Tag Archives: Bride of Frankenstein

Fright Club: Best Horror Movies of the 1930s

We dig deep into the history of horror to pay tribute to some of the true cinematic breakthroughs – films that defined horror and are still imitated and adored today.

5. Dracula (1931)

Oh, Bela. When Lugosi took the screen in 1931, no one was yet tired of Dracula. It was still a literary property only made once into a film, albeit illegally and under a different title by F.W. Murnau. (If you haven’t seen the masterpiece that is Nosferatu, please do.)

Bela, alongside director Tod Browning, got to create the image that would forever define the most mimicked, reworked, revamped – if you will – monster in cinema.

4. The Black Cat (1934)

Rocky Horror owes a tremendous debt to Edgar G. Ulmer’s bizarre horror show. The film – clearly precode – boasts torture, tales of cannibalism, and more than the hint of necromancy.

Plus Bela Lugosi and Boris Karloff?! What is not to love? It looks great, as does Karloff, whose lisp is put to the most glorious use. What a weird, weird movie. So good!

3. Vampyr (1932)

The well-groomed if aimless dreamer wanders with what appears to be a fishnet to a secluded little inn. But trouble’s afoot.

And dig those crazy shadows!

The great Carl Theodor Dreyer co-wrote and directed this gorgeous black and white fantasy. The painterly quality of Dreyer’s frames and the bizarre character behavior give the film a surreal atmosphere you can’t shake. His decision to limit dialog to a minimum and craft the movie with traditional silent film gimmicks benefitted the dreamscape atmosphere.

2. Freaks (1932)

Short and sweet, like most of its performers, Tod Browning’s controversial film Freaks is one of those movies you will never forget. Populated almost entirely by unusual actors – midgets, amputees, the physically deformed, and an honest to god set of conjoined twins (Daisy and Violet Hilton) – Freaks makes you wonder whether you should be watching it at all. This, of course, is an underlying tension in most horror films, but with Freaks, it’s right up front. Is what Browning does with the film empathetic or exploitative, or both? And, of course, am I a bad person for watching this film?

Well, that’s not for us to say. We suspect you may be a bad person, perhaps even a serial killer. Or maybe that’s Hope. What we can tell you for sure is that this film is unsettling, and the final, rainy act of vengeance is truly creepy to watch.

1. Frankenstein (1931)/Bride of Frankenstein (1935)

James Whale’s brilliant take on Mary Shelley’s novel looked at Frankenstein’s monster and saw the cruelty humanity was capable of committing. For him, the monster was the central and most interesting figure. Unlike Shelley’s antihero, Whale’s creature was utterly sympathetic, an oversized child unable to control himself, making him simultaneously innocent and dangerous.

Barons and aristocracy, the European setting – the film distrusts scientists and public officials as fools unable to reign in their own ambitions no matter the dire consequences.

Four years later, James Whale and Boris Karloff – with tag along make-up man Jack Pierce – returned to Castle Frankenstein for another tale of horror. What makes this one a stronger picture is the dark humor and subversive attitude, mostly animated by Frankenstein’s colleague Dr. Pretorius (Ernest Thesiger).

The sequel casts off the earnestness of the original, presenting a darker film that’s far funnier, often outrageous for its time, with a fuller story. Karloff again combines tenderness and menace, and Elsa Lanchester becomes the greatest goth goddess of all film history as his Bride.

Fright Club: Bride of Frankenstein

We are thrilled to be a part of a circle of movie podcasts spending the month of October talking about Universal monster movie sequels. And how lucky are we to have drawn the Bride of Frankenstein?

For our money, not just the best Universal monster sequel but the best Universal monster movie, Bride is a special. So special, she gets her own podcast. No lists, no competition, but to do it justice, we thought a special guest was in order. We are thrilled to have Dino Tripodis join us for the conversation.

The Bride of Frankenstein (1935)

James Whale and Boris Karloff – with tag along make-up man Jack Pierce – returned to Castle Frankenstein for an altogether superior tale of horror. What makes this one a stronger picture is the dark humor and subversive attitude, mostly animated by Frankenstein’s colleague Dr. Pretorius (Ernest Thesiger).

Thesiger’s mad doctor makes for a suitable counterpart to the earnest and contrite Henry Frankenstein (Colin Clive, again), and a sly vehicle for Whale. This fey and peculiar monster-maker handles the most brilliant dialogue the film has to offer, including the iconic toast, “To gods and monsters.”

The sequel casts off the earnestness of the original, presenting a darker film that’s far funnier, often outrageous for its time, with a fuller story. Karloff again combines tenderness and menace, and Elsa Lanchester becomes the greatest goth goddess of all film history as his Bride.





Fright Club: Best Black and White Horror

Finally! We’ve been kicking this one around for a long time, but this week – with the help of Vince and Grant of the podcast In the Record Store – we finally tackle the best black and white films in horror.

What a list! We had no choice but to employ fuzzy math for this one, and even so we had to leave off so many greats – including some that Grant and Vince would have included.

6. Night of the Living Dead (1968)

From the brightly lit opening cemetery sequence to the paranoid power struggle in the house to the devastating closing montage, Night of the Living Dead teems with the racial, sexual and political tensions of its time. An unsettlingly relevant George A. Romero knew how to push societal panic buttons.

As the first film of its kind, the lasting impact of this picture on horror cinema is hard to overstate. Romero’s inventive imagination created the genre and the monster from the ground up.

They’re dead.

They’re back.

They’re hungry for human flesh.

Their bite infects the bitten.

The bitten will eventually bite.

Aim for the head.

Romero served as cinematographer for this project, likely choosing black and white as a cost saver, but we’d later learn that this format is 1) highly forgiving of zombie makeup, and 2) spookier. The color palette turns the Waltons-esque setting of the farm house into something isolated and sinister.

The shrill sense of confinement, the danger of one survivor turning on another, and the unthinkable transformation going on in the cellar build to a startling climax – one that utterly upends expectations – followed by the kind of absolutely genius ending that guarantees the film’s eternal position in the annals of horror cinema.

5. Eraserhead (1977)

There truly is no film quite like David Lynch’s first feature, eh?

Eraserhead defies simple summarization. Easily the most surreal of all Lynch’s films – which is a huge statement – the film follows sad-sack Henry Spencer (Jack Nance) dealing poorly with fatherhood.

The film becomes a nightmare of paternal angst and existential crisis – indeed, it may be impossible to name a film or filmmaker more able to bring a nightmare to life.

It’s also among the finest examples of corporeal horror you will find. The shadowy, grimy b/w photography – partially handled by Lynch’s longtime cinematographer Frederick Elmes – amplifies the dismal stagnation facing Henry.

At the same time, it gives a weird, nostalgic camp factor to the Lady in the Radiator and adds a particularly lurid element to that whole bleeding “chicken” thing.

Plus, the baby. Yikes. Alive with the most disturbing imagery, Eraserhead is impossible to forget.

4. Psycho (1960)

Among the four Oscar nominations the film garnered was one for John L Russell and his gorgeous black and white cinematography.

By 1960, most folks had abandoned black and white – including Hitchcock. But with his truest foray into horror, the master returned to the high contrast imagery for a number of reasons.

Sure, one of those was that it freed him up with the blood. Had all that stuff in the shower been red, he’d never have gotten away with it. Mrs. Bates wouldn’t have looked quite right, either.

Russell’s visuals also gave the film its lonesome American Gothic quality. Norman seemed more innocent, Marion Crane seemed more mysterious, and the old Bates house seemed spookier.

Of course, was there ever a question Hitch knew what he was doing?

3. Frankenstein (1931)

James Whale’s genius was in finding the monster fascinating, rather than the doctor. Nearly every other Frankenstein made before or since has been preoccupied with the doctor, but Whale understood that it was this unique beast, baby and man, evil and innocent, that should compel our interest. Who cares about one more doctor with a god complex?

Luckily for Whale, he had Boris Karloff. Karloff’s gift was in seeing the monster as a neglected child. His monster is sweet and tragic, characterized by the terrible freedom of a loosed child full of fear, unbridled excitement and shame. Karloff nails this childlike energy and ignorance married to a grown man’s strength in a way that no other actor truly has.

Obviously, in 1931 Whale had no choice but to film in black and white, but how fascinating that a movie without color created a green monster. What a testament to the film’s vidid imagery – created with the help of make-up guru Jack Pierce. A nightmare of greying flesh, black stitches and mechanical pieces, this image of the monster speaks of death, mad science and bad intentions.

https://www.youtube.com/watch?v=McUce_xwxeA

2. Nosferatu (1922)

Not the seductive, European aristocrat, cloaked and mysterious, oh no. With Count Orlock, filmmaker F. W. Murnau explores something more repellant, casting an actor who resembles an albino naked mole rat.

Given that Murnau equates the film’s vampire-related deaths with the plague, this vermin-like image fits well. But more than that, thanks to a peculiarly perfect performance by Max Schreck, Murnau mines the carnality of the vampire myth for revulsion and fear rather than eroticism.

Murnau’s gift was not solely in casting. The shadows danced, the dead rose and Europe writhed with the dead and dying. His skill with the camera was unparalleled. Between his casting and his camera, he made the most authentic vampire movie – perhaps ever.

Sure, the silent film style of acting appears nothing short of quaint today, and the Dracula tale has been told too, too often at this point. But Max Schreck is a freak, and in his bony, clawlike hands, Count Orlock remains the greatest vampire ever undone by a sinless maiden.

1. The Bride of Frankenstein (1935)

James Whale and Boris Karloff – with tag along make-up man Jack Pierce – returned to Castle Frankenstein for an altogether superior tale of horror. What makes this one a stronger picture is the dark humor and subversive attitude, mostly animated by Frankenstein’s colleague Dr. Pretorius (Ernest Thesiger).

Thesiger’s mad doctor makes for a suitable counterpart to the earnest and contrite Henry Frankenstein (Colin Clive, again), and a sly vehicle for Whale. This fey and peculiar monster-maker handles the most brilliant dialogue the film has to offer, including the iconic toast, “To gods and monsters.”

The sequel casts off the earnestness of the original, presenting a darker film that’s far funnier, often outrageous for its time, with a fuller story. Karloff again combines tenderness and menace, and Elsa Lanchester becomes the greatest goth goddess of all film history as his Bride.





Countdown: Top 5 and Bottom 5 Sequels

Yes, the humorless Kick-Ass 2 disappointed, as sequels so often do. Which are the biggest disappointments? And on a brighter note, which sequels lived up to – even exceeded – expectations? Read on!

Most Disappointing Sequels

5) Hangover Part 2

In 2009, Todd Phillips shared a clever conceit starring an amiable, talented threesome with real chemistry on film. Oh, how we laughed. In 2011 he found out that a clever conceit is only clever once. Revisiting every single joke was, indeed, Hangover 2’s only original joke. What we’ve learned is that one joke in 102 minutes does not a comedy make.

http://www.youtube.com/watch?v=RYL_T7f59o8

4) Exorcist II: The Heretic

Jesus. A drunken and flummoxed Richard Burton wanders through Africa on the advice of a demon locust; a hypnotized, angelically dressed Linda Blair looks on from her bedroom in the States. They followed perhaps the greatest horror film of all time with this lunacy? Who’s responsible for this atrocity? Is it Regan’s dangerously incompetent therapist? Director John Boorman? Satan?

3) Jaws 2

Hey, you know who’s not Steven Spielberg? Jeannot Szwarc. Wait, who’s Jeannot Szwarc, you ask? Exactly! He’s the guy who used to direct Beretta episodes who inexplicably helmed the story of a little island community that looks positively delicious to sharks. Szwarc’s disinterests? Character development, storytelling, understatement, bathers.

2) Caddyshack 2

For the love of God. Eight years after one pesky gopher and a slew of vulgarians beat Judge Smails at his own game (golf), a new set of classless sportsmen descend upon Bushwood. What happens if you swap out Ted Knight for Robert Stack, Rodney Dangerfield for Jackie Mason, and Bill Murray for Dan Aykroyd? Nothing funny, I’ll guarantee you that.

http://www.youtube.com/watch?v=saREFwdhKH0

1) Ghostbusters II

Stop it! Just stop it right now! Need you crush all our childhood happiness with your greed and listless comedies?! Why is this the most offensive of the sequels? Because the same director, writers and cast returned to cash in on the joy their first film left in our hearts by telling us that we can fight off the bad ectoplasm if we have more joy in our hearts. Ironic, since that’s what they killed with their movie.

 

Best Sequels

5) Spider-Man 2

Better villain, less predictable storyline, equal parts exciting and tender, Spider-Man 2 exceeded expectations. Few (if any) superhero films can boast such joyous thrills tied to such well-crafted storytelling because few (if any) superhero films care as much about the “human” as the “super”.

http://www.youtube.com/watch?v=SCLTJJZ8gas

4) The Bride of Frankenstein

In 1931, the great James Whale rocked the cinematic universe with a familiar story, one outstanding performance, and the greatest make up job to date. But with Frankenstein’s 1935 sequel, he was able to show some real talent. This subversive, darkly humorous gem betters the original by a mile.

3) The Empire Strikes Back

When the time came for George Lucas to second his mind blowing ’77 blockbuster Star Wars, he made one terrific decision. He hired somebody else to write and direct. New characters, exceptional battles, and epic surprises help this unpredictable storyline not just live up to the original, but exceed it.

2) Aliens

Oh, hell yes. How was James Cameron to top Ridley Scott’s breathlessly terrifying original? By taking it in an entirely different direction, from terror in space to intergalactic ass-kicking. Bigger-better-faster-more doesn’t always work, but put Sigourney Weaver in a giant metal suit, and things turn out OK.

http://www.youtube.com/watch?v=zNE0dlHcmgA

1) Godfather Part II

Francis Ford Coppola outdid himself. The origin story, the familial conflict, Fredo.  Oh, Fredo. You break our hearts. Godfather Part II doesn’t just follow one mob family, it finds its heartbeat and exposes what it is that differentiates them from us. Flawless.