Wolf von Frankenstein returns to the Baronial manor from the United States with his wife Elsa and son Peter. He not made welcome by the locals who are still terrified of his father's works and the monster he created. The local Burgomaster gives him a sealed briefcase left by his father and inside, Wolf finds his father's scientific notes. At the manor house he meets his father's assistant Igor who has a surprise for him: the monster his father created is still alive, though in some sort of coma. Wolf's initial attempts to re-animate the creature seem to fail but when Peter says he saw a giant in the woods, it appears he's met success. When people are mysteriously killed in the village there is little doubt that the monster is responsible.Written by
Upset about the critical acclaim that Bela Lugosi received for his portrayal as Ygor, Boris Karloff refused to ever play the monster again, or to appear in another film opposite Lugosi, unless he was the star with the most screen time. This explains why Karloff appropriated the doctor role that was written specifically for Lugosi in their next major film, Black Friday (1940), leaving the Astro-Hungarian to play a minor, American gangster part, and forcing script changes to remove references to the doctor's past in Vienna, since Karloff spoke with a British accent. It also explains their final pairing, with Karloff securing maximum screen time in The Body Snatcher (1945), while having Lugosi relinquished to a "barely there" janitor role. See more »
When Inspector Krogh fires his last shot at the monster, there is no corresponding gunshot on the sound track. See more »
[a child picks up a rock to throw at Ygor's window]
Ain't you afraid?
Of old Ygor? No!
[Ygor stares from the window]
See more »
Usually the third film in a series shows signs of decline either in quality or inventiveness. Even the third 'Godfather' was significantly less than its predecessors. Universal's 'Frankenstein' series that began in the early 1930's was no exception and showed some wear by the end of the decade when 'Son of Frankenstein' was released. Under the sensitive direction of James Whale, the original 'Frankenstein' was a classic, and, in the first sequel, 'Bride of Frankenstein,' Whale even managed to better it. However, while Whale was not involved with 'Son,' the third installment turned out to be a surprisingly good movie even if it failed to match the two preceding films. Perhaps the major reason for the success of 'Son' was the casting of Basil Rathbone as Wolf Frankenstein, the original Baron's son. Rathbone is a fine strong actor, and his characterization certainly exceeds Colin Clive's somewhat colorless portrayal of his father in the preceding films. Rathbone holds the viewer's attention throughout as he becomes immersed in the legacy of his father and fails to comprehend the consequences of what he is doing. Boris Karloff returns for a third time as the monster. Although he does a fine job, there is less opportunity for the actor to show the range of emotion in this film that he displayed in 'Bride.' Another aspect of 'Son' that raises it above the ordinary is the set and lighting design, which owes a debt to German expressionism. The sets have bold diagonals in their construction, and the cameraman has lit them to cast equally bold shadows against bare walls and create abstract patterns that often recall 'The Cabinet of Dr. Caligari.' The lighting and design of one particular section of a cave under the Frankenstein laboratory could have been blown up and framed as an expressionist photograph. Although it does not reach the heights of the Whale films, 'Son of Frankenstein' is a worthy successor and an engrossing film in its own right.
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