 2-cent postage stamp. The poster image is for reference only and is not included with this lot. Comes with a full LOA from PSA/DNA.

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