Frankenstein

This twelve minute adaptation of Mary Shelley's tale has an element that the later versions don't have. In this version Frankenstein apparently uses some kind of potion to create the monster in a large pot. You then get to see the monster emerge from the pot, first as a skeleton, and then skin and even clothing form over the skeleton. This was filmed by starting with a model of the monster, melting the form, and then filming the reverse of this melting as the creation of the monster.

The story starts with Frankenstein going to college. Here he never becomes a doctor, but apparently two years into his studies he has discovered the secret of life and death and is ready to create a perfect human being. Instead he forms an extremely mishapened creature. The creature then follows Frankenstein around, even becoming jealous of Frankenstein's bride-to-be. How the monster is eliminated is very odd, and I'll let you see it for yourself to find out how it ends. Just let me say that there are no crowds of villagers with torches and pitchforks in this one. Instead the ending is very Victorian and even magical.

This is very much worth looking at if you get the chance.

Over the years I've watched and enjoyed loads of early Biograph and Vitagraph one and two reelers, but this was my first time with Edison's take on Frankenstein which I understand was a lost film for decades. A century later and it's on YouTube for all, such is progress! At this time Film was changing from a collection of unconnected images to having a coherent narrative - pre WW1 many exhibitors had to use lecturers to help explain to the audience the film they were watching delightedly. In movies nowadays when cameras aren't usually static for more than a second but deliberately shaking or flying off in all directions I could sometimes do with plot explanations too - if I could be bothered.

The narrative in Frankenstein is crushingly simple: man goes to college, creates a monster, which in the end can't live with its evil self. The trick shot creation scenes hold up well, less so Frankenstein's excited peeping in at it happening through a tiny trap window. There's nice tinting for the most part, although the blue shots were very blue indeed! The final mirror scene was a pleasant surprise, although because they used to churn these shorts out from start to finish in less than 3 days I wonder if a heavy message was intended. And the ugly monstrous horror reminded me of the rock band Kiss.

Well worth spending 13 minutes sampling a slice of movie history.

This short film version of Mary Shelley's FRANKENSTEIN, made in 1910 always appeared in monster magazines, especially with the picture of actor Charles Ogle as the monster. He appears like an overweight court jester. I became lucky enough to get a copy of the film on videotape. This is like most films made before World War I, resembling filmed stage performances, with an unmoving camera. First we see the monster's creation, which takes palce in a vat, where his flesh fuses onto his bones like cotton candy on a paper cone. Next we see the monster claw at his creator, and frighten the creator's bride. No, it won't scare you (If it does frighten you, please seek therapy) but this is a unique chance to catch the actual birth of the horror film.

Produced by Thomas Edison's very own Edison Studios, J. Searle Dawley's 'Frankenstein' has been widely considered the first American horror film. Thought to be lost up until the 1970s when it was recovered from the infamous Alois Dettlaff's private collection, 'Frankenstein' has slowly established itself as one of the greatest silent shorts within the early horror genre.

The story quickly progresses, beginning with a scene of Frankenstein (Augustus Phillips) leaving his fiancée Elizabeth (Mary Fuller) to attend college. Some two years later, Frankenstein learns "the secret of life" whilst working in his study one day. He immediately writes a letter to his fiancée, telling her his intentions of creating the perfect human being. Frankenstein proceeds to perform the now-famous experiment and The Monster (played by the wonderful Charles Ogle) is born. The Monster takes shape in a giant vat, located in a sealed off room which is viewed by Frankenstein through a single viewing window. As the once lifeless monster rises from the vat, Frankenstein becomes terrified of his seemingly ghastly creation. The Monster quickly breaks out of the barricaded room and into the laboratory. After a close encounter with The Monster; Frankenstein makes the decision to return home to Elizabeth. As Frankenstein and Elizabeth's wedding begins, they become aware that The Monster has followed Frankenstein back home and a night of horror ensues.

Our beloved genre's debut is filmed in the non-moving camera fashion typical of early 1900s films, inherently giving the impression of a stage play. The plot of this little short does not closely follow the plot of Shelley's novel, nor does it reflect that of the later Universal version, but none the less a startlingly unique and entertaining outcome it is. The photography is excellent and does well to continuously and tactfully reflect the mood being established. As seen in (most notably) John Barrymore's version of 'Dr. Jekyll and Mr. Hyde' (1920) many of the laboratory scenes were shot using a brown tint whereas in the later part of the film, when the dark or horrific happenings begin to occur, a blue tint is used. Charles Ogle's take on The Monster is strikingly innovative and original, especially when compared to Boris Karloff's familiar 1931 portrayal. The makeup is excellent and apparently was applied by Charles Ogle himself (Ala Lon Chaney, eh?). The long fingernails, hunched back, and distorted face give Ogle's Monster quite a threatening aura as do his various facial contortions and arm-movements. Ogle's Monster is one fit for the ages and has become something of an icon of early horror cinema. Augustus Phillips does an excellent job portraying Frankenstein, with a broad range of emotions throughout the film and Mary Fuller proves to be a superb actress, playing the "damsel in distress" role superbly. One of the many qualities which stand out in Dawley's take on the tale was not only the innovative portrayal of The Monster, but the ending sequence. The defeat of The Monster is far more psychological and fantastic rather than scientific, which one wouldn't expect of a movie based around scientific advancements. Furthermore, beneath the surface of this incredible little short lies a premeditated philosophical meaning, one that is quite reminiscent of R.L. Stevenson's familiar tale of Dr. Jekyll and Mr. Hyde. Essentially, the film emphasizes the dual nature of man and his urge to unleash his inner-self. The Monster essentially represents the evil and unforgivable aspects of Frankenstein's persona. The mysterious ending sequence stresses this insightful use of symbolism. The outcome is a beautifully shot film, with convincing actors, innovative effects (for the time), excellent makeup, and a substantially intelligent and charming finale.

The very deepest roots of horror can be found in this little 16 minute gem. From the terrified look on Frankenstein's face when the first monster in U.S. cinema history comes to life, to the last moments of footage, the film leaves one captivated in its grasp. Myself being a long-time fan of the genre, thought it crucial to finally track this window into the past down. It is bewildering to look at this little atmospheric and strikingly intelligent take on Shelley's novel and to then look where the genre has come, with modern classics such as 'The Shining', 'Psycho (1960)', and 'Rosemary's Baby'. Edison Studios produced a true gem of early cinema - and the beginning of an epic genre… and what an excellent beginning it is.

Plot

The first filmed version of Frankenstein. The young doctor discovers the secret of life, which he uses to create a perfect human. Things do not go according to plan

Cast

Unfamiliar with those involved.

Verdict

I'm somewhat of a completionist and I went through a spate of watching every single Frankenstein adaptation from the loyal to the comedic to the just plain odd and naturally being that this is the first ever filmed version is where I began.

Now when it comes to films from this period you do of course need to look at them very differently, it's not that you must lower your expectations as that's rather ignorant it's that you must adjust them and respect the limitations of the time and take it for what it is.

There are plenty of both shorts and features from this period I've enjoyed greatly and amongst the Frankenstein adaptations were some masterworks but this alas is not one of them.

I'm not a fan of silent cinema at the best of times, I do prefer it when a musical score is placed over them but even then I tend to find their choices very distracting and usually ill fitting.

Frankenstein here is undeniably historic, unquestionably a pivotal moment in cinema history but let's not create a bias for ourselves and convince one another that means that it's good.

Frankenstein (1910) is bland, ugly and lacks entertainment value in this age.

Rants

I think that's something people need to get past, just because a movie is a "Classic" or even "Cult" doesn't mean it's good by default. People raise such things as if they're untouchable and cannot be criticized, they can and they should be. Nothing should be as such, nothing should be free from subjectivity.

The Good

Undeniably a breakthrough for its time

The Bad

Boring Questionable score Nothing more than a forgettable stepping stone.