A film crew goes to a tropical island for an exotic location shoot and discovers a colossal ape 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>
While preparing to film the scene where the monster attacks Elizabeth, Mae Clarke admitted to Boris Karloff' that she was worried that when she saw him in full makeup coming towards her, she might really be frightened. Karloff told her that throughout the scene he would wiggle his pinkie finger out of sight of the camera so that she could always see that, despite the horrific makeup, she could always see her friend Boris waving at her and letting her know that she was safe. See more »
As Dr. Frankenstein and Fritz are walking up to where the dead man is hanging, there is a jump cut, and they are farther up the path then they should be. 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?