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One of the sons of Frankenstein finds his father's monster in a coma and revives him, only to find out he is controlled by Ygor who is bent on revenge.
We watch Baron Frankenstein escaping from the guillotine and going to Germany. There, he names himself Dr. Stein and plans to restart his experiments by using parts of dead bodies.
Director:
Terence Fisher
Stars:
Peter Cushing,
Francis Matthews,
Eunice Gayson
A circus' beautiful trapeze artist agrees to marry the leader of side-show performers, but his deformed friends discover she is only marrying him for his inheritance.
Baron Frankenstein is once again working with illegal medical experiments. Together with a young doctor, Karl and his fiancée Anna, they kidnap the mentally sick Dr. Brandt, to perform the ... See full summary »
Director:
Terence Fisher
Stars:
Peter Cushing,
Veronica Carlson,
Freddie Jones
Henry Frankenstein is a doctor who is trying to discover a way to make the dead walk. He succeeds and creates a monster that has to deal with living again. Written by
Josh Pasnak <chainsaw@intouch.bc.ca>
Ken Strickfaden, who created all the electrical effects for the movie, also doubled for Boris Karloff during the sequences that showed the million volt sparks playing over his body. The same machines were later used in the comedy Young Frankenstein. See more »
Goofs
According to DVD commentary for this film, director James Whale intended this film to take place in an "alternate universe" and therefore freely mixed 19th Century and 1930s technology, hair fashions, etc. See more »
A brilliant young scientist creates life from the dead but lives to regret it when his creation goes on the rampage.
Though inevitably dated and primitive by modern standards, Frankenstein remains a tremendously impressive film and a tribute to its still somewhat under-rated director, the eccentric Englishman James Whale.
Where so many early talkies were static and wordy, Frankenstein skips unnecessary dialogue and exposition and drives through its plot at a speed that seems almost indecent nowadays. Compared to overblown remakes like Kenneth Branagh's 1994 version, Whale's work now seems like a masterpiece of brevity and minimalism. His constantly moving camera, incisive editing and dramatic use of close-ups are a mile ahead of anything far more prestigious directors were doing at the time. Expressionist photography and eccentric set designs lend atmosphere, menace and help augment some rather ripe performances; a foretaste of the paths Whale would tread in the sequel Bride of Frankenstein four years later.
And then of course there's Karloff. With comparatively few scenes and no dialogue he nonetheless manages to create a complex, intimidating, yet sympathetic creature - one of the great mimes in talking cinema and thanks in no small degree to the freedom given to him under Jack Pierce's iconic make-up.
A historic piece of cinema, and one that still stands the test of time as both art and entertainment.
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A brilliant young scientist creates life from the dead but lives to regret it when his creation goes on the rampage.
Though inevitably dated and primitive by modern standards, Frankenstein remains a tremendously impressive film and a tribute to its still somewhat under-rated director, the eccentric Englishman James Whale.
Where so many early talkies were static and wordy, Frankenstein skips unnecessary dialogue and exposition and drives through its plot at a speed that seems almost indecent nowadays. Compared to overblown remakes like Kenneth Branagh's 1994 version, Whale's work now seems like a masterpiece of brevity and minimalism. His constantly moving camera, incisive editing and dramatic use of close-ups are a mile ahead of anything far more prestigious directors were doing at the time. Expressionist photography and eccentric set designs lend atmosphere, menace and help augment some rather ripe performances; a foretaste of the paths Whale would tread in the sequel Bride of Frankenstein four years later.
And then of course there's Karloff. With comparatively few scenes and no dialogue he nonetheless manages to create a complex, intimidating, yet sympathetic creature - one of the great mimes in talking cinema and thanks in no small degree to the freedom given to him under Jack Pierce's iconic make-up.
A historic piece of cinema, and one that still stands the test of time as both art and entertainment.