Frankenstein

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.

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.

'Frankenstein', like Todd Browning's 'Dracula' released earlier the same year (1931, a landmark year which also saw the release of Fritz Lang's dazzling serial killer thriller 'M'!), is an important movie and should be compulsory viewing for any SF/horror fan, but it isn't a dull movie to be studied, it is a wonderfully entertaining movie to be ENJOYED. Okay, the modern viewer has to try and watch it without jaded and cynical eyes and take it in its historical context to really appreciate it, but that isn't difficult. The acting is often hokey, the special effects, which were astonishing 70+ years ago, may look a little primitive by our standards, and the movie isn't anywhere near as terrifying to us as it was to 1930s movie audiences, but even so, I can't see how anyone can not LOVE this movie! Director James Whale was a lot more sophisticated and original than Todd Browning, and as much as I enjoy 'Dracula', 'Frankenstein' is a much better movie, and the best from this era, not counting its brilliant sequel 'Bride Of Frankenstein' which to mind mind actually surpasses it. Talented character actors Edward Van Sloan and Dwight Frye, both from 'Dracula', reappear in different but similar roles, and Colin Clive is fine as Henry Frankenstein, the prototype mad scientist, but the real star of the show, and the main reason this movie has lived for so many years, is the utterly superb performance by the legendary Boris Karloff as The Monster. I think Karloff is amazing in this and doesn't get the respect he deserves because many dismiss it as "just a horror movie". 'Frankenstein' is one of the most important and influential movies ever made, and is one movie I NEVER tire of no matter how many times I watch it, and James Whale is one of the most underrated directors of all time, looking at his innovative work in this, 'The Invisible Man', and especially 'Bride Of Frankenstein', the greatest sequel in the history of motion pictures. What a movie! What a director!

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.

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.