The Bride of Frankenstein [Blu-ray]

All I can say is thank you 😊

Having the characters introduced by the author, Mary Shelley was an interesting idea, but, in this case it didn't work. Elsa Lanchester (also the "Bride") comes off well (if a little pretentious) as Mary Shelley but the other two don't. Douglas Walton as the poet, Shelley, is almost a non presence. As Lord Byron, Gavin Gordon, speaking lines one would have to stay awake writing and memorizing for the next day comes across as the most pompous, pretentious and annoying ass in history. The setting for this recap looks to predate the events of the original film by about a hundred years, and, even with footage from the original film it doesn't pick up the thread exactly the way it had left off.The word for this part of the film is lame.That said, don't let this five minute bit of stupidity detract from the enjoyment offered by an otherwise excellent film. Bride of Frankenstein has long been regarded as possibly the best of it's kind and that praise is well deserved. Boris Karloff gave the role of the savage but tragic creation depth of character and humanity that no other actor playing the part in the remainder of Universal's outings ever achieved. Karloff was the rare sort of actor with the gift for being able to "speak volumes" with a small gesture or a shift of expression. His monster is unpredictably menacing and indescribably lonely all at the same time. Ultimately, his portrayal of the creature is still the most charismatic of any of the attempts to bring the Frankenstein legend to the screen. Ernest Thesiger played the eccentric and charming but utterly ruthless Pretorius with a full measure of glee and it shows. Through their scenes together his presence matches Karloff's step for step. Any of the scenes he plays opposite the other players he just out and out steals. One of the films greatest touches is offered through O.P. Heggie as the blind hermit who reveals the monster's humanity are. The first scene between him and the monster remains one of the more moving ever filmed.My reactions to the work from the rest of the cast are little more mixed. Colin Clive returned as the driven but creator and still turned in a decent performance, but this time with slightly less zest. Clive was only two years from death when the film was shot, already suffering from acute alcoholism and probably afflicted with tuberculosis as well. (That was listed as part of the cause of his death). Whatever the reason, his energy level is less consistent than in the first film and it shows. Una O' Connor as the Frankenstein's maid gives the film it's balance with hilarious moments of comic relief; you can't watch her and not laugh, which is what (Director James) Whale intended. Valerie Hobson fares slightly less well. She's a radiantly beautiful Elizabeth but, like Mae Clark in the original film, struggles with some of her dialogue (though in her defense any rational reasoning human being would have struggled with those lines). Her character is one dimensional and ends up being little more than a babbling foil for the film's much stronger male characters. As well, her personality and presence is distinctly English where Clark was so obviously American. These factors, as much as the alterations in the prelude, hurt both the film and the continuity between the two films.When taken against the film as whole however, those complaints are minor ones. This film succeeds because of the depth of it's story line and the multi-faceted nature of it's principal characters. There is Frankenstein, a man torn between revulsion for their deeds and his drive to seek truth, Pretorius, the brilliant loner with his self-effacing humour and fascination with death which borders on necromancy and the blind hermit, the one man who accepts the monster simply because he feels but can't see and as a result becomes the only one able to really "see" the creature. Then, there's the creature, savage and misunderstood, angry but tender, a being as human as any but rejected by even the one created to be with him. Under Laemmle and Whale writer William Hurlbut allowed the monster to evolve, to grow as a character. In this film his movements are less stiff, his thinking more sophisticated and he gains the power to speak and articulate his thoughts, feelings and desires. It was a masterstroke, and sadly, the last time that would be allowed in the series. Visually, like the first one, this film is a treat. The lighting, brilliantly conceived is moody, atmospheric, subtle where needed and and enhances characters, scenes and action. As always, with Whale's films cinematography is superb. Whale had a touch for composing the way scenes were staged and how they would flow. One example is the how Valerie Hobson's dress trails behind her as she walks during the scene where her character is first introduced. Whale has it set so as to flow into the character behind her, something which visually enhances the feel of motion within the scene. It was a device he used in the first film and one he uses again here. Another remarkable moment is the moment where the creature rampages through the graveyard just prior to his first encounter with Pretorius. This is a masterpiece of lighting and composition and one which was imitated countless times in the decades that followed; it has only seldom been equalled. The score, by Franz Waxman, underscores, enhances, and at times, drives, the content of the film beautifully. His work was connected with many noteworthy films through his life. A few familiar ones are Mr. Roberts, Rear Window, Objective Burma and The Philadelphia Story. With this film producer Carl Laemmle, director James Whale and the rest of the ensemble set the standard which, almost seventy years later, is not just the text book on how it's done, but also, how to do it with style and flair.

I thought this release wouldn't be able to stand up with my 75th Anniversary Dracula and Frankenstein DVD'S from Universal. Whilst The Bride isn't given the classical treatment with a fancy DVD case like the aforementioned titles, it still has a couple of great features on it.She's Alive! CREATING THE BRIDE OF FRANKENSTEIN is a great retrospective featurette that takes you on an informative escapade on the "how's" and "why's" of the making of the film. The commentary might be worthwhile, but I rarely watch those. Pretty much everything you get out of featurettes is on the commentary tracks. The only thing that you'll get out of commentary, tends to be anecdotes, and jokey comments or playful banter between actors. Those are usually good if you have absolutely nothing interesting to do, so I don't check them out nowadays, because the novelty is gone.The movie itself is one I haven't watched since I was 10, staying over at a relatives house, and watching a late night back to back showing of the original Karloff Frankenstein, and The Bride Of Frankenstein, with my cousin. A Universal monster movie with a midnight snack, was a great way to spend a summer night way back then, and this new viewing in October with my adult mind was just what I needed. I was able to fully appreciate the style, and substance of this film. All of the subtleties of the characters and story were more apparent and I have to agree with all of the film historians, this film is much better than the first, and I highly disagree with Boris Karloff; having the creature speak was a perfect opportunity for much pathos. I remember when I viewed the remake that Kenneth Brannagh directed, that one of the best things of the film were the two scenes when DeNiro's creature had conversations with the blind man, and then Victor Frankenstein towards the end in the snow cave. Brannagh did a great job with that iteration, against what critics and audiences said about it. I actually like it alot. But upon watching The Bride Of Frankenstein, one really sees the wonderful job that Karloff does with his creature. The performance sits among a cast of typical Hollywood acting for its time, and rises above all. He was a genius performer and understood just how much to give when necessary and what to with hold in other scenes. His vocal performance was astonishing, considering he had a lisp, and that the risk of coming off deadpanned and silly was always present. A much finer tuned performance in my opinion.Let's not forget Elsa Lanchester as both the Bride and Mary Shelley. I was in awe of her unique beauty in the film opener, but her jerky and twitchy performance at the end as the Bride, really struck a chord in me. Getting to a point in my age where I'm starting to have nerve pain, really made me twitch along with Elsa's facial twitches and ticks. Her vacant but somehow "aware" glares and glances, also add to the character and portrayal. I really enjoyed the anecdote in the featurette, where Elsa Lanchester reported in an interview about where she got the inspiration for her monstrous HISS at the end. Apparently, there was a pond near her house where the swans would land and raise their young. It was fine to feed them, but once they would try to approach them or the young, the primary swan would let out a "gawdawful hiss". Watching the film with this in mind, I was actually more charmed by Elsa's hiss when it happened.All in all, a great buy and one of the best, if not THE best of the classic Universal horror monster films from the Thirties.

Having seen (and forgotten) this movie decades ago in the good old 1970s when BBC2 showed horror movies double bills on Saturday nights - mostly Hammer Horror and the Universal Monster Movies - it took watching a recent Sir Ian McKellen and Brendan Fraser film called Gods and Monsters on TV to rekindle my interest in the Bride.In Gods and Monsters (the title itself a homage to Bride of Frankenstein), Sir Ian McKellen plays James Whale, the English director of the first Frankenstein movie and in one scene explains to his gardener played by Brendan Fraser that Bride of Frankenstein was meant to be a comedy! As Whale was persuaded to make a follow up to Frankenstein, he was initially reluctant to do so but he did and eventually turned out something arguably superior to the first film, in my opinion; the direction in Bride of....is better than in Frankenstein. The camera angles are less awkward and overall this sequel is more assured on every level.Being a little wiser now than I was forty or so years ago, seeing Elsa Lanchester play Mary Shelley at the start of the film really impressed me. Her turn as the Bride near the end of the movie just seems so inspired, something I would never imagine being done over eighty years ago.For me, the addition of the cheerfully amoral and camp Dr Pretorious elevates this movie into the realms of genius. Seeking out the guilt-ridden and broken Dr Frankenstein for assistance with his own attempts at creating life, Pretorious seeks to utilise Frankenstein's research and experience heedless of the morality or consequences of transgressing against nature. With a little *ahem* persuasion, Baron Frankenstein sets to work creating a mate for his monster alongside Dr Pretorious.Effects-wise, in over eighty years since this film was made, it all looks believable. While the outside scenes are clearly filmed on soundstages, Pretorious' miniature homunculi look totally convincing, for example. The monster looks even better second time around and the Bride herself is a design masterpiece, her hair being influenced by the head pieces ancient the Egyptian queens were depicted with and so on.Standout moments for me are the crypt sequence where Pretorious encounters the monster, unfazed, he casually befriends him, making his newfound friend an offer he cannot refuse at all, the chance meeting between Minnie and the Monster and of course, the ending itself. The dynamics between the Bride, the Monster, Pretorious and Frankenstein are delicately balanced and the ultimate tragic course of events make perfect sense.An amazing sequel, a great script, great casting, great performances - Bride of Frankenstein has become my favourite all-time film. Both horror and comedy, Bride of Frankenstein is way ahead of its time. I would say that films like Reanimator and Carry On Screaming share the post -modern Meta qualities of Bride of Frankenstein but Bride of...is in a league of its own and easily stands up to repeated viewings.A classic!

Watch out for Ernest Thesiger, as camp as a row of tents. From an aristocratic family, he was hugely successful as an actor, artist and embroiderer. Although aged 35 at the outbreak of WW1, he volunteered to serve , preferably in a Scots regiment, wearing a kilt. He settled for the Queen Victoria's Rifles, and was sent to France in November 1914. Before the turn of the year, he was seriously wounded and sent home for convalescence. His groupies set up a dinner party, where one of the women called to him across the table 'Now Ernest, you must tell us about conditions at the front'. He put down his soup spoon, rolled his eyes and said 'Oh my dear, the noise... and the people !'.

A Classic of it's genre, superb acting as always by Karloff, who plays the monster with such subtlety, that you feel sympathy for the monster who is tormented by his obscene looks and lack of understanding of a cruel world. Thrust into life fully grown with the instincts and urges of an adult but with no experience or guile to temper these urges. He sees the world in black and white and when he sees Frankenstein with his fiancée he knows what he must do to end his isolation and despair. He needs a mate,a friend, a lover, a woman created not by God but by man, by Frankenstein, his creator, his God. she will bring him comfort and friendship and maybe love. Despite Frankenstein objections he is cajoled and threatened so that he has no choice but to comply. Again the bodies are "acquired" and the process of creating life using wonderfully crafted laboratory equipment, Bunsen burners and enormous, bubbling glass beakers and Erlenmeyer Flasks, crackling Van der Graaf generators bring flashes of light to a macabre Gothic nightmare. Thunder and lightening rage and as the storm approaches kites are released through an opening in the roof and as planned the kites are struck by lightening and thousands of volts are directed into the yet unseen sheeted body in the centre of this miasma. All is quiet the monster is looking on expectantly as the "spark of life" is seen to cause a stirring under the sheet, she lives. when the female monster, brilliantly played by "Elsa Lanchester" is revealed to "Karloff's monster, he is overjoyed, she is beautiful. When she sees him, she is terrified and repulsed by his mutilated face and body. This is a superb film only surpassed by the original film of Frankenstein's monster once again played by the inimitable "Boris Karloff".

This follow-up to the original Frankenstein (1931) manages to eclipse its predecessor in every department; it's a grander, more large-scale production, with a visibly bigger budget, a far wittier script, and better performances across the board. The magnificent set design and pitch-perfect music also contribute to making this one of the most critically acclaimed horror movies ever produced in Hollywood.Though Boris Karloff was reported to favour his performance in the original movie, in this sequel he refines and deepens the character of the Monster, beautifully portraying the stunted humanity of a creature who wanders through the story just looking for a friend. Colin Clive is even more memorably hysterical than he was in the first movie, whilst the beautiful Valerie Hobson (later the star of Ealing's masterful Kind Hearts and Coronets) totally eclipses Mae Clarke's performance as Elizabeth in the earlier film. Elsa Lanchester does a good job in the dual roles of Mary Shelley and the Monster's bride, Ernest Thesiger's Dr. Pretorious is a scream, and OP Heggie, as the lonely, blind hermit, is touchingly vulnerable; his scene with Karloff is the undisputed highlight of the film for me.Of course, the film does fall down in a couple of areas; I've never really understood the point of the framing device that has Mary `telling the story' to Percy and Byron, as the events of both this film and the earlier one bear so little relationship to the plot of the original book. And Una O' Connor's ghastly performance in the comic relief role of Minnie the maid has certainly not aged well; O' Connor's brand of broad comedy worked well in the opening scenes of Whale's The Invisible Man (1933), but in this movie she's simply a distraction, endlessly re-appearing to mug at the camera every time the film hits a dramatic high. For example, after the Monster has been on a murderous rampage and been captured by the villagers in one of the film's best set-pieces, we have to endure O' Connor's gurning and ranting as she pointlessly instructs the police to `make sure he doesn't get loose again; he's dangerous!' in a screeching voice that could shatter glass; it's a shame that O' Connor doesn't get strangled to death along with Karloff's many other victims.Also included here is a good documentary, `She's Alive', previously featured on Universal's 1999 VHS release of the movie.

Classic sequel horror. The film follows on from the first with an interesting twist. The age of it makes it interesting and somewhat spooky with its black and white photography. More of the monster is seen here and it is clear that Boris Karloff is the best. The plot follows on from the first as a female monster is created as a mate.