A film crew goes to a tropical island for an exotic location shoot and discovers a colossal giant gorilla who takes a shine to their female blonde star. He is then captured and brought back to New York City for public exhibition.
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 <firstname.lastname@example.org>
In a 1985 interview, Mae Clarke said, "Colin Clive was the dearest, kindest--in the real meaning of the word "kind"--man, who gave you importance. He was so wonderful, so clever. When he started acting in a scene, I wanted to stop and just watch . . . I'd think, "Here I am, playing scenes with this marvelous actor!". Mr. Whale [director James Whale] would say, "Colin's voice is like a pipe organ . . . I just pull out the stops, and he produces the music." Colin was electric. I was mesmerized by him--so much so that I hoped it didn't show! When he looked at me, I'd flush. He had a wife back in England, and I had my young man (of the "Waterloo Bridge" premiere.) In fact, I was glad my fiancé was at the premiere that night--to be my good anchor against my stormy waves of fancy for Colin. He was the handsomest man I ever saw--and also the saddest. Colin's sadness was elusive; the sadness you see if you contemplate many of the master painters' and sculptors' conceptions of the face of Christ--the ultimate source in my view of all sadness. See more »
Baron Frankenstein says that Henry Frankenstein's lab is in "an old abandoned windmill". In fact, it is in a castle or watchtower. According to the DVD commentary, this line of dialogue was from an early version of the script, and was left in the final version by mistake. 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.
67 of 79 people found this review helpful.
Was this review helpful to you?