#pablo alvarez rubio

[the-void-birb]

Dracula?...I have never even heard the name before...

Anyway I adore "Spanish" Dracula and Pablo Álvarez Rubio's Renfield, click for better quality

[bowling-with-skulls]

furious that this 5 second edit that i made as a test when i first downloaded capcut with the most recent random clips i had on my phone and the first song that came to mind is still one of my favorite edits i’ve ever made. 5 banger seconds right here

[ubyr-babaj]

Also just saw someone call Spanish!Renfield a twink and like, dude, do you see his tits.

[bidrums]

I cannot stress enough that Felix Trench as Renfield is literally perfection as Renfield like I am not that picky about Renfields because they're usually the best part of Dracula but for me my golden standard has been Dwight Frye and Pablo Alvarez Rubio (1931 Dracula and Drácula Renfields respectively) because they were my introduction to Renfield and I'm biased

Every episode with Renfield speaking has kicked their asses and cemented him as my favorite Renfield ever and my autistic ass cannot think about his lines without starting to stim violently because his performance scratches the itch in my brain that other Renfield perfomances haven't been able to

Kudos to the folks at @re-dracula for consistently smashing the casting out of the ball park, but especially for Felix Trench because the character is quite special to me and his performance is everything I could have hoped for and more

[phantomseptember]

Pablo Alvarez Rubio as Renfield in the Spanish cast version of Dracula (1931)

[mushroom-punk]

i wanna do another big dracula piece bc people seemed to like the one with the brides, but now the issue is i can’t figure out who to use as my reference for renfield - dwight frye or pablo alvarez rubio 

[entrepalabrasmx]

PREMIOS METROPOLITANOS DE TEATRO Alfombra Roja

La Academia Metropolitana de Teatro (AMdT) anuncia a los invitados de su alfombra roja con con motivo de la 4ta. edición de Los Premios Metropolitanos de Teatro - Los Metro, 

Ludwika Paleta, Margarita Gralia, Ariel Miramontes, Dalilah Polanco, Michelle Rodríguez, Regina Blandón, Karol Sevilla, Arcelia Ramírez, Alma Cero, Alejandro de la Madrid, Germán Ortega, Leticia Huijara, Mabel Cadena, Maya Zapata, Mónica Huarte, Chumel Torres, Faisy, Nailea Norvid, Natalia Tellez, Plutarco Haza, Rossana Najera, serán algunos de los invitados especiales que engalanarán el evento.

La ceremonia se llevará a cabo el próximo martes 18 de octubre en el Teatro del Bosque Julio Castillo del Centro Cultural del Bosque.

La antesala de la ceremonia de Los Premios Metropolitanos de Teatro se prepara con una deslumbrante alfombra roja en la que desfilarán relevantes personalidades del teatro en México bajo la premisa "Ser es ser vistx", la temática de este año. El próximo martes 18 de octubre se celebrará lo mejor del teatro nacional en Los Metro, festejo que se llevará a cabo en el Teatro del Bosque Julio Castillo en la Ciudad de México.    Está alfombra roja está diseñada como un “fashion show” que comenzará en punto de las 17:30 hrs, cabe mencionar que habrá ocho personalidades que portarán impresionantes vestuarios que se transformarán durante su paso por esta alfombra roja, además se trata de un espacio que el resto de los asistentes fueron invitados a participar, vestir y realizar el recorrido rumbo a la entrada del recinto bajo la consigna temática de "Ser es ser vistx” que se  basa en las reflexiones que el filósofo francés Jean Paul Sartre planteó en su primera obra filosófica publicada, llamada El ser y la nada de 1943.   En ese texto existencialista Sartre propone que el ser y la esencia no se encuentran en el objeto (en este caso, en el yo), sino en su sentido. Para él, el sentido del ser es ser conocido, “yo soy siempre para Otro”. El acto de la mirada no solo nos da sentido, sino que nos revela la existencia del Otro para el cual somos. Existimos porque el Otro nos mira. Si hay Otro que nos mira, yo soy aquel que no es el Otro: al negar ser el Otro, yo me hago ser y el Otro se establece como Otro. Así, existir no es simplemente estar, sino relacionarse con los demás. No basta con estar entre los objetos del mundo, hay que dirigirse a ellxs, atreverse a ser vistx.   Los Metro recuperan este razonamiento en el que los invitados a la alfombra deberán repensar cómo presentarse ante el ojo del Otro con plena libertad de ser ellos mismos y al mismo tiempo buscar la trascendencia de ser determinado como uno mismo, ser una otredad que captura las miradas de los Otros. Aquellos se atreverán a Ser y ser vistxs son:

INVITADOS Aarón Balderi Alejandra Bogue Alejandro Calva  Alejandro de la Madrid  Alfonso Borbolla  Alma Cero  Arcelia Ramírez  Ari Albarran  Ariel Miramontes  Carolina Reyes  Christian Ramos  Conchi León  Dalilah Polanco  Daniel Miranda  Eugenio Rubio  Francisco Rubio  Gaby Ruiz (Chef)  Garçonne  German Ortega  Karol Sevilla  Laura Tamayo  Leticia Huijara  Leticia Pedrajo  Lisardo  Ludwika Paleta  Luis Arrieta  Mabel Cadena  Manu Nna  Margarita Gralia  Maria Aura  María Elisa Gallegos  Marte Calderon  Maya Zapata  Mel Fuentes  Michelle Rodriguez  Mónica Dionne  Mónica Huarte  Regina Blandon  Regina Voce  Roger González  Sofia Espinosa  Verónica Langer  Verónica Toussaint  Vicky Araico  Ximena Gonzalez Rubio

Aída del Río  Alejandra Ley  Alex de Hoyos  Álvaro Cueva  Ana Sofía Gatica  Anabel Ferreira  Andrés Elvira  Armando Espitía  Armando Hernández  Begoña Narvaez  César Romero  Chumel Torres  Diana Bovio  Efraín González  Elizabeth Guindi  Elsie Flores  Estefania Hinojosa  Faisy  Fernando Memije  Germán Bracco  Gustavo Helguera  José Ramón Berganza  Luis Carlos Villareal  Luz Aldán  Manuel Balbi  Marcela Alvarez  Marcos Radosh  Nacho Riva Palacio Nailea Norvind  Natalia Téllez  Pablo Rodríguez  Plutarco Haza  Ricardo Fastlitch  Ricardo Peralta  Roberto Romano  Rossana Najera  Tiaré Scanda  Vanesa Restrepo  Yolanda Ventura  Yuriria Sierra  Zoraida Gómez

Todos y cada uno de los invitados dejarán todo prejuicio atrás para compartir con el mundo su Otredad, su manera de ser y trascender en un mundo cada vez más conservador y prototipado.  La alfombra roja de los Premios Metropolitanos de Teatro es el espacio para SER. Es un espacio para SER VISTX. Ser vistx en tu libertad, en tu identidad, en tu diversidad, en tu disidencia, en tu diferencia, en tu particularidad. Cada uno contará su historia a través de unos zapatos, un vestido, una corbata o simplemente con una sonrisa.   Vive de cerca la ceremonia de premiación de Los Metro en su cuarta edición, que se llevará a cabo el martes 18 de octubre del 2022 en compañía de Regina Blandón quien es la anfitriona de la gala de este año. Porque conmemorar el teatro es darle vida y hacer historia, sigue a la AMdT a través de la página losmetro.mx y las redes sociales de Los Premios Metropolitanos de Teatro: Youtube @LosMetroMX / IG @losmetromx / FB @losmetromx.

[agendaculturaldelima]

#EspacioAtemporal

🖼 “MET(AMOR)FOSIS DEL QUERER/FUTURO AFECTIVO” 🎨🤗🖌️

💥 Exposición sobre la visión de diecisiete artistas sobre la transformación del amor en el mundo actual. A través de diferentes técnicas y lenguajes artísticos, nos invitan a reflexionar sobre tus propias necesidades, deseos y expectativas en el ámbito afectivo.💜

👥 Artistas: Pablo Huamani Buleje, Briana Carhuavilca, Andrés Yaques, Luc Léxian, Giannina Babilon, Raquel Foinquinos, Juan Carlos Catacora, Carlos Alvarez Cabrera, Christina O'Higgins, Milena Bustamante,  Mariana Bonifacio, Dante Isenrich, Joaquín Effio, Daniel Chacón, Allieporizolam, Explocata y Gabriel Rubio

🔎 Curaduría: Mariana Cornejo y Octabixi

© Producción: Soni S. & Reckless.

📌 INAUGURACIÓN:

📆 Jueves 15 de Febrero

🕗 8:00pm.  

🏪 Galería Reckless (calle Ignacio Mariátegui 160 - Barranco) 

👪 Visitas: Lunes a sábado 🕙 11:00am. a 6:00pm.  [hasta el 21 de Febrero]

🚶‍♀️🚶‍♂️ Ingreso libre  

🍷 Brindis de honor.

[adamwatchesmovies]

Drácula (1931)

In the early days of talkies, some films were shot more than once to appeal to foreign markets. The sets, props, and story were the same, but different actors used a translated script. Filmed at night on the same sets as its more famous English counterpart, George Melford’s take on Dracula deserves your attention. While it might be missing that iconic performance by Bela Lugosi, it's a masterpiece of black-and-white horror.

Based on the 1924 stage play by Hamilton Deana and John L. Balderson, itself based on the novel by Bram Stoker, the titular Count Dracula (Carlos Villarías) is - unknown to the solicitor who visits his derelict Transylvanian castle - a vampire. Aided by the now-ensorcelled Renfield (Pablo Álvarez Rubio), Drácula travels to London. There, he sets his eyes on Eva Seward (Lupita Tovar). With the help of Professor Van Helsing (Eduardo Arozamena), Mina's fiancé Juan Harker (Barry Norton) and father (José Soriano Viosca) prepare to battle the creature of the night.

If you own any release of Tod Browning’s Dracula, you probably own this film too - packaged as a bonus feature. This "extra" is good enough to be the main course. Compared to its English predecessor, it runs significantly longer (104 minutes versus 85). This allows for more detail and character development. If you were bothered by the loose ends left unanswered in the English film, you'll be happy to see them addressed here.

Drácula excels at creating an atmosphere of permeating horror. While it may not be "frightening" by modern standards, it still mesmerizes. Pablo Alvarez is excellent as the lunatic Renfield. His maniacal gibbering is unsettling, particularly when he loses control while his master preys upon the people of London. Also strong is the leading lady, Lupita Tovar. Towards the conclusion, she undergoes a transformation that isn’t necessarily "scary" but takes you aback.

Now, the big question. How does Carlos Villar fare as the Count? This is where he, and I, are at a disadvantage. No one could re-create the performance by Lugosi, whose stilted, but magnetic performance has become synonymous with the word "vampire". So no, Villar is not going to supplant the role. He’s still excellent. This is a different type of villain. Count Drácula smiles from ear to ear, like a little kid who just tricked his parents into buying him a new toy. He’s so giddy at the thought of murder his face imprints itself into your mind. When he isn’t luring flies into his spider web, Villar also plays the dramatic part convincingly. His confrontation with Professor Van Helsing (a role that allows Eduardo Arozamena to shine) is as captivating as the first time you saw it.

I sometimes give older films a break when discussing the performances. Sound was a new thing. Actors were accustomed to pantomiming to convey their characters' emotions. There’s no need to judge these performances as “from that time”. They’re simply great. This Dracula uses a tried-and-true story but benefits from better lighting, better camera angles, more details about the aftermath of the characters' actions, and better pacing. Unsurprising, as George Melford watched the dailies of the Browning film before starting his cameras. The Spanish Dracula is one of the most pleasant surprises I’ve experienced in a long time. I'm as excited as I was the first time I saw Bride of Frankenstein.

Is Drácula better than the English version? I won't go that far. It's the second half we didn't even know was missing. My recommendation? Set aside some extra time and watch both pictures together. That way, you get the complete picture, a rather spectacular one. (Original Spanish version on Blu-ray, June 23, 2017)

[moviemosaics]

Dracula

directed by George Melford, 1931

[classicfilmfan64]

THE SPANISH DRACULA'S FACIAL EXPRESSIONS ARE FUNNY. It can be seen as a bonus film, in the Universal Studios DVD and Blu Ray set, 'DRACULA LEGACY EDITION'. Via the web: The Spanish version of "Dracula" 1931. Based on the same story and play, and mostly the same script this was filmed at night on the same sets as the more famous Lugosi/Tod Browning version, and in many ways is a superior film. It is far less static cinematically and gives more screen time to the Renfield character (magnificently played by Pablo Alvarez Rubio!) Lupita Tovar's presence and performance are in bold contrast to what Helen Chandler gave in the American version (I have always found Chandler to be lovely but a rather colorless actress, sorry) and really elevates this version but sadly Carlos Villarias' portrayal of Count Dracula can not even begin to compare to the magnetically compelling Bela Lugosi.

The film was made as part of Hollywood studios' attempts to make films for foreign-language audiences. By 1930, Universal had focused primarily on developing Spanish-language films for the foreign market. Filming began on October 10, 1930, where it was shot on the same sets as Tod Browning's production of Dracula. Director Melford watched the footage of the same day and applied what he saw to film his own version of the film. The film was released in Cuba in 1931 and for a long time was a forgotten film, only mentioned briefly by some horror film historians in the 1960s and 1970s. The film received greater attention after a screening at the Museum of Modern Art in 1978 which led to a popular home video release on VHS in 1992. Critical reception to this film often compared the two versions of Dracula with some critics weighing the pros and cons of both films based on the explicitness of the Spanish version with its costumes and scenes, the film's length, and the performance of Carlos Villarías as Count Dracula.

[bowling-with-skulls]

RENFIELD 💀

[ubyr-babaj]

A list of Renfield I'd fist-fight Satan for in no particular order (tw for sexual assault mentions)

1977!Renfield. I love this man, he never did anything wrong in his life, he hit his asshole boyfriend with a chair, he's autistic, gay and quotes Blake. Everything about him is perfect, new adaptations want what this man has. I'd absolutely fight Satan for him.

2. Dwight Frye Renfield. I have feelings for the guy, ok, I'd like, write poetry about his face if I knew how to write anything that's not cringe sonnets in prose.

3. Pablo Alvarez Rubio Renfield. People shit on this guy too much and I know why they shit on this guy (it's the racism). But he's good and his Renfield is good and I wish he was allowed the same dignity Frye was allowed as a white pretty boy. Also I just like the thought of a rape survivor who's pretty ripped (the guy did serious boxing) and still couldn't avoid the assault:

4. Ballet!Renfield. I really like this man, he's very shaped. Although there're some choices choreography-wise that have some serious sexual assault innuendos (mostly between him and Seward and him and the rest of the Crew), so like... Yeah.

5. Penny Dreadful!Renfield. No reasons, I just want to fuck this guy, he looks warm.

6. Pfrozheim!Renfield. The punk king, absolutely mean gay, doesn't take shit from anyone. I don't think he needs me to fight Satan for him, he'd like choke the guy on his own.

7. Stephan Vinzberg!Renfield. Again, mostly for I'd smash reasons, but also because it's one of the few versions where Renfield actually looks older than Dracula, so it's a plus.

[tiny-yoongienthusiast]

pablo alvarez rubio and dwight frye are two men i didnt even know until recently but fuck if im not a simp

[thefilmsimps]

Dracula (Spanish version) (dir. George Melford)

—Jere Pilapil—

I haven’t seen the Bela Lugosi classic version of Dracula yet (but it’s on Peacock; I’ll get to it very soon), but the story for this one is so novel to me that I had to check it out. I love the idea that two productions of the same movie occurred concurrently back n the 1930s. It seems a bit like cheating for one director to be able to watch the other and adapt in real time, but it’s an incidental process that I bet an ambitious studio would resurrect as a gimmick.

So we get a version of Dracula where I have a slightly different context than a lot of people watching it: again, haven’t seen the English version, but I have read the book relatively recently. I’m impressed that this movie is able to adapt the bare bones of the story, and it cuts out some of the extraneous stuff that bogged down the third act (who knew Third Act Problems existed back then?). I’m sure it was at least partially a budget concern that they didn’t have our heroes destroy a bunch of boxes full of dirt, instead simply having Dracula buy a nearby castle, but it’s a good shortcut.

Carlos Villarias is pretty great as the titular character. He’s a little over the top, as early 1900s film actors always are these days, but it fits this character who has like a dozen rules and limitations and powers. The movie lacks a dramatic tension as we learn more about Dracula himself, but it’s necessary for the audience's’ sake (also, over the decades other stories picked and chose what they wanted from the vampire mythology, so you gotta go over your rules with these things). Over time we learn, often through professor Van Helsing, that he can’t stand garlic, sunlight, or crosses. He sucks blood on his victims, turns into a bat and has mind control. But he also needs soil from his native land. (Bram Stoker was on some shit, inventing this motherfucker.) Van Helsing is played by Eduardo Arozamena with a deathly serious air, a perfect counter to Dracula.

I will say that the movie’s tension, then, really comes from Van Helsing convincing everyone that Dracula is real and that the vampire myths are no joke. It’s a foregone conclusion, but time gets tight as Dracula threatens Eva Seward (a very sympathetic and sweet Lupita Tovar). Along the way, we get a chess match of Van Helsing proving that Dracula’s not just a harmless foreign visitor while Dracula finds various ways to get to Eva (often with help with Pablo Alvarez Rubio’s feral Renfeild). The George Melford’s direction is unfussy and inventive, milking the tension of Dracula’s scenes for all their worth. This is a pretty classic take on Dracula, so I should probably keep my word and check out the classic soon enough.

9/10

[fecto-forgo]

sexuality asexual but dwight frye and pablo alvarez rubio can sorta get it tbh