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Frankenstein

  • 1931
  • Tous publics
  • 1h 10min
NOTE IMDb
7,8/10
84 k
MA NOTE
Boris Karloff in Frankenstein (1931)
Trailer for Frankenstein
Lire trailer1:38
2 Videos
99+ photos
DrameHorreurScience-fictionThrillerHorreur corporelleHorreur monstrueuseTragédie

Le Dr. Frankenstein défie la vie et la mort en créant un monstre humain à partir de membres de cadavres dénués de vie.Le Dr. Frankenstein défie la vie et la mort en créant un monstre humain à partir de membres de cadavres dénués de vie.Le Dr. Frankenstein défie la vie et la mort en créant un monstre humain à partir de membres de cadavres dénués de vie.

  • Réalisation
    • James Whale
  • Scénario
    • John L. Balderston
    • Mary Shelley
    • Peggy Webling
  • Casting principal
    • Colin Clive
    • Mae Clarke
    • Boris Karloff
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,8/10
    84 k
    MA NOTE
    • Réalisation
      • James Whale
    • Scénario
      • John L. Balderston
      • Mary Shelley
      • Peggy Webling
    • Casting principal
      • Colin Clive
      • Mae Clarke
      • Boris Karloff
    • 711avis d'utilisateurs
    • 150avis des critiques
    • 91Métascore
  • Voir les informations de production sur IMDbPro
    • Récompenses
      • 7 victoires et 3 nominations au total

    Vidéos2

    Frankenstein
    Trailer 1:38
    Frankenstein
    Frankenstein: I'm Maria
    Clip 1:32
    Frankenstein: I'm Maria
    Frankenstein: I'm Maria
    Clip 1:32
    Frankenstein: I'm Maria

    Photos187

    Voir l'affiche
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    + 179
    Voir l'affiche

    Rôles principaux28

    Modifier
    Colin Clive
    Colin Clive
    • Henry Frankenstein
    Mae Clarke
    Mae Clarke
    • Elizabeth
    Boris Karloff
    Boris Karloff
    • The Monster
    John Boles
    John Boles
    • Victor Moritz
    Edward Van Sloan
    Edward Van Sloan
    • Doctor Waldman
    Frederick Kerr
    Frederick Kerr
    • Baron Frankenstein
    Dwight Frye
    Dwight Frye
    • Fritz
    Lionel Belmore
    Lionel Belmore
    • The Burgomaster
    Marilyn Harris
    Marilyn Harris
    • Little Maria
    Ted Billings
    • Villager
    • (non crédité)
    Mae Bruce
    • Screaming Maid
    • (non crédité)
    Jack Curtis
    Jack Curtis
    • Villager
    • (non crédité)
    Arletta Duncan
    Arletta Duncan
    • Bridesmaid
    • (non crédité)
    William Dyer
    • Gravedigger
    • (non crédité)
    Francis Ford
    Francis Ford
    • Hans
    • (non crédité)
    Soledad Jiménez
    Soledad Jiménez
    • Mourner
    • (non crédité)
    Carmencita Johnson
    Carmencita Johnson
    • Little Girl
    • (non crédité)
    Seessel Anne Johnson
    • Little Girl
    • (non crédité)
    • Réalisation
      • James Whale
    • Scénario
      • John L. Balderston
      • Mary Shelley
      • Peggy Webling
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs711

    7,884.1K
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    Avis à la une

    9bensonmum2

    "Crazy, am I? We'll see whether I'm crazy or not."

    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.
    oldreekie546

    Still quality stuff

    A brilliant young scientist creates life from the dead but lives to regret it when his creation goes on the rampage.

    Though inevitably dated and primitive by modern standards, Frankenstein remains a tremendously impressive film and a tribute to its still somewhat under-rated director, the eccentric Englishman James Whale.

    Where so many early talkies were static and wordy, Frankenstein skips unnecessary dialogue and exposition and drives through its plot at a speed that seems almost indecent nowadays. Compared to overblown remakes like Kenneth Branagh's 1994 version, Whale's work now seems like a masterpiece of brevity and minimalism. His constantly moving camera, incisive editing and dramatic use of close-ups are a mile ahead of anything far more prestigious directors were doing at the time. Expressionist photography and eccentric set designs lend atmosphere, menace and help augment some rather ripe performances; a foretaste of the paths Whale would tread in the sequel Bride of Frankenstein four years later.

    And then of course there's Karloff. With comparatively few scenes and no dialogue he nonetheless manages to create a complex, intimidating, yet sympathetic creature - one of the great mimes in talking cinema and thanks in no small degree to the freedom given to him under Jack Pierce's iconic make-up.

    A historic piece of cinema, and one that still stands the test of time as both art and entertainment.
    mord39

    WHAT MORE CAN YOU SAY ABOUT ONE OF THE GREATEST?

    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.
    8beardedmovieguy

    Monster Royalty

    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
    10jaynashvil

    Still the standard

    Few will disagree that "Bride of Frankenstein" is in so many ways a better picture than the original. But since they both involve the same director and primary cast, I consider them as two parts of the same movie.

    I have no complaints at all about "Bride". It certainly benefits from a more deeply thought-out script and an adequately bankrolled sense of delight in the macabre. The unarguable "improvements" in the sequel are often, for me, the very things that makes the original so special.

    The major technical improvements during the short years between the original and sequel have made "Frankenstein" seem perhaps older than it is. The lack of a score and less showy camerawork give it almost a documentary quality, not unlike the famous Hindenberg newsreel footage. "Frankenstein" feels like this is an actual record of exactly how it looked and felt the day Dr. Frankenstein did his evil deed!

    I'm not saying that "Frankenstein" seems primitive in a bad way--unlike '31's "Dracula" with it's "point the camera at the stage because we can't move the camera" lack of technique. The oldness adds to it's greatness. The graininess of the picture, the shrill sound effects and James Whale's unusual cutting style of deliberate jump-cuts (especially in the scene when the Creature makes his big entrance and, moments later, reaches longingly for the sunlight)contribute to the realness of the story and the film.

    It gave me nightmares as a kid; only now, I know why.

    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      The Monster's make-up design by Jack P. Pierce is under copyright to Universal Pictures until to January 1, 2026 and licensed by Universal Studios Licensing, Inc.
    • Gaffes
      According to DVD commentary for this film, director James Whale intended this film to take place in an "alternate universe" and therefore freely mixed 19th Century and 1930s technology, hair fashions, etc.
    • Citations

      Henry Frankenstein: Look! It's moving. It's alive. It's alive... It's alive, it's moving, it's alive, it's alive, it's alive, it's alive, IT'S ALIVE!

      Victor Moritz: Henry - In the name of God!

      Henry Frankenstein: Oh, in the name of God! Now I know what it feels like to be God!

    • Crédits fous
      In the opening credits: The Monster - ?
    • Versions alternatives
      SPOILERS: The picture was scripted and filmed with Dr. Frankenstein seeming to die in the mill with his creation, but was instead released with a hastily re-shot happy ending, wherein Henry survives to marry Elizabeth (see "Trivia"). However, the sequel, La Fiancée de Frankenstein (1935) literally followed the first scenario, and consequently just before "Bride" opened this film was reissued with the original finale restored. This movie was seen this way in all subsequent theatrical releases of the old Hollywood era, but when the entire package of classic Universal horror films was made available to television in the 1950s, the prints of the original movie carried the happy ending, and the incompatibility with the opening scene of "Bride..." confused new viewers.
    • Connexions
      Edited into Boo (1932)
    • Bandes originales
      Grand Appassionato
      (uncredited)

      Music by Giuseppe Becce

      [End title & end cast music]

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    FAQ

    • How long is Frankenstein?Alimenté par Alexa
    • Why was Frankenstein's first name changed from Victor to Henry?
    • What is 'Frankenstein' about?
    • Is "Frankenstein" based on a book?

    Détails

    Modifier
    • Date de sortie
      • 24 juin 1932 (France)
    • Pays d’origine
      • États-Unis
    • Site officiel
      • Official Facebook
    • Langues
      • Anglais
      • Latin
    • Aussi connu sous le nom de
      • Frankenstein : L'homme qui créa un monstre
    • Lieux de tournage
      • Malibou Lake, Agoura Hills, Californie, États-Unis(creature and young girl by the lake scene)
    • Société de production
      • Universal Pictures
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Budget
      • 291 000 $US (estimé)
    • Montant brut mondial
      • 1 924 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      1 heure 10 minutes
    • Couleur
      • Black and White
    • Mixage
      • Cinesound
      • Magnaphone Western Electric
    • Rapport de forme
      • 1.37 : 1

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