Bride of Frankenstein (1935)
by Corinne Rizzo
While sequels are hard to get away with, the Bride of Frankenstein is pretty efficient in making its own way, though it is in no way equal to the thrill and artfulness that is contained within the original tale of Frankenstein. The original film though left off as just half of the story had been told.
Within the story that Mary Shelley created, the Monster becomes more of a sympathetic character, driving more of a critical eye toward his inhumane treatment and neglect. The villagers have forgotten that despite the Monster being created in a laboratory, he is still built like a human and functions the same way a human does. He needs the essentials that humans need; food, water, clothing and regardless of what anyone will say, human contact in the vein of warmth or affection. It becomes clear to the viewer that the Monster isn’t getting these things and for the rest of the film, our Monster is no longer scary without reason, but frightening in a way that he is influential. The Monster has been given the gift of speech development and warmth of friendship at once, though he isn’t able to decipher between what is good and bad, he understands the concept when given the answer and rolls with it.
But that is also where his faults lie. The viewer sees that though and forgives the Monster for most of his actions. The viewer might also even find themselves cheering for the Monster—as he is tied up and locked up and assumed to be a criminal though he’s never been taught otherwise.
This is the part of the story that isn’t told in Frankenstein and probably the entire motivation for filming a sequel though the Bride never appears in the original lore. But, every story must have its love affair—even the story of of the Titanic’s demise had to be given a love story in order to make it sellable to the public. The love affair in Bride of Frankenstein though doesn’t really stand up and becomes, in the end, a bit of a humorous if not sad occasion, as the Bride is afraid of the Monster and given that we don’t meet her until the end of the film, there is only the hope that the Monster will find a companion.
Bride of Frankenstein is an important afterword to the original film as it displays the full intention of Mary Shelley’s concept and then some. The story continues though this film to develop sympathy from the author for a creature that was created too crudely to exist and in his own words describes how he would rather endure death than live the life he has been given.
The film ends abruptly as the first one did, most likely making way for Son of Frankenstein, or Cousin of Frankenstein or Baby Daddy of Frankenstein’s Grandmother, but I would say that the important attributes to the story end with this film. Any further and the folklore would be lost on the viewer, using the concept to drive film sales and keep the same cast and crew running for an eternity.
Grade: B+ (Because it is important for the audience to see the human inside of the Monster, too.)
Top Five Reasons to See Bride of Frankenstein:
1) That batty old woman who is crazier than The Invisible Man, in the film of the same name, plays another (or the same) batty old woman in this film.
2) On the same note, the film does a neat job of incorporating all of the same minor characters to pull the films together as if all of our Movie Monsters occur in the same town.
3) Dr. Pretorius is the best villain as a man of holy order and a scientist – not uncommon in those days.
4) Things get a little hokey as Dr. Pretorius shows Frankenstein his own creations.
5) Seriously, was that the same Elizabeth or are they trying to pull the wool over our eyes? Pshh.
Posted on October 15, 2011, in REViEW and tagged 1935, boris karloff, classic horror films, classic movie monsters, elsa lanchester, halloween, horror, horror films, james whale, mary shelley, universal movie monsters. Bookmark the permalink. 1 Comment.