Tag Archives: Colin Clive

My Thoughts on: The Ghost of Frankenstein (1942)

Continuing the Frankenstein marathon, I promptly moved on to the fourth film in the series, The Ghost of Frankenstein (1942), a decent enough film, though it’s more than obvious that the story is starting to go off the rails just slightly. This is not only the first Frankenstein film without Boris Karloff involved in any way, it also stretches credulity by now following Frankenstein’s second son Ludwig (Sir Cedric Hardwicke), yet another doctor-scientist who has mostly managed to escape the stigma attached to the name of Frankenstein.

Here’s the thing about The Ghost of Frankenstein: surely we must assume that a number of years have passed since Son of Frankenstein because that is the only way I can believe that Sir Cedric Hardwicke is the younger brother of Wolf Frankenstein (Basil Rathbone). If I didn’t know better, I’d think it was the other way around. Forgetting the noticeable age difference between the alleged brothers, there’s also the not-so-minor-detail of Lon Chaney Jr. now playing the Monster. It’s not that he does a bad job, he’s actually quite believable. It’s just….I can tell it’s not the same person, and that bothers me every time I see this film. Also, is it just me or does Lon Chaney spend most of the film with his eyes closed?

Speaking of recasting, the one element of this film I dislike is that Hardwicke is used to play the ghost of his father Henry (originally played in two films by Colin Clive). I sort of get why they did so, but you’re telling me they couldn’t find anyone to serve as a sound alike for Colin Clive? I feel like they missed a big opportunity by not casting in a way that made it appear the ghost of Colin Clive’s Henry Frankenstein was really present and it’s the one detail I would change if I could.

Those issues aside, the film is otherwise a direct sequel to Son of Frankenstein, with Ygor (Bela Lugosi) still leading the Monster around in an attempt to fulfill his longterm goals. This is the film where the explanations for how the Monster survives from one film to the next start to become ridiculous. I can believe that the Monster dropped down into a cavern when the mill burned down in the first film, I can believe he survived the lab blowing up at the end of Bride of Frankenstein. However, you want me to believe that the Monster survived being dropped into boiling hot sulfur that then hardened around him? Nope, that’s one step too far (it gets more ridiculous from here).

Also, how is it that all of the Frankenstein children manage to get their hands on electrical equipment necessary for reviving the Monster? I can sort of understand how Wolf pulled it off by rebuilding the laboratory on the estate, but explain to me how and why Ludwig also has the right tools when it’s implied he’s a brain surgeon? Funny how that works isn’t it.

The Ghost of Frankenstein also starts the recurring subplot of giving the Monster a new brain to “fix” him (a plot point that will return in House of Frankenstein). It’s an interesting thought, though I notice no one ever explains to the Monster that this would essentially erase him from existence (since the brain is what makes everything work). I was suitably impressed by how the combination of Ygor and the Monster came off (the Monster is perfectly dubbed with Ygor’s voice). The explanation for why it doesn’t work is also perfectly simple and, it makes sense.

The Ghost of Frankenstein isn’t a bad film by any stretch of the imagination, but it is definitely below the three films that came before it. A significant stretching of the imagination is required to enjoy this film without asking any questions about how it works (I particularly roll my eyes when the Monster is “recharged” by bolts of lightning). Your mileage will definitely vary on how much you enjoy this film.

Let me know what you think about The Ghost of Frankenstein in the comments below and have a great day!

See also:

My Thoughts on: Frankenstein (1931)

My Thoughts on: Bride of Frankenstein (1935)

My Thoughts on: Son of Frankenstein (1939)

Film Reviews

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Check out the YouTube channel (and consider hitting the subscribe button)

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My Thoughts on: Bride of Frankenstein (1935)

Having watched Frankenstein (1931) already for this year’s Halloween celebrations, it goes without saying that I had to watch the equally famous follow up Bride of Frankenstein (1935) as well. This is the film you’ll always hear about when people mention sequels that are superior to the original film, and boy does Bride of Frankenstein fall into this category. It’s not that Frankenstein is a bad film (it isn’t), it’s just that Bride of Frankenstein improves on the original in so many areas that it makes the original film look primitive in comparison.

While a sequel to Frankenstein, Bride of Frankenstein is still based on plot concepts found in the Frankenstein novel. In fact, the entire concept of a “bride of Frankenstein” comes from the second half of the book when the Monster demands Victor Frankenstein build a mate for him, so that he can live the rest of his life apart from human society (which he has sworn off for rejecting him), but with the company of one of his own kind so he won’t be lonely. That attempt ends badly as Frankenstein rejects the idea, destroying the “bride” just as he’s about to give her life. In the film, of course, this doesn’t happen and we get to see the Bride of Frankenstei (Elsa Lanchester) n take her first steps on screen (though don’t expect too much, the Bride only gets about 3 minutes of screen time).

What makes the plot of Bride of Frankenstein really interesting is that Henry Frankenstein (played one last time by Colin Clive) isn’t the mad scientist villain of the story this time around. That dubious honor goes to Dr. Septimus Pretorius (Ernest Thesiger), one of Frankenstein’s old professors, who has dabbled with the power of life in his own twisted way and now wants to use Frankenstein’s talents to build a female equivalent to the Monster (why is never made quite clear). Frankenstein, for his part, wants nothing to do with it, but Pretorius coerces him into it and the plot proceeds from there.

Unlike Frankenstein, which is pure horror and drama straight through, Bride of Frankenstein has a touch of comedy about it, mostly in the scenes with Minnie (Una O’Connor). I’ve never quite known how to feel about this, as I feel that it doesn’t always fit. Take, for example, the scene at the beginning of the film when Minnie comes face to face with the not-dead-after-all Monster and runs away gibbering down the mountainside. It’s funny, but it’s a complete 180 from what we just saw (the Monster killing Maria’s parents). However, the dry humor of Dr. Pretorius is most welcome, as it helps to highlight just how evil he is, especially when you compare it to Frankenstein’s manic joy (and despair) when he created his own monster in the first film. Frankenstein feels the consequences of his actions, Dr. Pretorius does not. In fact, sometimes I get the feeling the mad doctor views all of this as a colossal joke.

This film does have one of the most beautiful (and heartbreaking) moments in the story of Frankenstein’s monster, and that’s when the Monster comes across the blind hermit. Every time I see this sequence I think “if only there had been a way to leave these two in peace together.” It’s not only touching to see the two become friends, with the Monster learning to more or less talk in simple sentences, it’s also further proof that, given the opportunity, the Monster would prefer to live in peace and not engage in wanton destruction. In other words, he has the capacity for good somewhere inside him, but almost no one can see it because they’re distracted by his appearance. Of course it wouldn’t be much of a horror film if it ended that way, so the Monster is conveniently forced away from the hermit so the story can continue.

I find it interesting that Boris Karloff didn’t want the Monster to speak. It seems the actor felt the performance of the Monster was far more effective when it was all pantomime (like in the first film). I enjoyed that performance, but I don’t agree with Karloff’s thoughts on the matter. It seems to me the logical next step in the Monster’s development would be for him to develop speech. After all, the book version of the Monster could speak quite well, why not the film version also? Besides, without the Monster learning to talk, we wouldn’t have gotten one of the best lines in horror film history:

The Monster (to Frankenstein & Elizabeth): Yes! Go! You live!

(To Pretorius & The Bride): You stay. We belong dead.

More on the ending in a little bit…..

Considering she’s on screen for less than five minutes, I find the Bride of Frankenstein to be utterly fascinating. Given that she’s Frankenstein’s second creation, it makes sense that she’d be far more glamorous and beautiful than the first Monster. After all, the second time you do something is usually easier and you can fix any mistakes you might’ve made the first time. Hence the reason the Bride has perfect proportions, and except for some scars around her chin and neck looks completely human. I love that after her reveal, the camera cuts around to different angles highlighting how beautiful the Bride is.

I’ve also long thought that the Bride’s reaction to the Monster isn’t what you think. Remember in the first film how the Monster reacted badly to the fire and he ended up chained up because of it? Well, I think the Bride is only reacting to Frankenstein in fear because she was a) just created a matter of moments ago and b) doesn’t know how to talk or express her feelings yet. If there had been more time, maybe the Bride could have been made to understand but the problem is that Pretorius clearly promised the Monster that the Bride would love him. Once the Monster feels he’s been rejected, that brings out the end of the story.

Now back to the ending that I referenced before. I love how, in just a few sentences, the Monster is able to sum up how Frankenstein deserves to live while the rest (including himself) deserve to die. Frankenstein deserves life because he has Elizabeth who needs him and, I’m pretty sure the Monster has observed that Frankenstein was only involved in the Bride’s creation because Pretorius forced him too. For that alone, the Monster is willing to let his creator go. Pretorius, on the other hand, has no excuse. He dragged the Monster into this, and the Monster has already admitted before now that he “hates living.”

I also need to stop and mention Franz Waxman’s gorgeous score for Bride of Frankenstein, the biggest difference between this film and the original Frankenstein. If you’ll remember, the 1931 film, apart from some opening and closing music, has no score at all. The music in Bride of Frankenstein is practically wall to wall and I love every minute of it. Each of the major characters has their own leitmotif, and it just helps to propel Bride of Frankenstein to even greater heights. Honestly, the music is so good it deserves a blog post of its own, so I’ll pause on the discussion of the music for now.

One interesting final detail I want to mention: if you watch the ending when the laboratory explodes very closely, you’ll notice that Frankenstein is still in there (he’s pressed against the wall on the left hand side of the room). This is because originally Frankenstein was supposed to die with the rest of them. But Universal insisted on a “happy ending” so the scene was hastily rewritten for Frankenstein to escape with Elizabeth just before the building exploded. But there was no money in the budget to reshoot the destruction scene, so the error remains.

Bride of Frankenstein is, in my opinion, the best Frankenstein film ever made, and one of the enduring highlights of Universal’s Classic Monsters era. 85 years later, they haven’t come close to topping this film (and I hope they never do).

Let me know what you think about Bride of Frankenstein in the comments below and have a great day!

See also:

My Thoughts on: Frankenstein (1931)

My Thoughts on: Son of Frankenstein (1939)

My Thoughts on: The Ghost of Frankenstein (1942)

Film Reviews

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

Don’t forget to like Film Music Central on Facebook

My Thoughts on: Frankenstein (1931)

When I decided that I was going to embrace the Halloween spirit and watch “Halloween-ish” movies during the month of October, I knew that Frankenstein (1931) had to be somewhere on that list. This film, to me, is essential viewing for the Halloween season, as I consider it to be the most iconic film ever made about Frankenstein and his Monster (here portrayed brilliantly by Boris Karloff).

As you might expect, Frankenstein sets out to tell the story of Henry Frankenstein (renamed from Victor for some reason and also played brilliantly by Colin Clive), and his quest to imbue a body of his own creation (Boris Karloff) with life. While the experiment works, things quickly go sideways and soon the Monster is terrorizing the countryside (though whether or not he’s aware that he’s doing so is something I’ll address later). At the same time, Frankenstein is also hoping to get married to his long-suffering sweetheart Elizabeth (Mae Clarke) to ease the mind of his equally long-suffering father (Frederick Kerr).

Truthfully, having read the original Frankenstein novel, I can tell you that this film only bears a superficial resemblance to Mary Shelley’s story about “the modern Prometheus.” Most of the book’s plot, in fact, is excised to allow the film to center around the Monster being given life and the chaos that follows. Possibly the biggest difference between book and film is that the loquacious Monster in the book is almost completely silent in the film, his speech being limited to grunts and cries of pain and anger. It’s somewhat disappointing, as Karloff had a beautiful voice and I believe would’ve done justice to the Monster’s lines in the book. However, I understand what director James Whale was going for in this film, and also support the notion of a Monster that cannot talk, at least at the beginning (this changes in the sequel film The Bride of Frankenstein).

However, despite all these differences from the source novel, Frankenstein is a wonderful film and remains an iconic take on the story of Frankenstein and his Monster. While bearing a different name, Colin Clive’s Henry Frankenstein remains for me the iconic take on the titular character. He’s filled with a nervous energy that becomes especially palpable during the scene of the Monster’s creation. I’ve yet to see anyone else play the role of Frankenstein and top this performance.

I think my favorite scene in the film is the Monster’s creation scene. This is what I always imagined the creation scene looked like in the Frankenstein story (and I was so disappointed to discover the book does NOT tell you how Frankenstein brought the Monster to life) and it’s spine-tingling to hear Frankenstein howling with joy “It’s alive….IT’S ALIVE!!!” Surrounded by the crackling electricity, it’s an exciting moment that’s just pure in its intentions.

The biggest element the film gets right is the doubt it sows throughout about the Monster’s intentions. While the Monster of the book is undoubtedly a cunning creature inclined to villainy once it experiences rejection on multiple levels, the Monster of this film is another matter entirely. While the story almost immediately sets up the idea that the Monster will be and MUST be evil because an abnormal brain was used in its creation, the Monster’s action throughout the film suggest something else. Think about it…what evil did the Monster do and in what context? Yes, he did kill Frankenstein’s assistant Fritz but only after the latter tormented him with fire (the thing he hates above all else) even after being told to stop. True, he also killed Dr. Waldman but to be fair the latter was about to euthanize him and the Monster, being a living being, naturally wanted to continue living. Waldman somewhat brought his fate on itself by not being open at any time to the idea that the Monster was anything but evil. And after that, the scene with little Maria, anyone can see that her death was a tragic accident. The Monster was clearly enjoying playing with the little girl, and only threw her into the pond because he’d run out of things to throw and thought she would float like the pretty flower boats. This version of the Monster, I believe, is not inherently evil at all, but is only acting the best way he knows how, and it’s only through a series of errors that the entire village is stirred up against him.

Speaking of getting stirred up, I find it so interesting that no one in the village ever finds out that the monster Frankenstein is helping to hunt down was created by Frankenstein himself. You’ll notice Frankenstein never publicly volunteers the information that he created this monster that he’s working to destroy. Sure, he feels guilty about what he’s done, but not enough to publicly confess. I’m not sure if that’s hypocritical or selfish on Frankenstein’s part (or maybe both), but it is interesting.

And I think the biggest clue of all that the Monster in this film is not evil is how he reacts when the mill is set on fire. Fearing fire above all else, the Monster is clearly afraid, in pain, and just wanting to be left alone. It’s heartrending to watch, and it makes me wonder how the story could’ve been so different if Frankenstein had taken more care with his creation instead of immediately chaining him up the instant he wasn’t 100% obedient to him.

One more interesting detail I wanted to point out is that there’s really no music in this film except for the opening and closing titles of the film. In some scenes (like the Monster’s creation), this could probably be argued as a creative decision. However, I also know that in 1931 many films didn’t have proper musical soundtracks as we understand them today. This is largely because, while the technology of making a “talking film” had largely been figured out, the technology of making a “talking film with music in the background” had not. Hence, except for the village celebration scenes (and the opening/closing titles), there is no background music in Frankenstein. You’ll note, however, that this issue was corrected by the time of The Bride of Frankenstein in 1935.

I know it’s an older film, but I highly recommend adding Frankenstein (1931) to your Halloween viewing list. It’s classic horror in every sense of the word and really you should watch it for Boris Karloff’s performance alone.

Let me know what you think about Frankenstein (1931) in the comments below and have a great day!

See also:

My Thoughts on: Bride of Frankenstein (1935)

My Thoughts on: Son of Frankenstein (1939)

My Thoughts on: The Ghost of Frankenstein (1942)

Film Reviews

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

Don’t forget to like Film Music Central on Facebook