A Prometida

In this wonderful movie, Sting plays Dr. Frankenstein, who after already creating his first monster and finding him disappointing and annoying has decided to create the perfect woman. He's successful in his pursuit, but the first monster, Clancy Brown in a heartwarming role, is chased away after becoming a little to possessive of his new bride.

The monster runs off into the woods and befriends a little person, Rinaldo the Midget, played wonderfully by David Rappaport, on his way to join the circus. He invites the monster along, and gives him the name of Victor. It is from Rinaldo, who's patient and understanding in a way Dr. Frankenstein never was, that Victor learns how to get by in life, how to behave, how to share, and to go after your dreams.

Meanwhile, back at the castle, Dr. Frankenstein is trying to educate and enlighten his newest creation Eva, a lovely and talented Jennifer Beals. He aspires to create the perfect woman, as intelligent and independent as a man. He does not, however, consider the full implications of his aspirations.

As Eva grows and learns, she begins to ask questions. She has been lied to about who she is and where she comes from. Much to Dr. Frankenstein's annoyance, she has become strong-willed and independent, just like a man, but obviously not quite what he had considered. He had also not considered how arousing he would find her.

Victor and Rinaldo successfully join the circus after much persuading, but Rinaldo longs for his dream to visit Venice, and Victor discovers he longs for his dream of Eva, his intended.

As the movie progresses, there is an obvious connection between the two characters which they are aware of, but aren't in contact with each other.

As Dr. Frankenstein introduces Eva into society with a few little mishaps, Eva discovers a handsome young soldier played by a very young Cary Elwes. He pursues her as he would any woman he would like to bed, much to agitation of Dr. Frankenstein.

The movie moves towards its climax, bringing with it an intensity and a heartfelt conclusion that makes it overall a remarkable movie.

Sting manages to convey Dr. Frankenstein's increasing frustration with his independent, disobedient, yet lovely creation, a dark character who also enjoys his opium from time to time. The scenes with Victor and Rinaldo are wonderful. Jennifer Beals is perfectly bewitching, at first unknowing and naive, then becoming strong and intelligent as the movie progresses, yet still revealing an innocence to her character.

I think anyone would be charmed and entertained by this wonderful movie, and I highly recommend it to all.

The lovely young student of Baron Charles Frankenstein tires of his strict tutelage and rebels, unaware she was indeed brought to life by the mad doctor--sewn together from corpses--and that a male counterpart to whom she was intended is roaming the countryside. Director Franc Roddam and screenwriter Lloyd Fonvielle's underrated rethinking of 1935's "The Bride of Frankenstein" hasn't much intrinsic spirit, though it does have lyrical scenes and interesting performances which qualify it as a fascinating misfire. As the Baron, rock star Sting poses sufficiently and glowers moodily, though he's all on one-note; Jennifer Beals is somewhat better as the Bride--with feminist leanings--and a number of her scenes (such as her first run-in with a cat and her dialogue with a derelict traveler) are quite beguiling. Critically-lambasted film has beauty, but little mystery--it's intriguing without truly being effective. Clancy Brown plays the initial (sympathetic) creation of Frankenstein, and his friendship with happy-go-lucky dwarf David Rappaport is marvelous, though this side-story really belongs to a separate picture (it holds the central action back, and keeps it from blossoming). "The Bride" is surprisingly ambitious and has rather grand moments, but a complete success it is not. **1/2 from ****

Scripted by Lloyd Fonvielle from the novel by Mary Shelley, this is a fairly interesting revisionist take on Shelley's legendary story. Rock star Sting stars as the icy cold Charles Frankenstein, who as the film opens has already created his male monster (Clancy Brown), and is now in the process of constructing the monsters' mate (Jennifer Beals), whom he names Eva. During the subsequent destruction of Frankensteins' lab, the male monster escapes, soon making the acquaintance of amiable dwarf Rinaldo (David Rappaport). Rinaldos' ambition is to eventually make it to Venice, but for now he wants to join a circus to make ends meet, and the monster - who *Rinaldo* dubs Viktor - tags along. Meanwhile, Frankenstein works hard at creating, in his eyes, the perfect woman to introduce to high society.

The lovely friendship between Rinaldo and Viktor is the true heart and soul of the film, and makes it worth seeing. Rappaport is so endearing - he's the real star of this show - and he and Brown work so well together, that they make the segments with Beals and Sting less intriguing by comparison. There is a theme here of men harbouring a fear and distrust of the empowered woman, and Frankensteins' desire to basically be in charge of Evas' life is part of his undoing. Brown is wonderful as Viktor, and while Sting and Beals do decent jobs, they're not as much fun to watch. A superb supporting cast consisting of Anthony Higgins, Geraldine Page, Alexei Sayle, Phil Daniels, Veruschka von Lehndorff, Quentin Crisp, Cary Elwes, Timothy Spall, Guy Rolfe, and Tony Haygarth lends a great deal of respectability.

"The Bride" has the absolutely perfect look in terms of classic Gothic horror, but in the end it's much more of a drama, and romance, than a horror film. Its opening scene is certainly great horror in the old tradition, and the lab set is amazing. The period recreation is impeccable, and Maurice Jarres' music is beautiful.

Overall, a good film worth a look or revisit for fans of this kind of literature.

Seven out of 10.

... but fails to add up to much. For some reason, the doctor's name is Charles this time around. Rock star Sting stars as Chuck Frankenstein, who has already created his original monster (Clancy Brown) as the film begins, and he's in the midst of creating his piecemeal bride. Assisting him are Quentin Crisp as a stand-in for the old film's Pretorius, and Timothy Spall as an Igor-type. Things go south, and Clancy goes on the run. Chuck decides to "raise" the beautiful bride (Jennifer Beals) as his ward, and introduce her into high society. Clancy meets a traveling dwarf (David Rappaport) who decides to name the creature Viktor, and they eventually start to work in a circus. Much of the film is a split narrative. Half follows Chuck Frankenstein and the bride, now named Eva, while the other half follows Viktor and his life in the circus.

Also featuring comedian Alexei Sayle, Anthony Higgins, 60's supermodel Veruschka as a Countess, Cary Elwes as a dashing young courtier, and Geraldine Page as Chuck's housekeeper and tutor to Eva. The costumes are nice, and there's an old-fashioned score by Maurice Jarre. The problems come from a lack of narrative flow, little momentum, and some underwritten characters. Frankenstein completists should see it for the variations on the theme, but most viewers will be bored when they're not rolling their eyes. This was originally touted as being a feminist take on the story, but I didn't really see that then or now.

Too bad Jennifer Beal wasn't justly compensated for "Flashdance" two years earlier - she only got 15K for her role! - or she might have had better roles to choose from than this.

I love it when I find a movie in the bargain bin, watch it, and it turns out to be really good. Such is the case with The Bride. The cinematography is beautifully done, creating a rich atmosphere and setting for the story. Filmed in England and France, the locations add some real authenticity to the story; this is no Hollywood back lot. Some may criticize the acting skills of the leads or the degree of depth in the story line, but one thing is sure, the movie is consistent in story, direction, mood, and content from beginning to end, a well delivered package. I also enjoyed this spin on the Frankenstein monster; he's got personality and character. Instead of being only an object of horror as in other films, the viewer gets to know and identify with him as the movie progresses, coming to care for his success and well being. As another viewer stated previously, approach this movie as a Gothic novel instead of a horror story, and you're sure to find some enjoyment from it.