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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>
According to the TLC network program "Hunt for Amazing Treasures", a unique six-sheet poster for the original 1931 release, showing Karloff as The Monster menacing Mae Clarke, is worth at least $600,000 US and is possibly the most valuable movie poster in the world. The only known (original) copy is owned by a private collector. See more »
Goofs
When Little Maria first sees the Monster, she is holding a kitten that she's been playing with ever since her father left. When the scene cuts to a wider shot of Maria and the Monster, the kitten is nowhere to be seen. See more »
Although I have seen better prints of the film, this DVD issue of Universal Studio's famous FRANKENSTEIN is a magnificent package that is sure to delight any fan of classic horror. The film itself has been restored for content, and the Skal-hosted documentary--which traces the story from Mary Shelly's famous novel through its numerous film incarnations--is a delight, including numerous interviews with various historians, critics, and Karloff's daughter. The bonus audio track by Rudy Behlmer is also quite interesting, as are the various biographies and notes, and although the short film BOO is a spurious mix of footage from NOSFERATU, Dracula, THE CAT AND THE CANARY, and FRANKENSTEIN, it is an enjoyable little throw-away. All in all, it doesn't get much better than this.
As for the film itself, the production of FRANKENSTEIN was prompted by the incredible success of the earlier Dracula--but where Dracula is a rather problematic and significantly dated film, FRANKENSTEIN was and remains one of the most original horror films to ever emerge from Hollywood. Much of the credit for this goes to director James Whale, who by all accounts was deeply influenced by silent German film and his own traumatic experiences during World War I--and who mixed those elements with occasional flourishes of macabre humor to create a remarkably consistent vision of Mary Shelly's original novel.
Whale was extremely, extremely fortunate in his cast. Colin Clive was a difficult actor, but Whale not only managed to get him through the film but to draw from him his finest screen performance; Mae Clarke is a memorable Elizabeth; and Dwight Frye, so memorable in Dracula, tops himself as Fritz. But all eyes here are on Boris Karloff as the monster. Karloff had been kicking around Hollywood for a decade, and although he appeared in quite a few films before FRANKENSTEIN he never really registered with the public. But in this role, acting under heavy make-up, weighed down by lead weights in his shoes and struts around his legs, and without a line of intelligible dialogue he offered a performance that transcended the word "monster." This is a suffering being, dangerous mainly through innocence of his own power and the way of the world, goaded from disaster to disaster to disaster. Even some seventy-plus years later, it is difficult to imagine any other actor in the part.
Karloff would play the monster again in two later films, one of them directed by Whale, but although THE BRIDE OF FRANKENSTEIN is a remarkable film in its own right, this is the original combination of talents and the original vision. Truly a national treasure, to be enjoyed over and over again. Strongly recommended.
Gary F. Taylor, aka GFT, Amazon Reviewer
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Although I have seen better prints of the film, this DVD issue of Universal Studio's famous FRANKENSTEIN is a magnificent package that is sure to delight any fan of classic horror. The film itself has been restored for content, and the Skal-hosted documentary--which traces the story from Mary Shelly's famous novel through its numerous film incarnations--is a delight, including numerous interviews with various historians, critics, and Karloff's daughter. The bonus audio track by Rudy Behlmer is also quite interesting, as are the various biographies and notes, and although the short film BOO is a spurious mix of footage from NOSFERATU, Dracula, THE CAT AND THE CANARY, and FRANKENSTEIN, it is an enjoyable little throw-away. All in all, it doesn't get much better than this.
As for the film itself, the production of FRANKENSTEIN was prompted by the incredible success of the earlier Dracula--but where Dracula is a rather problematic and significantly dated film, FRANKENSTEIN was and remains one of the most original horror films to ever emerge from Hollywood. Much of the credit for this goes to director James Whale, who by all accounts was deeply influenced by silent German film and his own traumatic experiences during World War I--and who mixed those elements with occasional flourishes of macabre humor to create a remarkably consistent vision of Mary Shelly's original novel.
Whale was extremely, extremely fortunate in his cast. Colin Clive was a difficult actor, but Whale not only managed to get him through the film but to draw from him his finest screen performance; Mae Clarke is a memorable Elizabeth; and Dwight Frye, so memorable in Dracula, tops himself as Fritz. But all eyes here are on Boris Karloff as the monster. Karloff had been kicking around Hollywood for a decade, and although he appeared in quite a few films before FRANKENSTEIN he never really registered with the public. But in this role, acting under heavy make-up, weighed down by lead weights in his shoes and struts around his legs, and without a line of intelligible dialogue he offered a performance that transcended the word "monster." This is a suffering being, dangerous mainly through innocence of his own power and the way of the world, goaded from disaster to disaster to disaster. Even some seventy-plus years later, it is difficult to imagine any other actor in the part.
Karloff would play the monster again in two later films, one of them directed by Whale, but although THE BRIDE OF FRANKENSTEIN is a remarkable film in its own right, this is the original combination of talents and the original vision. Truly a national treasure, to be enjoyed over and over again. Strongly recommended.
Gary F. Taylor, aka GFT, Amazon Reviewer