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.
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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>
The thick-soled boots the monster wears are known as "hot asphalt boots". They were used by men who had to work with hot asphalt on roads. The soles are specially designed to resist heat. See more »
In the scene where Henry and Elizabeth are sitting by the lake and talking about their upcoming wedding, the long shot that opens the scene shows a dog at Henry's feet, laying on his right side with his head up and looking around. However, in the next shot the dog is asleep and laying on his left side. See more »
The opening credits say "Based upon the composition by John L. Balderston", without elaborating on what "Based upon the composition" really means, especially in this case, where there is already one original writer (Mrs. Percy B. Shelley) credited, along with a playwright, two screenwriters, and one scenario editor. 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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