Bride of Frankenstein (1935)

The monster's name isn't Frankenstein. We know that, right? Just like Nick Charles isn't the thin man, the monster is known simply as the monster. Where did that misconception come from? Maybe from Bride of Frankenstein.

Now, the Barron DID have a wife but this movie isn't about her. It's about Henry trying to get on with his life when he is visited by another (non-dead) ex-professor. The mysterious Doctor Pretorius (Ernest Thesiger) arrives but the Barron (Colin Clive again) gets all passive-aggressive and sends him away. Apparently Pretorius is also on the quest to learn the secret of life and thinks it would be nifty if they could compare notes.

When Pretorius bumps into the monster (not dead as previously thought) while hanging around a crypt, he offers to make him a lady friend. Monster likes that idea. So, the monster kidnaps the bride of Frankenstein ... that is to say, the Barron's wife, and they coerce Henry into helping.

A couple things to note: Bride of Frankenstein is a comedy. All classic horror have moments of campyness and levity but Bride goes beyond that. Una O'Connor (my favorite ugly chick) looking up to see the monster standing behind her had distinct shades of Abbot and Costello. And the scene with the blind hermit was played at least partially for laughs.

Also, Dwight Frye, everyone's favorite Igor (never actually played a character with that name) returns. His character Fritz died in Frankenstein so this time his name is Karl. He also played Dracula's Renfield. Seems like his characters don't hang along all that much. In real life he died at my age. They got a new Elizabeth. Apparently Mae Clarke was having some serious mental difficulty at the time. Colin was rewarded with the younger Valerie Hobson. Her next project was as the wife of the title character in Warewolf of London.

Elements of Bride were actually taken from the Shelley novel. There was some talk about making the monster a lady friend but never acted upon. Also, the monster spoke in the book. In fact, he was a total bore. Karloff's monster spoke in short, choppy sentences. Fire bad!

Towards the end of the movie the Bride is unveiled, as a bug-eyed but still somewhat hot Elsa Lanchester with Marge Simpsonesque hair. Further confusing the name of the monster, Pretorius declares her the Bride of Frankenstein! Elsa also played Mary Shelley in an awful prologue where she introduces the story. Funny that an Elizabethan writer would introduce a story that includes telephones and electric lights.

Bride is one of few sequels that is regarded higher than the original (IMdb rates them both an 8), and certainly it's a classic work. But for my money, I like the original better. More serious treatment with some ambiguity about the monster's nature. AMRU 4.

"To a new world of Gods and Monsters!"

Frankenstein (1931)

Once again, good Doctor Frankenstein (Colin Clive) turns his back on polite society and his hot fiancee in pursuit of the secret of life. Fiancee, buddy, and old college professor arrive with great concern. Doc shows them what he's been working on. It's alive, it's alive, yea, yea. Then he finds out that the brain was donated by an ... Abby something ... and realizes the folly of his ways. He leaves the task of offing his ugly creation to his old college professor to get married.

But it's the prof that's off'd and the monster escapes, tosses a little girl into the drink, and finds his maker. The villagers (as they are want to do) take up torches and pitch forks, chase the monster into a windmill, then burn it to the ground. And everyone lives happily ever after. Except the people who die.

A classic work of horror, there is very little to pick nits about. Maybe that the good doctor was actually taller than his monster. Or that he traded first names with his college chum. But the differences between this and the Elizabethan novel only start there. For fans who think this may be the movie that least resembles it's literary progenitor, go watch Forrest Gump then read the Winston Groom novel. There, as here, the movie is better.

Colin Clive was excellent as the obsessed doctor. He appeared in one sequel then promptly died. I always thought Boris Karloff was chosen for the role because he was a big, brutal man. In real life, however, he was rather slight of build and refined in nature. The high boots, shoulder pads, and tall head made him look menacing, but still, he wasn't much larger than many of the villagers. Also, he was forty four when he filmed his star making role. Talk about being a late bloomer.

Excellent film making. Great atmosphere and performances all around. It's quite daunting to act when you are covered in makeup and can't talk, but Boris was something special. He was a frightful monster but one that you could pity. ANRU 4.5.

"Dangerous? Poor old Waldman. Have you never wanted to do anything that was dangerous? Where should we be if no one tried to find out what lies beyond? Have your never wanted to look beyond the clouds and the stars, or to know what causes the trees to bud? And what changes the darkness into light? But if you talk like that, people call you crazy. Well, if I could discover just one of these things, what eternity is, for example, I wouldn't care if they did think I was crazy."

The Old Dark House (1932)

A bickering young couple and their wise-cracking friend are traveling down a remote road during a very bad storm. Their car gets stuck, so they decide to seek shelter in an Old Dark House. Stop me if you've heard this one.

Made two years before The Ghost Walks, this very well may be the progenitor of all haunted house movies, at least in the talkie era. It's interesting to note, however, that it's not a haunted house movie.

Over the years I've developed a few working definitions. The word Horror implies how you are made to feel, but I believe a horror movie needs another element: a monster. That monster can be a giant gorilla, a zombie, a witch doctor, alien, demon, robot, mad man, or even a virus. Some embodiment of evil. For a Haunted House movie, the house itself must be more than a setting. It must also be a character and a monster. At the risk of spoiling a better than fair movie, the this house is the setting. Nothing more.

So, our bickering couple is Philip (Raymond Massey) and Margaret (Gloria Stuart) Waverton. Gloria you may remember as the really old lady from Titanic (the Hunky Leo version). She passed away last September, two months after her 100th birthday. Wise-cracking friend Roger is played by Melvyn Douglas. They are less than graciously greeted by mute man-servant Morgan (Boris Karloff). Brother and sister Femm allow them to stay, but make it clear that they are not to make themselves comfortable.

Soon a second couple arrive with the same problem. Sir William Porterhouse (Charles Laughton) and his girl Gladys.

After some gin and potatoes, we eventually learn that Morgan is a bit of a monster, the family has some major secrets, and that Gladys is hanging around tubby Porterhouse for his money. She's just waiting for a hansom wise-cracking man to come along.

There is a statement at the beginning assuring people that this is indeed the same Karloff from the Frankenstein movie. Boris was asked to be in William Castle's remake, but declined because he didn't like the script. Seems like that was a good call.

Between 1931 and 1935, James Whale directed this, the two good Frankenstein movies, and The Invisible Man. As horror became passe, he continued producing good work throughout the 30's. Then it all ended. Maybe because he failed to keep the closet door completely shut, studios turned their back on him. He resorted to a life of fabulous pool parties and took his life at 67. It was 16 years since his last feature film.

Decent acting, clever dialog, creepy setting, and well made. Still, it's a comedy first and horror second. It was highly touted and I'm glad I watched it, but like The Haunting, it didn't quite live up to expectations. AMRU 3.

[feels the fabric of Margaret's gown] "fine stuff, but it'll rot."

[touches Margaret's skin] "finer stuff still, but it'll rot too!"

The Invisible Man (1933)

"... Claude Rains was The Invisible Man ..."

Yes. Yes he was. Third movie referenced in the song Science Fiction/Double Feature. Nine down, two to go.

Before I begin, I want to acknowledge the passing of film great Elizabeth Taylor. I understand she was quite pretty in her early years and a top notch actress, but I remember her as the overweight caricature of her former self. Then the thought struck me that I had not ever seen one of her movies, ever. Further research revealed that I did see The Taming of the Shrew back in high school and, sadly, The Flintstones. I decided to add Cleopatra to my Netflix queue because I'm quite fond of catastrophes, but after learning that it's about 16 hours long I don't know if I'll ever get to it.

Back to The Invisible Man, shall we? Here's the story. Noted scientist discovers the secret to invisibility but then realizes he forgot to search for the secret of VISIBILITY. So, he goes out into the snow with his science gear and tries to come up with the solution. The hottie and colleagues he left behind grow concerned. It seems the secret ingredient to make one self invisible ALSO makes them insane. Crazy and invisible, what a combination.

The rest of the movie is a cat and mouse game where doc's friends are trying to find him and doc lives out his secret ambition. Not to sneak into girls locker rooms, but to just screw with people. It seems the one thing he's always hated was people.

Who should turn up but Una O'Connor, the ugly housemaid. Shrill and completely over the top, she's a total delight. In a Hollywood where a character named Ugly Betty is played by a hot chick, it's nice to know that once upon a time us regular (and sub-regular) looking folk could get screen work.

Very good movie. The special effects were way ahead of their time. Director James Whale isn't well remembered now-a-days but he directed many of the early great horror films: Frankenstein and Bride of, plus The Old Dark House, which I understand is excellent. The studio grew tired of him turning out great work so they forced him to do crap.

One could spend a lifetime watching the infinite sequels and adaptations, but I will for now leave it right here. AMRU 4.

"The drugs I took seemed to light up my brain. Suddenly I realized what power I held, the power to rule, to make the world grovel at my feet."