Frankenstein

"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".

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.

James Whale's original FRANKENSTEIN is a short but memorable horror classic that has influenced so many other fright flicks, it should be considered the Godfather of Horror Movies. This was the first of Universal Studios' moody screen adaptations of literary Gothic horror (the other being Dracula). Put all thoughts regarding Mary Shelly's novel aside and see this original work of art, with Boris Karloff bringing the ultimate monster to life.

The sets are a pure spin off of German Expressionism. The good Doctor Frankenstein's castle is twisted and distorted and seems to be not of this world. He is played by Colin Clive in a delightfully freakish performance. And, of course, the well-proportioned Fritz is there to help. Notice the signposts of evil in the opening grave robbing scenes. It is a prop-master's dream and the black and white photography displays a theatrical sense of spookiness. "It's Alive!" will live forever as one of the cinema's most familiar lines and the picture begins to sparkle as Karloff is brought to life. The influence of Fritz Lang's METROPOLIS is evident during the dazzling scene of the Monster's birth.

Boris Karloff is and always will be the prototypical Monster. The closeups of his face are truly frightening after all these years. He is walking death, however, Karloff gives him a hint of sadness, of a creature who was not meant to be. The flower-toss scene with the little girl was so controversial at the time of the film's release, it was cut from many versions. The new, restored print available on video has it.

I know FRANKENSTEIN has been spoofed many times and is wide-open to criticism regarding its dated look. Mel Brooks went so far as to use the actual props from Dr. Frankenstein's laboratory in his hilarious send-up, YOUNG FRANKENSTEIN. Be sure to keep an open mind and watch it in the dark. Boris Karloff and James Whale have created a monstrously fun film.

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

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.