Every film from Roger Ebert's "Great Movies" essays.
The 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…
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…
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…
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!"
Hoop-Tober Challenge (For Beginners) Film #16
A tough monster, this one. He refuses to die!
''I love dead. Hate living.''
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 had expected to see far more screen time for the Bride herself, but this one delivers completely on Frankenstein's hints at being a film about the pain of loneliness — and the fear that nothing is lonelier than death (except for undeath). Karloff was born for this role, lumbering and staggering through this dire and almost expressionistic landscape in agony and alienation that we can only imagine. The Bride of Frankenstein, even more than the 1931 film, predates the posthuman torment and confusion of films like RoboCop and Under the Skin by decades. This is a real and heartbreaking classic and immortally iconic as an example of genre horror that appeals emotionally, while still being grandly theatrical horror.
The peak of the Universal Horror films. A wonderful mix of horror and comedy. I must say ... I cannot stand Una O'Connor and her shrieking, over the top performance is too much for me. That said, she's not in enough of this film to ruin it for me. I'm also not a fan of the really silly, unnecessary prologue. But Karloff surpasses his performance in the original and creates a complex, moving character. Colin Clive, who was a bit of a weak point in "Frankenstein", is much better here. Ernest Thesiger is simply incredible. A masterpiece.
MY ALL TIME FAVORITE UNIVERSAL MONSTER MOVIE! I adore this picture in every single way. The first Frankenstein picture, whilst having rated it five stars, and continue to rant and rave about it, it doesn't come CLOSE to this. This is such an amazing movie. Its like The Dark Knight. Frankenstein was just the set up. This is the pay off! Its the Empire Strikes Back of the Universal Monsters cycle. This is where the real impact is.
The movie opens to a mansion on a dark stormy night. We see Mary Shelly, Lord Byron, and some other bloke i don't seem to remember the name of, sat talking about how amazing Mary Shelley's Frankenstein novel is before begging her…
Mary Shelley reveals the main characters of her novel survived: Dr. Frankenstein (goaded by an even madder scientist) builds his monster a mate.
I didn't expect much of BoF as I just assumed it was a cash in on the original 4 years before. I'm glad I was wrong, from what I've read James Whale has almost complete control on the project and you can see that, visually it's great and some of the set design is fantastic for the era. When Boris Karloff first speaks I was unsure if I liked that development in his character, but his scene with the blind hermit is wonderful and heartbreaking at the same time. It's not hyperbolic to say that their short…
Whit the exception of one particular character this movie is better than the original.
Read the review here: pointofreviewpr.com/movies/horror/bride-frankenstein-1935/
Friend. Good. Movie. Great.
This movie is fucking amazing. Like, seriously.
The Bride of Frankenstein is an endlessly entertaining, deliriously messy gem from the Universal monster film cycle, the sequel to the 1931 classic that has given us Boris Karloff’s iconic iteration of the titular creature, as well as Colin Clive’s manic shouts of “It’s alive! It’s alive!” as he used an electrical storm to bring his creation to life. Karloff and Clive return for this outing, as does director James Whale, who had no interest in making this sequel in the first place and was only persuaded to helm it if he could make it a campfest rather than a straight horror film as the original has been. Whale, who was openly gay, carries it off splendidly; the minute the…
What do you do when you watch three terrible horror films in a row?
You watch one of the best. This is one of the best.
Silly but gorgeous.
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