The Frankenstein Bride (advertised as The Bride of Frankenstein ) is the 1935 American science fiction horror movie, the first sequel to Universal Pictures' 1931 hit Frankenstein . It's considered one of the few great movie sequels that are even better than the original movie that became the basis. Like the first film, Bride of Frankenstein directed by James Whale and starring Boris Karloff as The Monster. The sequel features Elsa Lanchester in the double roles of Mary Shelley and the Monster mate at the end of the film. Colin Clive repeated his role as Henry Frankenstein, and Ernest Thesiger played the role of Doctor Septimus Pretorius.
The film begins as a direct sequel to an event that concludes the previous film, and is rooted in a subplot of Mary Shelley's original novel, Frankenstein (1818). In the film, the dreaded Henry Frankenstein abandoned his plan to create life, only to be tempted and finally forced by his old mentor. Pretorius, along with threats from the Monster, into the building of a mate for the Monster.
Preparations for filming this sequel began shortly after the premiere of the first film, but script issues delayed the project. The subject of photography began in January 1935, with creative personnel from the original back in front and behind the camera. Bride of Frankenstein was released for critical and popular recognition, despite encountering difficulties with several state and national censorship boards. Since its release, the reputation of the film has grown, and has been hailed as a Whale masterpiece. In 1998, the film was added to the National Film List of the United States, considered "culturally, historically or aesthetically."
Video Bride of Frankenstein
Plot
On a stormy night, Percy Bysshe Shelley (Douglas Walton) and Lord Byron (Gavin Gordon) praised Mary Shelley (Elsa Lanchester) for her story about Frankenstein and his Monster. Reminding them that his intention is to provide moral lessons, Mary says she has more stories to tell. The scene shifted to the end of 1931 Frankenstein .
The villagers gather around the cheering windmills to witness the death of the Monster (Boris Karloff). Their excitement is forged by the realization that Henry Frankenstein (Colin Clive) also appears to be dead. Hans (Reginald Barlow), the father of the creature girl who drowned in the previous movie, wants to see the bones of the Monster. He fell into a flood hole beneath the factory, where the Monster - after surviving the fire - strangled him. Moving away from the hole, the monster threw his wife Hans (Mary Gordon) to his death. He next meets Minnie (Una O'Connor), who escapes in terror.
Henry's body was returned to Elizabeth's fiancee (Valerie Hobson) at the home of her ancestral castle. Minnie arrives to sound an alarm about the Monster, but her warning is unnoticed. Elizabeth, saw Henry move, realizing he was alive. Healed back to health by Elizabeth, Henry has renounced his creation, but still believes he may be doomed to unlock the secrets of life and immortality. The hysterical Elizabeth cries that she saw death coming, imagining the arrival of a former Henry mentor, Doctor Septimus Pretorius (Ernest Thesiger). In his room, Pretorius showed Henry some of the homunculies he created, including the miniature queen, king, archbishop, demon, ballerina, and mermaid. Pretorius wants to work with Henry to create a mate for Monster and offer a toast for their efforts: "For the new world of gods and monsters!" After forcing Henry to help him, Pretorius will grow an artificial brain while Henry gathers parts for his partner.
The Monster saved a young shepherd (Anne Darling) from the sink. His shout when he saw him reminding the two hunters, who shot and wounded the creature. The hunters raise the masses that appear in the pursuit. Arrested and tied to a pole, Monster is transported to a dungeon and chained. Left alone, he breaks his chains, kills the guards and flies into the jungle.
That night, the monster meets the gypsy family and burns his hand on their campfire. Following the sound of the violin playing "Ave Maria", Monster meets an old blind hermit (O. P. Heggie) who thanks God for sending him a friend. He taught monster words like "friends" and "good" and shared food with him. The two stumbling hunters stumble on the cottage and recognize the Monster. He attacked them and accidentally set fire to the cottage when the hunters led the ascetic away.
Taking refuge from other angry mobsters in the dungeons, Monsters spy on Pretorius and his cronies, Karl (Dwight Frye) and Ludwig (Ted Billings) open the cemetery. The henchmen set out while Pretorius enjoyed a light dinner. The monster approached Pretorius, and learned that Pretorius planned to make a spouse for him.
Henry and Elizabeth, now married, were visited by Pretorius. He is ready for Henry to do his part in their "highest collaboration". Henry refused and Pretorius summoned the Monster who demanded Henry's help. Henry again refused and Pretorius ordered the monster out, silently beckoning him to kidnap Elizabeth. Pretorius guarantees his safety over Henry's participation. Henry returns to the tower laboratory, where although he himself grows excited about his work. Once convinced of Elizabeth's safety, Henry completes the bride's body.
The storm raged when final preparations were made to bring the Bride to life. His bandaged body was lifted from the roof. Lightning strikes a kite, sends electricity through the Bride. Henry and Pretorius lowered it and realized their success. "He's alive! Live!" Henry was crying. They took off the bandages and helped her up. "The bride Frankenstein!" Doctor Pretorius stated.
The monster goes down the stairs after killing Karl on the roof and seeing his partner (Elsa Lanchester). The excited monster approached him, asking, "Friend?" The Bride, shouting, refused. "He hates me! Like the rest," said the Monster sadly. As Elizabeth raced to Henry's side, the Monster went berserk in the laboratory. The monster tells Henry and Elizabeth "Yes! Go! You're alive!" To Pretorius and the Bride, she said, "You stay, we're dead people." When Henry and Elizabeth escape, the Monster shed tears and pulled the lever to trigger the destruction of the lab and the tower.
Maps Bride of Frankenstein
Cast
Production
Universal considered making a sequel to Frankenstein as early as 1931 preview, after which the original end of the film was altered to allow Henry Frankenstein's survival. James Whale initially refused to direct the Bride, believing that he had "squeezed the idea" in the first film. Following the success of Whale's The Invisible Man , producer Carl Laemmle, Jr. realizing that Whale is the only possible director for Bride ; The pope took advantage of the situation in persuading the studio to let him make One More River . The Pope believes that the sequel will not surpass the original, so he decides to make it an impressive "hoot". According to the studio librarian, Whale and Universal studio psychiatrists decided "Monster will have a mental age of a ten-year-old boy and a fifteen-year-old emotional age."
Screenwriter Robert Florey writes a treatment entitled The New Adventure of Frankensteinà ¢ â,¬â € The Monster Lives! But was rejected without comment in early 1932. Tom Reed's Universal staff staff wrote up the treatment under the caption of Frankenstein's Return, the title being maintained until the filming began. Upon its acceptance in 1933, Reed wrote the full text submitted to Hays' office for review. The script gives his review, but Whale, who was then contracted to direct, complained that "it smells to heaven". L. G. Blochman and Philip MacDonald were the next author assigned, but the Pope also found their work unsatisfactory. In 1934, the Pope arranged John L. Balderston to work on another version, and it was he who returned to an event of a novel in which the creature demanded a mate. In the novel, Frankenstein creates a partner, but destroys it without reviving it. Balderston also created the prologue of Mary Shelley. After a few months, the Pope is still not satisfied with Balderston's work and submitted the project to playwrights William J. Hurlbut and Edmund Pearson. The final manuscript, incorporating elements of these versions, was submitted for a review of Hays's office in November 1934. Kim Newman reported that the Pope planned to make Elizabeth a heart donor for the bride, but film historian Scott MacQueen stated that the Pope never had an intention.
Sources reported that Bela Lugosi and Claude Rains were considered, with varying degrees of seriousness, for the role of Frankenstein's mentor, Pretorius; others reported that the role was made especially for Ernest Thesiger. Because of Mae Clarke's illness, Valerie Hobson succeeded him as Henry Frankenstein's love interest, Elizabeth. At the start of production, Whale decided that the same cast to play Bride should also play Mary Shelley in the film prologue, to illustrate how the story - and horror in general - emerge from the dark side of the imagination. He considered Brigitte Helm and Phyllis Brooks before deciding on Elsa Lanchester. Lanchester, who accompanied Charles Laughton's husband to Hollywood, has met with moderate success while Laughton has made a strong impact with several films including The Private Life of Henry VIII (where he won an Oscar) and Whale's own The Old Dark House . Lanchester had returned alone to London when the Pope called him to offer him a double role. Lanchester exemplifies Bride hissing at the hiss of a goose. She gave herself a sore throat while filming a sizzling sequence, which Whale shot from various angles.
Colin Clive and Boris Karloff take on their respective roles from Frankenstein as creators and creations. Hobson recalls that Clive's alcoholism had worsened since the original filming, but Whale did not recast the role because his "hysterical quality" was required for the film. Karloff strongly objected to the decision to allow the Monster to speak. "My stupid argument is that if the monster has an impact or charm, it's because he can not speak-this big, slow, and incoherent creature.When he speaks, you might as well... play it live." This decision also means that Karloff can not remove his dental plate, so now his cheeks do not have a concave look from the original film. The Pope and the studio psychiatrists chose 44 simple words for the Monster vocabulary by looking at the ten-year-old exam paper working in the studio. Dwight Frye returns to play doctor's assistant, Karl, after playing Fritz bowed in the original. Frye also filmed scenes as an unnamed villager and the role of "Nephew Glutz", a man who killed his uncle and blamed death on the Monster. Boris Karloff is credited only as KARLOFF, which is a universal custom during the peak of his career. Elsa Lanchester is credited to Mary Wollstonecraft Shelley, but in a nod to the previous film, the Monster bride is credited only as "?" just as Boris Karloff is on the opening credits of Frankenstein.
The universal makeup artist Jack Pierce pays special attention to the Monster appearance in this movie. He changed the 1931 design to showcase effects after the factory fire, adding scars and shortening Monster's hair. During the filming, Pierce modified the Monster's makeup to show that the Monster's wound healed while the movie took place. Pierce co-created Bride's makeup with strong input from Whale, especially about the Bride iconic hairstyle, based on Nefertiti. Lanchester hair was given a wave of Marcel on top of the wire frame to achieve style. Lanchester does not like working with Pierce, which he says "really feel that he's making these guys, like he's a god... in the morning he'll be dressed in white as if he's in hospital for surgery." To play Mary Shelley, Lanchester wore a white embroidered beaded, butterfly, star and moon bead, which the actress heard required 17 women 12 weeks to make her.
Kenneth Strickfaden creates and maintains laboratory equipment. Strickfaden recycles a number of weirdly named odd machines he created for Frankenstein for use on Bride, including "Cosmic Ray Diffuser", and "Nebularium". A lightning produced by Strickfaden equipment has become a stockpile, appearing on a number of movies and television shows. The person behind the film's special photography effects was John P. Fulton, head of the special effects department at Universal Studios at the time. Fulton and David S. Horsely created the homunculi for two days by shooting the actors in a full-size jar of black velvet and aligning it with the perspective of an urn set on. The foreground film plates are changed and tangled into the back plate. Billy Barty's little actor was briefly seen from behind in the finished film as a baby homunculus on a high chair, but the Pope cut the baby before the release of the film.
The Pope met Franz Waxman at a party and asked him to print a picture. "Nothing will be resolved in this picture except the final destruction scene. Will you write an unresolved score for it?" asked the Pope. Waxman creates three different themes: one for the Monster; one for the Bride; and one for Pretorius. The score was closed, at the Pope's suggestion, with a strong dissonance chord, intended to convey the idea that the explosion on the screen was so strong that the theater in which the film was being played was influenced by it. Constantin Bakaleinikoff performed 22 musicians to record the score in a single session of nine hours.
The shooting began on January 2, 1935, with a projected budget of $ 293,750 ($ 5.24 million in 2018) - almost exactly the budget from the original - and an estimated 36-day filming schedule. On the first day, Karloff waded water under a windmill that was crushed in a rubber suit under his costume. Air enters the suit and develops it like "lilly air indecent." Later that day, Karloff broke his hips, thus requiring a replacement stunt. Clive also broke his leg. The shooting was completed on March 7, 1935. The film was ten days past schedule because the Pope closed the picture for ten days until Heggie became available to play Hermit. With a final cost of $ 397,023 ($ 8.87 million per 2018), Bride is over $ 100,000 ($ 1.78 million per 2018) over budget. As originally filmed, Henry died of escaping from a bursting castle. The whales returned photographing ends to allow for their survival, though Clive was still visible on screen in a collapsed laboratory. The pope completed the final piece, shortening the running time from about 90 to 75 minutes and re-photographing and re-editing the ending, just days before the scheduled movie premise date.
Sensor
Bride of Frankenstein was subjected to censorship, both during production by the Hays office and after it was released by local and national censorship agencies. Joseph Breen, the censorship leader for Hays's office, objected to the lines of dialogue in the original manuscript delivered in which Henry Frankenstein and his work were compared to God. He continues to reject such dialogue in the revised script, and for planned shots of the Monster who rushes through the grave to the crucified figure of Jesus and seeks to "rescue" the figure from the cross. Breen also objected to the number of murders, both seen and implied by the manuscript and strongly suggested Whale to reduce the amount. The censorship office, after reviewing the film in March 1935, required a number of cuts. The Pope agreed to remove the order in which Dwight Frye's "Nephew Glutz" killed his uncle and blamed the Monster, and shot Elsa Lanchester as Mary Shelley where Breen felt too much of her breasts to be seen. Oddly, despite his previous objections, Breen offered no objection to the cross image throughout the film - including scenes with Christ-moped monster to pole - or Pretorius' homosexual coded presentation. Bride of Frankenstein was approved by the Office of Production Code on 15 April 1935.
Once released with a consent code, the film is challenged by a censorship agency in the state of Ohio. Sensors in Britain and China objected to the scene in which the Monsters stared into the unaccompanied Bride body, arguing that it looked like a necrophilia. Universal voluntarily withdraws the film from Sweden because of the many interrupted requests, and Bride is rejected outright by Trinidad, Palestine and Hungary. One unusual objection, from Japanese censorship, is that the scene in which Pretorius chases Henry VIII's miniature with tweezers is "making a fool of a king".
Reception
The Bride of Frankenstein benefited Universal, with a 1943 report showing that the film later earned about $ 2 million ($ 28.3 million in 2018 dollars) for the studio, profiting about $ 950,000 ($ 13, 4 million by 2018). The film is highly praised after its release, although some reviewers do not qualify their opinions based on movies that are in the horror genre. The New York World-Telegram calls the movie "good entertainment of its kind". The New York Post describes it as "a horrible and horrible story that, of its kind, swells up". The Hollywood Reporter similarly calls this movie "a joy to those who can appreciate it".
Variety is not so well qualified as the review. "This is one rare example where no one can check it, or talk about it, without mentioning cameramen, art directors, and printing composers in the same breath as the actors and directors." Variety also praised the cast, writing that "Karloff manages to invest his character with some subtleties of emotion that are surprisingly real and touching... Thesiger as Dr Pretorious [is] a cruel characterization if ever there is one. Lanchester handles two tasks, being the first in the opening as a writer to Mary Shelley and then a woman made.In this last assignment he was quite impressive. "
In another unqualified review, Time writes that the film has "the vitality that makes their efforts completely the same as the original picture... Screenwriter Hurlbut & Balderston and Director James Whale have given it an appalling precise intensity for all the nice pieces of horror, but has replaced some sort of peculiar mechanical pathosism for a mere crime that is Frankenstein. "The Oakland Tribune agrees it is" a fantasy produced on a rather small scale magnificent, with excellent stagecraft and excellent photographic effect ". While Winnipeg Free Press thinks electrical equipment may be better suited to Buck Rogers, but reviewers praised the film as "fascinating and sometimes terrible", stating that "All those enjoying Frankenstein will welcome < i> Bride as a worthy successor. " The New York Times called Karloff" very good in a role everyone can say is' he is a Monster. ' "The Times praised all the major players and the Pope's direction in concluding that Bride was a" first class horror movie, "and carefully suggested that" The monster must be an institution, like Charlie Chan. " Bride was nominated for an Academy Award, for Best Sound Recording (Gilbert Kurland).
Movie reputation has survived and grew since its release. In Rotten Tomatoes, the film has a 100% approval rating based on 41 reviews, with an average rating of 9.1/10. The critical consensus of the site reads, "The eccentric, campy, technically frightening and frightening image, James Whale > Bride of Frankenstein has been very good. " In 1998, the film was added to the National Film List of the United States, considered "culturally, historically or aesthetically." Often identified as the work of James Whale, the film is hailed as "the best of all gothic horror movies". Time rated Bride of Frankenstein in "ALL TIME 100 Movies", in which critics Richard Corliss and Richard Schickel rejected the magazine's original review to declare the film "one of those rare sequels far superior to the source ". In 2008, Bride was selected by Empire magazine as one of 500 Greatest Movies of All Time . Also in 2008, Boston Herald named it the second greatest horror film after Nosferatu . In 2016, James Charisma of Playboy rated movie # 7 on the list of 15 The Better Sequins of The Originals . Entertainment Weekly considers the film to be superior to Frankenstein .
Interpretation
Christian Christian imagery
The Christian image appears throughout the film. In addition to the monster scenes crisscrossed in the pose of the cross and the figure of Jesus crucified in the grave, the hermit has a cross on the wall of his hut - which, to the Pope's worries, editor Ted Kent makes light during fade- and Monster spends the Christian sacrament of bread and wine in " the last supper "with a recluse. Terrorist David J. Skal suggests that the Pope's intention is to make "direct comparison of Frankenstein's monster with Christ". Student Scott MacQueen, who notes the absence of religious belief, denies that Monster is a Christ. Instead, the Monster is "a mockery of the divine" because, having been created by Man and not God, it "has no divine spark". In crucifying the Monster, he said, the Pope "pressed the audience" by reversing the Christian belief in the center of Christ's death followed by the resurrection. The monster was resurrected from the dead first, then crucified.
Queer Reading
In the decades since its release, modern film scholars have noted the possibility of a strange reading of the film. Directed James Whale is openly gay, and several actors in the cast, including Ernest Thesiger and Colin Clive, are believed to be gay or bisexual. Although James Curtis, the pope's biographer, rejects the idea that the Pope will identify with the Monster from a homosexual perspective, scientists have felt the gay subtext covered by film, especially the camp's sensitivity, especially embodied in the Pretorius character and its relationship with the Pope. Henry.
The gay film historian, Vito Russo, in considering Pretorius, stopped identifying the character as gay, instead referring to him as "sissified", "sissy" himself into a Hollywood code for "homosexuals". Pretorius serves as "Mephistopheles gay", the figure of seduction and temptation, goes too far to pull Frankenstein away from his bride on the night of their marriage to engage in the unnatural act of creating a non-procreative life. A novelization of a film published in England makes the implications clear, after Pretorius tells Frankenstein " 'Fruit and breed." Let us obey the Bible command: You, of course, have a choice of natural means, but to me, I fear there is no way open to me other than the scientific way. "
The monster, whose attention to the male and female ascetic he speaks in identical languages ​​("friends") has been read as "unsettled" and sexually bisexual. Gender study author Elizabeth Young writes: "He has no innate understanding that the male and female bonds faked with the bride are regarded as primary or that it carries a different sexual valence from its relationship to [Pretorius and ascetic]: all affective relationships are equal it is easy with 'friendship' as a 'marriage'. "Indeed, his relationship with the ascetic has been interpreted as a same-sex marriage that heterosexual society will not tolerate:" No mistakes - this is marriage, and decent... But Whale reminds us quickly that people do not approve of Monster - an outsider - driven from its domestic pleasure scene by the two rifle guns that took place in this shocking alliance and quickly, instinctively, went on to destroy it, "wrote Gary Morris cultural critic for Bright Lights Film Journal Creation of the Bride scene, Morris continues, is "Penging at whales for spectators - Hollywood bosses, colleagues, and everyone watching - from the majesty and power of homosexual creators ".
Filmmaker Curtis Harrington, a friend and trustee of Whale's, considers this a "younger critic evaluation. All artists do work that comes out of the subconscious mind and then you can analyze it and say symbolism can mean something, but artists do not." "I do not think like that and I will be risking my life that James Whale will never have such a concept in mind." Particularly in response to the reading of "greatness and power", Harrington declared, "My opinion is just nonsense, that is a critical interpretation that has nothing to do with original inspiration." He concludes, "I think the closest you can come to a homosexual metaphor in his films is to identify that particular type of camp humor." Pope's companion David Lewis stated emphatically that the Pope's sexual orientation was "unrelated" to his film making, saying, "Jimmy is the first and foremost an artist, and his films represent the work of an artist - not a gay artist, but an artist. "
Remake
Universal Pictures has attempted to recreate the Bride of Frankenstein on several occasions. While the Frankenstein novel has been adapted for the film many times, the Bride of Frankenstein is the closest remake is The Bride ( 1985), starring Sting, Clancy Brown, and Jennifer Beals. In 1991, the studio sought to re-create the film for cable television, and Martin Scorsese expressed interest in directing it.
Reboot
In the first decade of the 21st century, Universal paired up with Imagine Entertainment and contracted Shari Springer Berman and Robert Pulcini, who wrote the screenplay for American Splendor, to rewrite. Screenplay writers organize stories in contemporary New York. Jacob Estes was also involved with the project at one point and wrote the draft. In June 2009, Universal and Imagine entered discussions with director Neil Burger and co-author Dirk Wittenborn, and producer Brian Grazer was assigned to oversee the development of the remake. In December 2015, Variety reported that David Koepp would write the script. In May 2017, Universal Pictures announced the universe movie series sharing of the modern, updated reinterpretation of the classic Universal Monster titled, Dark Universe. The movie series begins with the 2017 The Mummy film, and is expected to continue with Bride of Frankenstein on February 14, 2019 with Bill Condon directing the movie.
In October 2017, it was reported that pre-production began when the creative team and the studio decided to postpone the release to work further on the script with the intention of improving the story. Deadline reports that Javier Bardem and Angelina Jolie are still attached to the film as Frankenstein monsters and reluctant movie brides, respectively. The same month Condon stated that Jolie should decide to leave the project, she will be interested to see Gal Gadot play a titular character. But on November 8, 2017, Alex Kurtzman and Chris Morgan moved on to another project, leaving the future of the Dark Universe in doubt.
In January 2018, the project appears to be revived, with Condon reportedly assembling a production team, composed of cinematographer Tobias A. Schliessler, production designer Sarah Greenwood, composer Carter Burwell, and costume designer Jacqueline Durran.
See also
- Filmography of Boris Karloff
- List of sect movies
- List of movies featuring Frankenstein monster
- Frankenstein in popular culture
- Gods and Monster , a biopic James Whale 1998 which took the title of a quote from Bride of Frankenstein
- List of horror movies of the 1930s
- Universal Monster
- List of movies with 100% rating on Rotten Tomatoes, movie review collecting website
- List of movies featuring miniature people
References
Note
Bibliografi
- Brunas, Michael, John Brunas & amp; Tom Weaver (1990). Universal Horrors: The Studios Classic Films, 1931-46 . Qefferson, NC, McFarland & amp; Co.
- Curtis, James (1998). James Whale: Dunia Baru Dewa dan Monster . Boston, Faber dan Faber. ISBN: 0-571-19285-8.
- Gelder, Ken (2000). Pembaca Horor . New York, Routledge. ISBNÂ 0-415-21355-X.
- Gifford, Denis (1973) Karloff: The Man, The Monster, The Movies . Fan Film Bulanan.
- Goldman, Harry (2005). Kenneth Strickfaden, Dokter Ahli Listrik Dr. Frankenstein. McFarland. ISBNÂ 0-7864-2064-2.
- Johnson, Tom (1997). Censored Screams: The British Ban di Hollywood Horror in the Thirties . McFarland. ISBNÂ 0-7864-0394-2.
- Lennig, Arthur (1993). Hitung Immortal: Kehidupan dan Film Bela Lugosi . Universitas Press Kentucky. ISBNÂ 0-8131-2273-2.
- Mallory, Michael (2009) Universal Studios Monsters: A Legacy of Horror . Alam semesta. ISBNÂ 0-7893-1896-2.
- Mank, Gregory W. (1994). Hollywood Cauldron: Tiga belas Film dari Era Emas Genre . McFarland. ISBNÂ 0-7864-1112-0.
- Picart, Carolyn Joan, Frank Smoot, dan Jayne Blodgett (2001). The Frankenstein Film Sourcebook . Greenwood Press. ISBNÂ 0-313-31350-4.
- Russo, Vito (1987). The Celluloid Closet: Homoseksualitas dalam Film (edisi revisi) . New York, HarperCollins. ISBN: 0-06-096132-5.
- Skal, David J. (1993). The Monster Show: A History of Horor Budaya . Penguin Books. ISBN: 0-14-024002-0.
- Vieira, Mark A. (2003). Horor Hollywood: Dari Gothic ke Kosmis . New York, Harry N. Abrams. ISBNÂ 0-8109-4535-5.
- Muda, Elizabeth. "Ini dia pengantin wanitanya". Dikumpulkan dalam Gelder, Ken (ed.) (2000). Pembaca Horor . Routledge. ISBNÂ 0-415-21356-8.
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