1935 Directed by James Whale
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.
Boris Karloff Colin Clive Valerie Hobson Ernest Thesiger Elsa Lanchester Gavin Gordon Douglas Walton Una O'Connor E. E. Clive Lucien Prival O.P. Heggie Dwight Frye Reginald Barlow Mary Gordon Anne Darling Walter Brennan John Carradine Ted Billings Norman Ainsley Kansas DeForrest Josephine McKim Michael Mark Billy Barty Robert Adair Frank Benson Maurice Black Mae Bruce A.S. Byron D'Arcy Corrigan Show All…
A Noiva de Frankenstein, Frankenstein Lives Again!, Frankensteins Rückkehr, The Return of Frankenstein, La fiancée de Frankenstein, Bride of Frankenstein
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…
Thrumming with an eerie, vibrant electricity, life itself is perverse, unnecessary, excessive, born from needs themselves born from depths unfathomed, from want, from desire, without division or judgement rendered. To be full of these needs inexpressible, damned to endure them alone, is to live wracked with horrors unspoken, in self-hurt or a prideful withdrawal from the ways of the living, viewing them as if from afar, going about their days and their nights, their sleep and their wakefulness, never knowing how it could be thus, out of determined order, yet existing just the same, betwixt life under the reign of the sun and the coolness and permanency of the grave, belonging to neither, longing for both. To eat, to drink,…
Count your blessings the child I once was isn't reviewing James Whale's film for it would have had a whole different outcome! Back then when I hadn't a clue as to what made a film great I was distraught over the fact they had blasphemously turned this behemoth of a monster into an all too relatable and loveable character! A giant with a big heart if you will! One that could squeeze a tear from even the most jaded cinephile! I'd have been whining at the screen "that's NOT a monster movie" instead of the more appropriate vernacular "WTF" that I would have used today!
I would have pointed out the big deal that they had made over Frankenstein receiving…
Just as effective now as it was in 1935—think about that... it’s almost a hundred years old and cobbled together so damn well—laced with dark humor, perfect sets, wonderful actors, and fog shrouded atmos by the plenty.
A genre monument.
God I love these movies.
"Bride of Frankenstein" is just about everything you'd expect a sequel to one of Universal's most highly regarded pictures to be.
Everything that made the original work is still here and further expanded on, with more of a focus on showing how the monsters are more human than their actual creators.
Set quite literally seconds after the ending of the original, Frankenstein's monster is still alive and kicking and now wonders into the woods looking to escape those who want to hurt him even more. But little does the creature know that his creator is still alive, and has a new partner with a new set of toys to play with to make another creature…
8/10
This movie is considered a classic and definitely sticks closer to Mary Shelley’s novel than the classic 1931 movie. I like how they show a more vulnerable side of the monster and the effects look very lush for a 1935 film rather than the dark, gloomy vibe of the first one. The thing that steps it down for me is the bride itself because she is barely in the movie and of course rejects the MONSTER. What a bitch! Lol! But anyways, yeah this movie is not awesome to me due to slower scenes that don’t make lots of sense and the bride but it’s still a classic and it did put the story of the novel on the big screen.
ENG:
Universal’s horror classics are in many ways precursors to Hollywood’s entire horror history. Movies like Dracula (1931) and Frankenstein (1931) are deeply integrated in pop culture, but it is maybe The Invisible Man and Bride of Frankenstein that exemplifies “Universal horror” the best.
The two films are unique in that they represent filmmaking before and after the infamous “Hays code” censorship laws. Because of its stricter censorship, many critics believe James Whale, the director of both films, hid extra meaning in Bride of Frankenstein, possibly allusions to his homosexuality.
NOR:
Om man går bakover i tid og følger Hollywood sin skrekkfilmhistorie oppdager man raskt at alle veier leder til Universal sine tidlige gotiske klassikere. To mesterlige eksempler på denne…
i luv borris karloff!!! costume design in this movie *forever changed Halloween... having an intelligent lecture on this, it makes me appreciate this much more. arguing things like gay relationships as well as the female portrayal makes the explicit “not politically correctness” at moments seem worth it. thx dr miller ♥️ also, only 1hr 20 min? now Thats a quickie
how you properly do a sequel; building upon what was set up in the first film, including characters and setting, and even throwing in a bit of queer undertones.
“I love dead. Hate living”
Yeah me too bro.
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VASTLY superior to the original, you can tell there were more creative liberties here. And it’s very funny and very campy.
The first 20 to 30 minutes were pretty uneven, filled with terrible dialogue, poor theatrical acting and some stilted camerawork.
But then the Blind Violinist scene happened and everything just clicked together.
After that point the film became pretty damn great and cemented itaelf as a possible new favourite.
It's a Classic for a reason.
Boris Karloff is the definitive Frankenstein's Monster, his performance is phenominal.
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