All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
Bride of Frankenstein
The monster demands a mate.
Bride of Frankenstein begins where James Whale's Frankenstein from 1931 ended. Dr. Frankenstein has not been killed as previously portrayed and now he wants to get away from the mad experiments. Yet when his wife is kidnapped by his creation, Frankenstein agrees to help him create a new monster, this time a woman.
I've seen this movie countless times over the whole course of my life, and still it continues to astound me. On every viewing, I can peel back another handful of its infinite mysteries; another smattering of truth reveals itself. Bride may be a monster movie and a sly queer allegory and a wellspring of cartoon parody, but it's not just those things. No, it's also a tight bundle of emotions, ideas, and images that plays around in a genre sandbox while mordantly commenting on nearly every aspect of human existence. Birth, death, sex, marriage, loneliness: nothing is absent from this story. Frankly, rewatching it makes me shocked that it ever got made—not only in the 1930s, but ever. Perhaps the…
As I started my Universal monster movie marathon with Frankenstein it is only fitting that I finish it with James Whale’s sequel, The Bride of Frankenstein. Many consider this to be a rare example of a sequel that is better than the film that preceded it but I’m not quite sure I agree. It is still an undoubtedly brilliant movie that is self-referential, clever and beautifully filmed but I do prefer the simplicity of the original Frankenstein, not least because it is the purer horror film.
Although the story kicks-off almost exactly where Frankenstein finished (watching the iconic windmill burn to the ground) it rather fittingly takes on a life of its own. Instead of a Gothic horror story it…
"It's alive! It's alive!!"
"Ah, shut it."
Bride of Frankenstein opens with a conversation between a fictional Mary Shelley, along with her husband Percy Shelley and Lord Byron, on the topic of her great novel Frankenstein. She says there's more to the story than was in her book, and from there the film picks up where 1931's Frankenstein left off. But something's different: in place of the previous film's gothic horror atmosphere, there's a tone which is much lighter.
Rather than making a direct sequel to his smash hit (which broke box office records at the time) and playing it straight, James Whale follows up his success by parodying the very thing that brought him fame and fortune. Bride keeps…
The Bride Of Frankenstein really does have hair like Kramer!
I've seen the original Frankenstein a couple of times, and there's a good chance I've seen the sequel before as well. If I did it would have been when I was a kid and just don't remember it. I used to watch loads of the vintage 1930s horror films when I was a kid, my uncle used to tape them off late night BBC2 for me every Friday night and I used to watch them on a Saturday morning. One night, though, the golf highlights overran and the tape missed off the end of what I think was Dracula's Daughter. I…
Hoop-Tober Challenge (For Beginners) Film #16
A tough monster, this one. He refuses to die!
Karloff topped his own performance in this lovely sequel. With the help of William Hurlbut's superb screenplay, he has successfully showed the gentle and human side of the misunderstood monster -- A monster who grunted nervously as the woman he rescued condemned him; a monster who smiled awkwardly the first time he heard Schubert's ''Ave Maria'' playing in the distance. There are so many touching scenes I can go on and on and on. Ain't this film marvelous! Emotional too. The scene of Karloff smoking alone is enough to give Bride of Frankenstein a classic status.
If you enjoyed Frankenstein, please love yourself and never miss this great sequel!
I enjoyed this so much that it makes me feel silly for never seeing any of the classic Universal Monsters films before now.
It's got wonderfully atmospheric sets and B&W cinematography, entertaining and innovative special effects, and a cast full of excellent performances (especially Ernest Thesinger as the amusingly macabre Doctor Pretorius and of course Boris Karloff as the monster). The comic relief (especially Una O'Connor as a high-strung chambermaid) is occasionally grating, but it's so overwhelmed by the awesomeness that I wouldn't even think of knocking it down half a star.
So beautiful, and it was interesting to finally see it after years of seeing references to it in everything from WEIRD SCIENCE to Tim Burton's entire oeuvre.
Now, onto DRACULA, THE WOLF MAN, THE MUMMY, THE INVISIBLE MAN, THE CREATURE FROM THE BLACK LAGOON, and the original FRANKENSTEIN.
"To a new world, of gods and monsters!"
Good... good... GOOD.
This time, I saw it on the big screen on 35mm, which confirmed once more that if there is one greatest film of all time, this is probably it.
Often touted as better than the original, I'd probably posit that it's about the equal. The pacing, especially in the final act, after the Bride becomes "alive" is a little rushed. But this film is certainly more surreal than the first (WTF is up with those miniature figures in the jars?) and there's still a lot of delicious pathos and social satire throughout...especially in the undeniable highlight of the film, when big Franky invites himself into a blind hermit's secluded house, learns about music and smoking, and makes a friend at last. These ten minutes make the film, really, and are surely Mr. Karloff's most defining, tragic, beautiful moment.
Solid movie. This gets a ton of praise, which I'm okay with, but I think most people really just enjoy the pace compared to a lot of the other Universal Monster movies. Some of them can drag their feet but this one did not. I don't think it's bad but just didn't move me like some of the other classic Universal Monsters.
Though I do admire the original Frankenstein greatly, Bride of Frankenstein is an improvement, in my opinion.
The pacing is better and overall the film is a more emotional piece. The theme of the monster as a lonely outcast is built upon further throughout, especially during the scenes with the blind violinist who, barring the monster, has more depth than any character in either film.
Aside from some misplaced humour (mostly due to Minnie and Lord Byron) and the sad lack of screentime afforded the Bride, played by the nonetheless magnetic Elsa Lanchester, this is yet another wonderful classic film by the great James Whale.
First time seeing this classic I was struck by how similar this 80 year old sequel seemed to be to modern movies like the Terminator 2. This might be the archetype for all other blockbuster sequels, especially in the horror genre.
Impressive throughout. Now I need to re-watch Young Frankenstein with these two films fresh in my mind.
obra-prima. clássico. maravilhoso
Muy fan de Una O'Connor disfrazada de fallera, con esas miradas suyas tan características con los ojos como platos.
Una pena que Elsa Lanchaster tenga tan poco tiempo de metraje... Me habría encantado verla haciendo "travesuras"...
Whilst James Whale did not originally appear interested in returning to horror with a sequel to Frankenstein, as it took almost 4 years of convincing by Universal before he agreed to make the sequel, it is clear that it making this film was a great decision. By returning to the directors chair he was able to create a great continuation of the original film, bringing more iconic Gothic visuals along with a further look in to the humanity of the monster.
Whale starts the film right where his original left it. We're at the burning windmill as the mob brings back Dr. Frankenstein (Colin Clive) who barely survived the encounter to the village, whilst leaving behind what they think is…
Great 60-90 min films (for those days when you just don't have the energy to watch a 3 hour masterpiece)
Doesn't the title of the list explain it well enough? This is a list of 200+ quality "short" films. Easy…