Frankenstein

This movie comes off as silly at times and brilliant at others, but it is probably considered to be one of the greatest monster movies of all time. The greatest thing to come out of this movie was the performance of Boris Karloff as the monster, it is just incredible how much emotion and feeling he was able to convey while under all that makeup. The direction of James Whale is spot on with a great use of sets and outdoor locations, in fact, the only real flaw in the film lies in the script, which has a few situations that make very little sense and because of which interrupts the films flow. But other than that, Frankenstein is a classic and very important movie, and it launched Karloff on to a great career, plus the sequel Bride Of Frankenstein is even better. 4 Beards Out Of 5 Check out my video review @ https://www.youtube.com/watch?v=GomHi6vIds4

Revisiting Frankenstein is always a wonderful experience. I watch it today with the same enthusiasm and awe I did nearly 35 years ago. Everything about the film is so perfect. Acting, direction, cinematography, set design, plot, dialogue, special effects, etc. are top notch. And although each of these areas deserves to be discussed in detail (and have in the volumes that have been written on Frankenstein), I'll focus on two areas that really standout to me - Boris Karloff as the monster and James Whales direction.

Is there a more iconic image in horror than Boris Karloff as the Frankenstein monster? I sincerely doubt it. Even those who wouldn't be caught dead watching a horror film are familiar with that image. Beyond Jack Pierce's make-up, Karloff is amazing in the role. Even with the make-up, Karloff gives the monster life. We are able to see and feel the emotions the monster goes through. There is no better example than the scene with the monster and the little girl. As the monster stumbles out of the woods, there is a cautious look about him as his experiences with humans have thus far been less than satisfactory. But when the little girl accepts him and wants to play with him, the look of caution is transformed into a look of utter happiness. He smiles, he laughs, and he plays. But that emotion is replaced by one of confusion mixed with anger when he accidentally kills the girl. It's all there on Karloff wonderful face. It's this life that Karloff imbibes in the monster that makes Frankenstein a real classic.

I've always thought that James Whale's direction was ahead of its time. In an era when directors were using what I call the "plant and shoot" method of filming, Whale made his camera a fluid part of the action. Whale takes the viewer beyond just watching moving images. He uses the camera to take the viewer into the scene. A small example is the way Whale filmed characters moving from one room to the next. The camera moves with the characters. Another example is the tracking shot Whale uses as the father carries his dead child into the town. As I said earlier, it has a fluidity in the way Whale filmed these scenes that makes it seem more natural. Finally, the way Whale introduces the monster is a highlight of the film. The monster backs into the room. As he turns, Whale shows the monster with three quick, ever tighter shots, ending with a close-up of the monster's face. Every Hollywood star of that era could have only wished for an introduction like that.

While I have done nothing but praise Frankenstein, I'm not such a fan that I can't spot flaws in the film. The major issue with me has always been the way the scenes of action, horror, and violence are inter-cut with scenes of tranquility and bliss. I realize that was the way things were done in the 30s so people wouldn't, in essence, overload on horror, but it can make the film seem a little disjointed. But it's difficult to hold Whale overly responsible for this custom of the period.

Though not as spectacular as one would expect of such a classic, this loose interpretation of Mary Shelley's oft-told tale delivers. The familiar story focuses on Dr. Victor Frankenstein, the reclusive, stereotypical mad scientist obsessed with creating new life from stitched-together corpses. But something goes terribly wrong when the brain he uses turns out to be that of a criminal. The film starts out slow but redeems itself with time, particularly the windmill climax scene that by 1931 standards is nothing short of stellar. In one of filmdom's all-time great performances, Boris Karloff plays the monster as a sort of tragic figure unable to comprehend right from wrong, and the audience is left feeling more sympathetic than frightened by him.

"We are about to unfold the story of Frankenstein, a man of science who sought to create a man after his own image without reckoning upon God. It is one of the strangest tales ever told. It deals with the two great mysteries of creation – life and death. I think it will thrill you. It may shock you. It might even – horrify you. So if any of you feel that you do not care to subject your nerves to such a strain, now's your chance to – uh, well, we warned you". -Edward Van Sloan.

Although this movie does not shock or thrill, it fascinates. The movie's cast is well worth repeating, Colin Clive, Boris Karloff, Mae Clarke, Edward Van Sloan, ETC. The movie contains obvious hints to German Expressionism, as the production team was inspired by films like Nosferatu, or The Cabinet of Dr. Caligari. The Gothic style fits the setting and the sets work beautifully. This movie would forever solidify Frankenstein in media and launched Boris Karloff into stardom. Although there is no musical score,it still works well without it as the horrifying scenes are much more emphasized than if it had music. All in all, this is a movie everyone should see, if you haven't seen it, go ahead and view this masterpiece. If you have seen it, now is the time for you to watch it again. "However, if you do not care to put your nerves in such a strain, now's your chance to-uh, well, we warned you".

MORD39 RATING: **** out of ****

Dark, cloudy nights. Thunder and lightning. Colin Clive's Frankenstein shouts: "It's Alive!", and Boris Karloff lurches forth in Jack Pierce's greatest monster makeup of all time....What more can be said about this classic?

It's one of the first (and greatest) horror movies of all time and required viewing. Karloff's sympathetic monster can evoke fear as well as break our hearts. This film made him a huge star after years of working as an unknown in tons of features.

James Whale is a masterful director, though there are less "light moments" in FRANKENSTEIN than some of his later horror films. Interestingly enough, the lack of a music score in this movie actually works in its favor.

Tight, brisk, and oozing with the stuff nightmares are made of, this grandaddy of all monster films needs no further selling.