Bride of Frankenstein (1935)

Director:

James Whale

Writers:

William Hurlbut (screenplay)
William Hurlbut (adaptation) ...

Release Date:

22 April 1935 (USA)

Genre:

Horror | Sci-Fi | Thriller

Tagline:

WHO will be The Bride of Frakenstein WHO will dare ?

Plot:

Mary Shelley reveals the main characters of her novel survived: Dr. Frankenstein (goaded by an even madder scientist) builds his monster a mate.

Plot Keywords:

Monster | Mad Scientist | Experiment | Miniature People | Crypt

Awards:

Nominated for Oscar. Another 1 win

Cast

Boris Karloff	...	The Monster (as Karloff)
Colin Clive	...	Baron Henry von Frankenstein
Valerie Hobson	...	Elizabeth von Frankenstein
Ernest Thesiger	...	Dr. Pretorius
Elsa Lanchester	...	Mary Wollstonecraft Shelley / The Monster's Bride (as ?)
Gavin Gordon	...	Lord Byron
Douglas Walton	...	Percy Shelley
Una O'Connor	...	Minnie - Housekeeper
E.E. Clive	...	Burgomaster
Lucien Prival	...	Albert - Butler
O.P. Heggie	...	Hermit
Dwight Frye	...	Karl
Reginald Barlow	...	Hans
Mary Gordon	...	Hans' Wife
Anne Darling	...	Shepherdess (as Ann Darling)

Also Known As:

Frankenstein Lives Again! (USA) (working title)
The Bride of Frankenstein (USA) (poster title)
The Return of Frankenstein (USA) (working title)
A Noiva de Frankenstein (Portugal) [pt]
Frankenstayn'in nisanlisi (Turkey: Turkish title) [tr]
Frankensteinin morsian (Finland) [fi]
Frankensteins Braut (Germany) [de]
Frankensteins Rückkehr (Austria) [de]
Frankensteins brud (Sweden) [sv]
I mnisti tou Frankenstein (Greece) [el]
I nyfi tou Frankenstein (Greece) (DVD title) [el]
La fiancée de Frankenstein (France) [fr]
La moglie di Frankenstein (Italy) [it]
La novia de Frankenstein (Spain) [es]
Narzeczona Frankensteina (Poland) [pl]

Runtime:

75 min

Country:

USA

Language:

English

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono (Western Electric Sound System)

Certification:

Iceland:L | UK:A (original rating) | UK:H (re-rating: 1943) | UK:PG (video rating: 1989) | UK:X (re-rating: 1956) | Spain:13 | South Korea:12 | Norway:16 (1986) | Australia:PG | Canada:G (Quebec) | Finland:K-16 (1976) | Germany:12 (video rating: 2000) | USA:Approved (PCA #768)

Filming Locations:

Universal Studios - 100 Universal City Plaza, Universal City, California, USA

Company:

Universal Pictures

Trivia:

2007: The movie's line "We belong dead" was voted as the #63 of "The 100 Greatest Movie Lines" by Premiere magazine.

Goofs:

Continuity: When Henry and Dr. Pretorius exit the carriage, Henry is carrying a walking stick. A moment later, as they climb the outside stairs, the walking stick is gone.

Quotes:

[first lines]
Lord Byron: Prologue
[looking out the window at a thunderstorm]
Lord Byron: How beautifully dramatic! The cruelest savage exhibition of nature at her worst without.
[turns to face Mary and Percy Shelley, both seated]
Lord Byron: And we three. We elegant three within. I should like to think that an irate Jehovah was pointing those arrows of lightning directly at my head. The unbowed head of George Gordon, Lord Byron. England's greatest sinner. But I cannot flatter myself to that extent. Possibly those thunders are for our dear Shelley. Heavens applause for England's greatest poet.
[...]

Movie Connections:

Spoofed in "Saturday Night Live: Madeline Kahn/Carly Simon (#1.19)" (1976)

Campenstein!

Series note: Although not imperative, it is strongly suggested that viewers take time to watch Frankenstein prior to Bride of Frankenstein. This is a linear continuation of the story of the first film, and the characters and motivations will have more meaning if you watch the series in order.

Despite appearances to the contrary at the end of the first film, Frankenstein (1931), the monster has survived. The quickly recuperating Dr. Henry Frankenstein (Colin Clive) is paid a visit by Dr. Pretorius (Ernest Thesiger), who has been engaging in similar research into the creation and restoration of life. Although Frankenstein wants to quit the business after the atrocities documented in the first film, Pretorius tries to persuade him to continue, while at the same time, the monster starts to become more sophisticated.

Although many fans prefer Bride of Frankenstein to Frankenstein, they are both 10s to me. Given tastes and typical comments about modern horror films, it is surprising that this film is the usual preference, as it is even more rooted in surrealist/absurdist fantasy and it is loaded with a wicked, campy humor--at times the film is more of a spoof of the first than a sequel.

But at that, I love it. I love fantasy, surrealism and absurdism and I like my horror to be campy and humorous as much as I like it to be serious. Director James Whale had acquired more "Hollywood clout" in the four years since making the original film, and said that he wanted to treat Bride as a "hoot"--he found the premise to be "highly amusing". And that it is. Whale gives us whimsical elements from minor characters, such as Minnie (Una O'Connor), who provides a healthy dose of comic relief during the monster's "resurrection", to major characters' mannerisms, such as the Karloff's portrayal of the monster's newfound abilities and subtlety. Pretorius has a flamboyantly questionable sexuality (the film is permeated with all manner of complex sexual metaphors) and his creations are as bizarrely goofy as say, Jar Jar Binks (from Star Wars Episode 1 (1999)), although they do not dominate the film in the same way.

Often noted as a standout element are the sets, and rightly so. Like the first film, the gorgeous sets show a heavy influence from German expressionist films, but here they are even more grand in scale and they are also more numerous and varied. The cinematography is as crisp as can be, and just as atmospheric (occasionally more so) as the first film. The presence of a score this time around works well, although the first film is just as notable for its ability to be just as dramatic without a score.

The story in Bride of Frankenstein is much more sprawling and epic than in the first film. That fact neither makes it better or worse, but pleasantly different compared to Frankenstein's relatively tight, almost claustrophobic plot (which is appropriate for the subject matter). While Karloff's zombie-like muteness from Frankenstein was perfect in that context, it makes sense to have him mature here, and provides for some fantastic scenes, such as his interaction with the blind hermit (O.P. Heggie). Whale also chose to be much more literal and straightforward with the ethical and religious subtexts of the plot, and this film is notable for the large amount of verbal and visual references to God and Christianity--the visual references include the monster being hoisted on a "pole" as if being crucified, the monster descending into a grave with a crucifix looming over him, and a crucifix over a bed upon which the camera lingers.

I actually prefer to think of Frankenstein and Bride of Frankenstein as two halves or a single film, and given their short running times, they can be viewed back to back in about two and a half hours. If you haven't seen either one yet, you owe it to yourself to watch them at least once.