This is what happens when your car breaks down on a Sunday morning and you have nothing else to do…
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…
"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…
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…
Even thought I've seen The Bride of Frankenstein many times before, I took an unusual amount of pleasure in re-viewing it this time around. It had been a few years, I think.
If you grew up in the era without videotapes or DVDs, as I did, then you relied on TV for your horror entertainment. I was fortunate to have a public station which offered all the old Universal classics (among others) commercial-free on Saturday nights and in serial form (about 20 minutes per night) early evening on school nights; a network station that ran the Hammer, American International, and Amicus horrors late night; and yet another channel that showed the Abbott and Costello monster movies and the Godzilla flicks…
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!
Minnie may be the most annoying character in the history of movies.
Much better than the first film. It's amazing how much James Whale manages to fit into 75 minutes, which is perhaps why there isn't much room for the eponymous bride. Boris Karloff is a treasure. Oh, how I wept for the lonely blind violinist!
What an absolute rollercoaster.
I guess if we wanna see movies where the sequel out-does the original, we should look to the 1930s. Obviously the original sets the whole thing up, but there is so much going on in this one and I felt way more engaged in this than I did in the first movie.
The scene with the old man & the monster in the little hut is the most tragic and equally the most beautiful thing I think I've ever seen. Truly touching.
As I've said before, old movies haven't ever been my thing because I always felt so detached and as if I couldn't relate to something that felt like a whole other world, but after this, I'll definitely be widening my horizons.
For a movie called The Bride of Frankenstein, there was very little Bride of Frankenstein.
Amidst a summer flooded with particularly unnecessary sequels, it takes just an hour and fifteen minutes from 1935 to remind us how to do it right.
The comedic elements of this movie really irritated me. They just didn't fit.
Otherwise, I enjoyed the atmosphere and Dr. Pretorius is an enjoyable villain.
Actually liked this better than the original Frankenstein.
i've watched this movie every single halloween for the past four years and does it ever get old? no
A batshit, messy, and oddly transgressive film from a strange moment in industrial history. Gone are the ethereal, French-impressionist-inspired horrors of Universal's early thirties masterpieces. And while this just reeks of the peak of high-Hollywood Fordist production, moments of majesty bleed through. The miniature people! Self-deprecating humor! An understanding of the laziness that franchising brings about, and a willingness to laugh about it. Next time someone tries to tell you that it's only now that Hollywood has started to rehash half-written lazy assembly-line pieces show them this. Except it's kind of amazing, even in its foolishness.
A list that, if nothing else, proves the day-to-day usefulness of applied statistics.
Between 2015 and 2016, a series of…
today during class something happened. My friend got there late and so missed the beginning of it so, once she…