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>
Technically not conceived as a "horror" movie, since the term "horror" as a film genre was first used in 1934. See more »
When Maria meets the Monster by the lake and talks to him, the close shots of her show some vegetation and the lake in the background. She then takes the Monster by the hand and walks him closer to the edge of the lake. When she next talks to the Monster, the background in the close shot is the same as it was before, as though she has not moved at all. See more »
In the opening credits: The Monster - ? See more »
SPOILERS: The picture was scripted and filmed with Dr. Frankenstein seeming to die in the mill with his creation, but was instead released with a hastily re-shot happy ending, wherein Henry survives to marry Elizabeth (see "Trivia"). However, the sequel, The Bride of Frankenstein literally followed the first scenario, and consequently just before "Bride" opened this film was reissued with the original finale restored; "Frankenstein" was seen this way in all subsequent theatrical releases of the old Hollywood era, but when the entire package of classic Universal horror films was made available to television in the 1950s, the prints of "Frankenstein" carried the happy ending of the initial release, and the incompatibility with the opening scene of "Bride..." confused new viewers. See more »
Though not as spectacular as one would expect of such a classic, this loose interpretation of Mary Shelley's oft-told tale delivers. The familiar story focuses on Dr. Victor Frankenstein, the reclusive, stereotypical mad scientist obsessed with creating new life from stitched-together corpses. But something goes terribly wrong when the brain he uses turns out to be that of a criminal. The film starts out slow but redeems itself with time, particularly the windmill climax scene that by 1931 standards is nothing short of stellar. In one of filmdom's all-time great performances, Boris Karloff plays the monster as a sort of tragic figure unable to comprehend right from wrong, and the audience is left feeling more sympathetic than frightened by him.
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