Film Review – THE BRIDE OF FRANKENSTEIN (1935)

BRIDE OF FRANKENSTEIN (1935, USA) *****
Horror, Sci-Fi

dist. Universal Pictures; pr co. Universal Pictures; d. James Whale; w. William Hurlbut (adapted by William Hurlbut and John L. Balderston and suggested by the original story written in 1816 by Mary Shelley); pr. Carl Laemmle Jr.; ph. John J. Mescall (B&W. 35mm. Spherical. 1.37:1); m. Franz Waxman; ed. Ted J. Kent; ad. Charles D. Hall; cos. Vera West (uncredited); m/up. Jack P. Pierce, Irma Kusely (both uncredited); sd. Gilbert Kurland (Mono (Noiseless Western Electric Recording)); sfx. Ken Strickfaden; vfx. John P. Fulton; rel. 19 April 1935 (USA), 27 June 1935 (UK); cert: PG; r/t. 75m.

cast: Boris Karloff (The Monster), Colin Clive (Henry Frankenstein), Valerie Hobson (Elizabeth), Ernest Thesiger (Doctor Pretorius), Elsa Lanchester (Mary Wollstonecraft Shelley / The Monster’s Mate), Gavin Gordon (Lord Byron), Douglas Walton (Percy Bysshe Shelley), Una O’Connor (Minnie), E.E. Clive (Burgomaster), Lucien Prival (Butler), O.P. Heggie (Hermit), Dwight Frye (Karl), Reginald Barlow (Hans), Mary Gordon (Hans’ Wife), Anne Darling (Shepherdess), Ted Billings (Ludwig).

In this sequel to Universal’s classic 1931 FRANKENSTEIN, Mary Shelley reveals the main characters of her novel survived. After recovering from injuries sustained in the mob attack upon himself and his creation, Dr. Frankenstein (Clive) falls under the control of his former mentor, Dr. Pretorius (Thesiger), who insists the now-chastened doctor resume his experiments in creating new life. Meanwhile, the Monster (Karloff) remains on the run from those who wish to destroy him without understanding that his intentions are generally good despite his lack of socialization and self-control. Whale brings in elements of wit and the macabre thereby opening out the story. Notable amongst these new elements is the addition of Thesiger’s Dr. Pretorius. Bizarre, sinsiter and camp in equal measures Thesiger is unforgettable and provides a much needed offset to Clive’s more melodramatic turn as Frankenstein. Karloff returns as the monster and is given the added power of speech following his meeting with a blind hermit (Heggie) in a scene that adds both pathos and humour. The film comes into its own in the climax laboratory scene with Thesiger and Clive bringing Lanchester’s “bride” for the monster to life. The sequence is technically superb with its use of light and shadow, obtuse camera angles and rapid editing. The sequence shows what a true artist Whale was. The gothic set design, innovative creature make-up and dynamic photography are all top draw. Whilst some of the performances may come across as hammy, you must remember this is the early days of the talkies and a certain staginess is inevitable. The look and atmosphere are unforgettable and the film has come to be rightly regarded as a classic of the genre. Clive broke a leg in a horse riding accident. Consequently, many of his scenes were shot with him sitting. John Carradine is one of the two hunters that appear at the hermit’s cabin proclaiming the hermit’s guest is in fact the monster. Followed by SON OF FRANKENSTEIN (1939) and remade as THE BRIDE (1985).

AAN: Best Sound, Recording (Gilbert Kurland)

Film Review – THE INVISIBLE MAN (1933)

THE INVISIBLE MAN (USA, 1933) ****
      Distributor: Universal Pictures; Production Company: Universal Pictures; Release Date: 3 November 1933 (USA), 30 November 1933 (UK); Filming Dates: August 1933; Running Time: 71m; Colour: B&W; Sound Mix: Mono (Western Electric Noiseless Recording Sound System); Film Format: 35mm; Film Process: Spherical; Aspect Ratio: 1.37:1; BBFC Cert: PG.
      Director: James Whale; Writer: R.C. Sherriff (based on the novel by H.G. Wells); Executive Producer: Carl Laemmle; Producer: Carl Laemmle Jr.; Director of Photography: Arthur Edeson; Music Composer: Heinz Roemheld (uncredited); Music Supervisor: Gilbert Kurland (uncredited); Film Editor: Ted J. Kent;  Art Director: Charles D. Hall; Make-up: Jack P. Pierce; Sound: Gilbert Kurland (uncredited); Visual Effects: John P. Fulton.
      Cast: Claude Rains (Dr. Jack Griffin aka The Invisible Man), Gloria Stuart (Flora Cranley), William Harrigan (Dr. Arthur Kemp), Henry Travers (Dr. Cranley), Una O’Connor (Jenny Hall), Forrester Harvey (Herbert Hall), Holmes Herbert (Chief of Police), E.E. Clive (Constable Jaffers), Dudley Digges (Chief Detective), Harry Stubbs (Inspector Bird), Donald Stuart (Inspector Lane), Merle Tottenham (Millie), Walter Brennan (Bicycle Owner (uncredited)), Robert Brower (Farmer (uncredited)), John Carradine (Informer Suggesting Ink (uncredited)), Dwight Frye (Reporter (uncredited)), Bob Reeves (Detective Hogan (uncredited)).
      Synopsis: A scientist finds a way of becoming invisible, but in doing so, he becomes murderously insane.
      Comment: H.G. Wells’ novel is brought to the screen in the stylish hands of director Whale and nuanced voice performance by Rains, who is only visible in the final shot. Rains has experimented with a serum that has made him invisible. Madness and megalomania increasingly take him over in his fruitless search for a cure. Rains’ vocal inflexions are both haunting and comedic and the material is often played for straight comedy. The character’s psychotic undercurrent becomes apparent as he commits a series of murders – firstly to protect his experiment and increasingly as spite, notably a scene where he derails a passenger train. The shifting tone is skilfully handled by Whale whose visual creativity along with the wonderful invisible effects by Fulton ensure the film remains absorbing throughout. The supporting performances are variable from O’Connor’s screeching innkeeper’s wife to a remarkably mannered Harrigan as Rains’ former assistant who Rains seeks revenge on for his betrayal. The movie was highly influential on the horror and fantasy genres and made a star out of Rains. Followed by THE INVISIBLE MAN RETURNS (1940) and THE INVISIBLE MAN’S REVENGE (1944).