Bride of Frankenstein 1935

Cast:
Boris Karloff - The Monster (as Karloff)
Colin Clive - Dr. Henry Frankenstein
Valerie Hobson - Elizabeth Frankenstein
Ernest Thesiger - Dr. Pretorius
Elsa Lanchester  - Mary Wollstonecraft Shelley/The Monster’s Mate
Gavin Gordon - Lord Byron

The Bride of Frankenstein (1935), a classic masterpiece of 1930s horror films, appeared as a superior sequel to the original prototype Frankenstein (1931). [There are so few sequels that are superior to their predecessors - another example would be The Godfather, Part II (1974).] While the film was in production, it was titled The Return of Frankenstein until it was released. The film’s title is actually a misnomer - the ‘bride’ of Frankenstein was not the Monster’s bride but Elizabeth (played by seventeen year old Valerie Hobson), Dr. Frankenstein’s wife. [Mention of the film often drops the “The” from the film’s title.]

The macabre, satirical film is generally considered one of the greatest horror films of all time - a spectacular, bizarre, high-camp, excessive, humorous, farcical and surrealistic film. Both Frankenstein films were produced by Carl Laemmle, Jr. (the head of Universal) and directed by horror master James Whale, at a time when monster films were diminishing. The film reunited Colin Clive (as Dr. Frankenstein) with Boris Karloff as the Monster, but brought two new characters to the forefront: Ernest Thesiger as a necromancer who has miniaturized and imprisoned various human beings in glass jars, and Elsa Lanchester as the Monster’s Bride.

Their are few sequels that are superior to their predecessors, however, Bride of Frankenstein not only equals it’s masterful original prototype Frankenstein (1931), but infinitely surpasses it in every way. Despite the first films reputation as a classic, it’s honestly not quite as witty and is much too straightforward when being compared to much more satirical, Bride of Frankenstein. Not to mention, it lacks much of the sophistication in the effects and eccentricities that the immortal sequel possesses. Needless to say, both films are justly hailed as classics, but it’s the immortal sequel where James Whale’s combining of horror and wicked humour (and “hidden” inflammatory work) is expressed more clearly and more prominently.

After initially refusing to do a sequel to Frankenstein, director James Whale would eventually falter when Universal agreed to let him have complete artistic freedom. Production was much-publicised as early as 1933, however, Whale, who was following his towering success with Frankenstein, The Invisible Man, and The Old Dark House, wouldn’t begin working on a sequel until late 1934, which was originally entitled The Return of Frankenstein. The film was adapted by William Hurlbut and John Balderston from an incident from the Mary Shelly novel Frankenstein, in which the monster demands a mate. However, in the novel, Dr. Frankenstein creates the Bride, but instead of bringing the monster to life, he decides to destroy it, greatly differing the film adaptation from the novel.

Much of the film concerns itself mostly with the Monster (Karloff) trying to find a place in the world and his growth; much of his character is seen as a humanely being craving for the company and acceptance of others but is mostly rejected. He fails to seek friendship with the young shepherdess (Ann Darling); with the Monsters experience in the first film with Little Maria, he knows that he must save her from drowning. Of course, everyone finds him too frightening, however, in one of the many incredible scenes the film provides, the Monster is eventually provided with sympathy and encouragement when he encounters the old blind hermit (O.P. Heggie), who becomes the Monsters first true friend. Karloff’s performance is truly remarkable, as it was in Frankenstein. Although, he opposed that the Monster speak, his character benefits greatly from this, as he finds room to expand on his already brilliant craft.

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Frankenstein 1931

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