THE BRIDE OF FRANKENSTEIN
1935 • James Whale
Screenplay: William Hurlbut, John L. Balderston; Based on the Premise suggested by Frankenstein 1818 novel
Producer: Carl Laemmle Jr.
Cast: Boris Karloff, Colin Clive, Valerie Hobson, Elsa Lanchester, Ernest Thesiger, E. E. Clive, Oliver Peters Heggie
Cinematography: John J. Mescall
Music: Franz Waxman
Universal Pictures
To a new world of gods and monsters!
This sequel to the 1931 film Frankenstein is considered by many to be one of the best horror films ever made. It stands as a classic in the horror genre and a testament to the ingenuity of early Hollywood filmmaking. This iconic film took the legacy of Mary Shelley's Frankenstein to new heights, introducing memorable characters and delving into themes of creation and humanity.
The movie picks up where the original left off, with the monster surviving the fire that ended the first film. The film follows the monster's journey as he tries to find his place in a world that rejects him. The insane Dr. Pretorious convinces Dr. Frankenstein to build another creature, this time a female mate as a companion to his first, tragic monster. The original Universal Frankenstein film left out many details of the book, including the section in which the Monster demands the mate, which is fully fleshed out as an entire film here. Much different than the source material, however, as there is no Dr. Pretorious in the novel who blackmails Dr. Frankenstein into creating a new monster.
Even before the original film's release, Universal Pictures considered the possibility of continuing the story in a sequel. This foresight led to significant changes in the film's original ending, allowing for Henry Frankenstein's survival and the opportunity to explore new narrative horizons. Director James Whale believed that The Bride of Frankenstein would be unable to surpass the success of its predecessor. Instead of trying to outdo the original, he decided to make it a memorable "hoot." This approach gave the film a unique charm and an enduring appeal.
The mysterious bride is credited in the film as “?” but was in fact portrayed by Elsa Lanchester. But she also played another pivotal role in the film: Mary Shelley. The film begins with a prologue featuring Mary Shelley, where she discusses the moral lesson behind her novel with Percy Bysshe Shelley and Lord Byron. This addition connects the film to its literary source and emphasizes the cautionary tale of playing God. Elsa Lanchester's portrayal of the Bride's hissing was inspired by the hissing of swans. Her dedication to the role even led to her suffering a sore throat during the filming of the hissing sequence, which director Whale shot from multiple angles. Jack Pierce's makeup work for The Bride, with input from director James Whale, resulted in an iconic and unforgettable look. The Bride's distinctive hairstyle, inspired by Nefertiti, remains a symbol of classic horror. The final reveal of the Monster's Mate at the end of the film is worth the journey after a thoroughly enjoyable film.
Colin Clive, who played Henry Frankenstein, was struggling with alcoholism during the filming of The Bride of Frankenstein. However, director Whale believed that Clive's "hysterical quality" was essential for the character, so he retained him in the role. One can argue the morality behind that choice, but it does work quite well as Clive plays Dr. Frankenstein as desperate, on the edge of a breakdown, and mentally exhausted.
Dr. Pretorius is a new character added to the story, one which does not appear in the novel. His inclusion brings a weird and wonderful campiness to the sequel. The film takes a sillier and campier tone when Pretorious appears on screen, as Ernest Thesiger chews scenery until nothing is left. One of the stranger aspects of the film is the inclusion of homunculi, miniature humans created by Dr. Pretorius. These peculiar creatures were brought to life through innovative filming techniques that involved shooting actors in full-size jars against black velvet, creating a visually striking effect. Another odd scene features Pretorius enjoying a light supper in a crypt, speaking to himself in exaggerated tones and gestures. In such a macabre setting, this may jar some viewers.
The movie's standout performance is undoubtedly Boris Karloff as the monster. Karloff delivers a remarkable performance as the creature, adding a layer of humanity to a character that is often portrayed as a mindless monster. In a departure from the novel, the film portrays the Monster's learning of English and kindness from the Blind Man as taking place in a matter of hours. Narratively, this allows the film to move along at a quicker pace, but it does very much deviate from the book where the process takes weeks. Boris Karloff strongly objected to the decision to allow his character to speak. This decision marked a significant departure from the silent, imposing figure of the Monster in the original film. That said, the monster only speaks about 40 unique words, so much of his performance still relies on the magnificent body language and facial acting of Karloff.
Aside from its outstanding performances, Bride of Frankenstein is notable for its impressive special effects. The film's laboratory scenes, elaborate set designs and intricate props, elevate the production value of the film. The film's score, composed by Franz Waxman, also adds to the movie's overall eerie atmosphere. Its stunning visuals, outstanding performances, and haunting score make it a must-see for horror fans and cinephiles alike.
The Bride of Frankenstein continues to captivate audiences with its blend of horror, humor, and social commentary. James Whale was himself a gay man, as was Ernest Thesiger. Colin Clive was also rumored to have been closeted. Many scholars have suggested that the film could be seen as a metaphor for the ostracization of gay men, adding another layer of significance to this cinematic masterpiece. It's important to note that this is not a universally accepted or confirmed reading of the film's subtext. The idea of the film serving as a metaphor for the experiences of closeted gay men seems to be an extrapolation of the knowledge that Whale, Thesigerl, Clive, and potentially others were themselves gay. The Monster is a classic outsider figure. He is misunderstood, feared, and rejected by society, much like LGBTQ+ individuals have historically been marginalized and stigmatized. The dynamic between Dr. Pretorius and Henry Frankenstein has been interpreted by some as having homoerotic undertones. Their close collaboration and the intensity of their relationship have led some viewers to speculate about a deeper subtext. The Monster's desire for a mate in the film might be seen as a representation of the universal human desire for companionship and love, even if that love is considered an “abomination” by societal standards. Some also interpret this as reflecting the yearning for acceptance and understanding that closeted gay individuals might have felt in a society that often condemned their identity. However, it's crucial to remember that these interpretations are not definitive. Whale himself never openly discussed such intentions in relation to the film.
It's also important to recognize that The Bride of Frankenstein is a complex work with multiple layers of interpretation. While it may resonate with some viewers on a metaphorical level, it should not be reduced solely to a representation of any one particular experience. Ultimately, the film's lasting legacy lies in its ability to provoke thought, spark discussion, and continue to captivate audiences with its rich and multi-faceted storytelling, regardless of the specific interpretations applied to it.
The film's enduring legacy paved the way for a series of sequels and adaptations. In classic Universal Pictures fashion, the studio followed up Bride with a series of films including Son of Frankenstein, Ghost of Frankenstein, Frankenstein Meets the Wolf Man, The House of Frankenstein, House of Dracula, and Abbott and Costello Meet Frankenstein. Bride of Frankenstein's closest remake was The Bride (1985), a retelling of the tale with musician Sting playing Dr. Frankenstein and Jennifer Beals as the titular Bride. Another remake was planned for Universal’s doomed Dark Universe series, starring Javier Bardem and Angelina Jolie as Frankenstein's monster and the reluctant bride respectively. The project was canceled when Universal pulled the plug on the Dark Universe.
There is a fictionalized behind-the-scenes retelling of Bride of Frankenstein in the 1998 film, Gods and Monsters, in which Ian McKellan plays director James Whale in the last days of his life, and also delves deep into his experiences as a gay man in Hollywood. This serves as an excellent companion piece to the film and McKellan was nominated for a Best Actor Academy Award for his performance.
We belong dead.
Notable Awards & Accomplishments
• Academy Award Nominee: Sound Recording
• National Film Registry: Class of 1998
• Included in Time Magazine’s “100 Greatest Movies of All Time”
