The Best Horror Movie of 1931: M

This post is part of Paste’s Century of Terror project, a countdown of the 100 best horror films of the last 100 years, culminating on Halloween. You can see the full list in the master document, which will collect each year’s individual film entry as it is posted.
The Year
Finally, the big one—the most groundbreaking and influential year in horror history, as the genre goes from being a minor sideshow attraction to one of the biggest tickets in Hollywood. Slow as it was to embrace the sound era, this is the year when sound films finally become the norm for horror, and our conception of the classical Universal monster movie is truly born, despite the presence of Phantom of the Opera in 1925.
It’s also one of the first years of our Century of Terror project in which it’s genuinely difficult to choose a “best” film, and strong arguments could be made for any number of iconic stories. The year starts out strong with Tod Browning’s Dracula, giving us the Hollywood discovery of Béla Lugosi, who filled in for what was intended all along as yet another Lon Chaney role. Lugosi would go on to play countless sinister foreigners and mad doctors over the next two decades in Hollywood, oftentimes alongside Boris Karloff, but he would never shed his image as the soft-spoken but hypnotic Count. The film establishes so many archetypes that continue to dominate (or be knowingly subverted) in vampire cinema to this day, from world-weary and grizzled vampire hunter Abraham Van Helsing to Dwight Frye’s ravenous familiar Renfield, whose character outline persists all the way into FX’s current serialization of Taika Waititi’s What We Do in the Shadows. Almost 90 years later, quotes from Dracula are still immediately recognizable to even casual cinemagoers, a feat that few films of the era can match.
And yet, it’s really not Dracula that stands as the strongest Universal contender of 1931—it’s the crown jewel of the studio’s golden age of monster movies, Frankenstein. Technically superior, and with the benefit of more lively, engaging direction from James Whale, who seems a bit more comfortable working in the sound medium, Frankenstein is an unchallenged masterpiece, albeit one that is perhaps surpassed several times by its first two sequels. Its heart is of course the all-time great performance from Boris Karloff as “the monster,” perhaps the first time that many audiences had seen such a role swimming in obvious pathos for a creature designated in the collective imagination as the film’s “villain.” Unlike sequels Bride of Frankenstein or Son of Frankenstein, one can say that there really is no true antagonist to the first film—the monster is a pitiable figure lashing out against a world that instinctively condemns him the moment they lay eyes on him. Rather, it’s humanity’s own failings—both our hubris and our lack of empathy—that are highlighted. Thematically, it made for much richer horror fodder than many of the lesser monster films that would follow.
But wait, there’s more. 1931 also plays host to what is perhaps the most iconic version of Dr. Jekyll and Mr. Hyde, starring Fredric March in the title role, as well as the Spanish language version of Universal’s Dracula, which sadly loses Bela Lugosi’s performance but instead gains what is arguably more dynamic eye for shot composition and cinematography. As others have since observed, the perfect Dracula might very well be a combination of the two films.