Customer Reviews

Bride of Frankenstein

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I am one of the legion of admirers who believe that this film represents the apex of both James Whale's directorial career and Universal Studios' first cycle of monster movies. Cleverly scripted, flawlessly acted, wittily directed, and hauntingly scored, it's a marvel of a movie on many levels; it works as a horror film, a satire, a black comedy, a social commentary -- even as a romantic melodrama -- depending on your individual interpretation.

It's a real pity, then, that this rich cinematic treasure has received such a disappointing transfer to the DVD format. After experiencing the sharply focused, pristine prints presented on Universal's DVD releases of "Frankenstein" and "The Mummy", my expectations for "Bride" were enthusiastically high. What a letdown! The film is grainy, with distractingly poor contrast -- the actors appear to have microcrobes running across their faces, like amoeba that you might observe under a microscope. And there were a couple of pops and jumps inherent in the source material that I don't recall having seen on the VHS tape release of this film.

The extras are the only features that keep this disc from being a complete fiasco. The poster and still archive is remarkable, and the "making of" featurette is informative and enjoyable. The theatrical trailer is the one used for the film's Realart re-release and not the Universal original. I strongly suspect (and hope) there will some day be a "restored" edition of this movie available. Unless you just can't wait to add this title to your DVD collection, I have to regretfully advise that until such an improved version comes along, you spend your hard-earned pennies on an alternate selection.

As mentioned by many others, the film, commentary, documentary etc are all excellent. No need to repeat. But a major flaw in the film transfer itself is the amount of information removed at the top. The tops of heads are chopped and the glowing crudifix at the climax of the blind hermit scene is cropped so much you cannot tell it is a cross. I have compared the laser and vhs copies of this film to the dvd. The laser and vhs crop information from the bottom, a FAR better choice. I consider the cropping on the dvd so bad as to make the film almost unwatchable. I'll be keeping my laserdisc and videotape.

I was waiting with great anticipation the release of The Bride of Frankenstein DVD. I ,like many others, consider this movie to be the greatest horror film of all time. I already own the movie on VHS but I couldn't wait to see the sparkling, crystal clear picture that I know the DVD format can deliver. Unfortunately, Universal decided to dig up the worst print they could find to put on DVD.

The worst thing about it is the horrible grainy look of the film. There are so many tiny little black dots on the picture that it is almost impossible to concentrate on the actors. It is a terrible looking picture. And somehow or other they have managed to mess up the framing of the picture even though it is a 1.33:1 image. You only get to see about 85% of the picture compared to the VHS. Universal....how could you?

The extras on the DVD are quite good but it's the movie that counts! Other titles in the series of classic Universal horror movies are better but none of them so far are what true DVD enthusiasts and real movie fans want to see. I really hope that Universal quickly decides to remaster The Bride of Frankenstein DVD and then allows us poor souls to exchange our current copies for a new one.

Rarely is a sequel, particularly a horror sequel, better than its predecessor, but Bride of Frankenstein (1935) easily replaced the 1931 original classic as the definitive Universal Frankenstein movie. Director James Whale did not want to do another Frankenstein movie for the most admirable of reasons, and largely because of his feelings on the matter he brought to a life a sequel that sought perfection in every discernible way and provided a much deeper and more poignant look at the monster of Frankenstein's creation - the comedic exploitation of the monster did not begin on his watch. The addition of a full-scale musical score added depth and its own emotional layers to the drama, Karloff brought amazing pathos and humanity to the creature, and Elsa Lanchester, in a few short minutes, gave the world one of the truly eternal horror images and icons in the form of the Bride of Frankenstein's Monster (which is what the film should have been called).

Most of the principal cast members of the original Frankenstein movie reprise their roles here, including Colin Clive as Frankenstein and the inimitable Boris Karloff as the monster. Mae Clarke, however, was unavailable for health reasons, and a seventeen-year-old Valerie Hobson took on the role of Elizabeth, Frankenstein's fiancée. This is a noticeable change, as Hobson played Elizabeth in a strikingly different manner. As you may have guessed, Frankenstein's monster did not actually die in the big fire that ended the first motion picture. The windmill was built over a cistern (more like a great big underground pond, if you ask me), and the monster escapes the conflagration, not before killing a couple of people and scaring Minnie, this film's version of interminable comic relief, half to death. Dr. Frankenstein, for his part, also survives (although we already knew this thanks to the last-minute concluding scene of the first movie). He regrets his foolish attempts to play God, even though he still speaks with a mad zeal about the dreams he pursued so dangerously. Enter Dr. Praetorius (Ernest Thesiger), a former professor of Frankenstein's and the kind of evil genius our reformed young doctor should have become. Praetorius has been doing his own God-like experiments and now seeks to join his knowledge with that of Frankenstein to make not a man, but a woman. In the film's only borderline ridiculous moments, we see the products of Praetorius' work - the film work and special effects are brilliantly done, but the whole idea is just laughably silly. Still, you can't help liking old Praetorius because he is everything a mad scientist should be. Frankenstein has now become - well, (...) a cowardly man who seems incapable of acting on his own accord. Luckily, Dr. Praetorius knows how to deal with a man such as Frankenstein, and he eventually succeeds in getting the good doctor back in the lab for one final experiment.

As for Frankenstein's monster, we finally get to see the humanity of the character emerge. Seeking friendship, he is met only with fear, screams, and malice. He does manage to find a friend in the countryside, however - the sound of violin music takes him to the home of a blind hermit. In one of the most touching scenes in cinema history, the blind man takes the monster in, thanks God for finally sending him a friend to assuage his loneliness, and shines the full light of humanity, all too briefly, on the lonely creature. Naturally, this time of happiness does not last long, but the monster does develop the ability to speak before he is separated forever from his friend. He ends up crossing paths with Dr. Praetorius, who quickly sells him on the idea of a mate, setting the stage for another pyrotechnic creation scene that gives us the unforgettable Bride of Frankenstein.

The cinematography, musical score, and basically everything else are well-nigh perfect in this film; despite the ridiculous editing demands of the censors, Bride of Frankenstein achieves the pinnacle of monster movie success. Still, it bothers me that these films have defined Frankenstein's monster as a creature much different than the literary monster of Mary Shelley's creation. The first film completely stood Shelley's story on its head, missing the point entirely. How ironic it is for Bride of Frankenstein to feature a prologue featuring the character of Mary Shelley herself, in company with her companion Percy Bysse Shelley and the flamboyant Lord Byron, explaining the meaning of her work and then introducing yet another bastardization of the real Mary Shelley's literary masterpiece. The original monster, as envisioned by Shelley, was not the creature at all; it was Dr. Frankenstein, not so much because he played God but because he abandoned his monstrous creation and left him alone to fend for himself. Bride of Frankenstein rights some of this wrong by showing the depth of humanity in the monster, but it cannot undo the wrongs already done the character. In the context of the cinema, he will forever be a "monster," a shadow of his true literary self, forced to suffer at the hands of man while the true villain of the story fails to even attempt to redeem himself or to suffer the harsh yet noble fate that he so rightfully earned in Shelley's original story.

"Bride of Frankenstein" is not only the greatest film of its genre, it is also one of the finest films ever produced in Hollywood. The acting, lighting, sets and direction are all in a class of their own. The mix of horror and humor has never been so well accomplished as it is in this film. Director James Whale's sardonic sense of humor is in full view here, so much so that audiences of 1935 were unsure as to the intent of the film, especially after the all out horror that was on

display in the original "Frankenstein". Karloff gives the performance of his career as the misshapen but strangely loveable monster, and Ernest Thesiger is astounding as the effete Dr. Pretorious. Elsa Lanchester is stunning as the Bride, and Colin Clive is at his nerve frayed best as Baron Henry Frankenstein. Franz Waxman's score, an inspiration for Rodgers and Hammerstein's "South Pacific(believe it or not, is perhaps the finest in the history of motion picture scoring. The DVD is a mixed blessing. The washed out quality of the previous video incarnations gives way here to a much darker film, ccloser in intent to Whale's vision. But the film stock used is slightly grainy, and the sound has ssome deficiencies. Also, the darker print makes it more difficult to see details in the many low lit situations. No doubt a major restoration of this film is in order, similiar to what was done to "Vertigo" and "My Fair LAdy". The extras-the documentary and audio commentary are superb, as is a rarely seen trailer and a great archive of rare stills. The minor visual and aural shortcomings are forgivable; you must own this DVD.

_Frankenstein -- The Legacy Collection_ currently has the better DVD version of _Bride of Frankenstein_. The original _Bride of Frankenstein_ is out of print, but it has been replaced with a much better version.

Using two DVD players, I loaded up both the original _Bride of Frankenstein_ and the new version from the Legacy Collection and then switched between them. Unlike the original version, the Legacy _Bride of Frankenstein_ image is centered, and in most scenes, contains approximately 20% more picture information than the original, because the edges of the picture are no longer cut off. The original version is missing a lot picture information due to its being off center and magnified.

The original _Bride of Frankenstein_ picture is virtually unacceptable due to its poor video quality. Although the picture quality of the original version is sharper than the new one, this sharpness is accompanied by excess video noise, snow and other distracting artifacts. Now, after being run through a video sanitizer, the Legacy version of _Bride of Frankenstein_ has a highly-polished, "Citizen Kane" look. The new image is now virtually free of distracting artifacts, but at the expense of some picture sharpness. Black level, on the other hand, is excellent.

The audio level of the Legacy _Bride of Frankenstein_ is much lower than that of the original version. This doesn't seem to present a problem, but it will be necessary to turn up the volume quite a bit more on the new DVD. The sound quality of the two versions seems to be about the same, once the volume is equalized.

The main attraction of the Legacy _Bride of Frankenstein_ is its grab bag price. While the original _Bride of Frankenstein_ listed for $29.98, The Legacy Collection contains Frankenstein / Bride of / Son of / Ghost of / House of -- plus all of the original supplementary material. This 5-movie collection is a real bargain at only $26.98.

Bottom line: The Legacy _Bride of Frankenstein_ -- while not as good as it could be -- is vastly superior to the original version. If the video sanitation had been turned down a notch and the volume had been turned up a notch, the Legacy version would have been nearly perfect. Maybe Universal will get it right when the 75th anniversary edition comes out in 2010.

This is the one horror flick that set the standard for all horror films to follow. It starts off with a strange little prelude with Mary Shelley and Lord Byron, discussing the first film, and she continues the story. Frankenstein's monster lives! Not only in the film but in cinematic imfamy! Boris Karloff plays the role of his career, and deserved an Oscar for humanizing the terrible creature. Lugosi, Strange and Chaney Jr. all tried their hand in the Pierce make-up, but none could follow in Boris' ample footsteps. Every horror cliche' was actually started in this film (and the original as well) The dark castle, lightning on a stormy night, mad scientists, ghoulish creatues haunting graveyards, the laboratory with bubbling test tubes....BOF has it all. And what a story, as a mate is made for the lonely monster. James Whale used wicked humor to tell a tale of unrequited love. Dr. Pretorious is the quintessential mad scientist, as is Colin Clive. Watch for the scene in the laboratory where they are making the bride. It is sheer genius, complete with the "terrific storm", kites and the evil equipment, as the body is raised, I become 7 years old again, a fascinated child once again! And the musical score is haunting. The end is especially tragic as the audience begins to root for the creature. They may truly "belong dead" but this beautiful piece of cinematic history will live forever.

The Bride of Frankenstein is easily Universal Studio's best horror film. From the surreal backdrops to the final climatic scenes, this movie satisfies fans of all genres...not just horror. The pathos within the scene of the monster and the blind hermit, are potent lessons in emotion, while the obvious parallels of the monster and Christ are just as heart wrenching. Many argue that this film is Karloff's finest hour, but he did have the best of help in making the film the milestone it has become.

Ernest Thesinger as Dr. Pretorious, the amazing Dwight Frye as Karl and Una O'Connor as Minnie give their black humored lines with an edge that is unfounded in todays horror films...pure class in delivery. The work of these supporting players along with director James Whale, and make up artist Jack Pierce truly make The Bride of Frankenstein a major step above any other horror film made. It must be seen many times to appreciate all that is offered.

You must buy this video...I've since worn out three copies!

Having the characters introduced by the author, Mary Shelley was an interesting idea, but, in this case it didn't work. Elsa Lanchester (also the "Bride") comes off well (if a little pretentious) as Mary Shelley but the other two don't. Douglas Walton as the poet, Shelley, is almost a non presence. As Lord Byron, Gavin Gordon, speaking lines one would have to stay awake writing and memorizing for the next day comes across as the most pompous, pretentious and annoying ass in history. The setting for this recap looks to predate the events of the original film by about a hundred years, and, even with footage from the original film it doesn't pick up the thread exactly the way it had left off.

The word for this part of the film is lame.

That said, don't let this five minute bit of stupidity detract from the enjoyment offered by an otherwise excellent film. Bride of Frankenstein has long been regarded as possibly the best of it's kind and that praise is well deserved. Boris Karloff gave the role of the savage but tragic creation depth of character and humanity that no other actor playing the part in the remainder of Universal's outings ever achieved. Karloff was the rare sort of actor with the gift for being able to "speak volumes" with a small gesture or a shift of expression. His monster is unpredictably menacing and indescribably lonely all at the same time. Ultimately, his portrayal of the creature is still the most charismatic of any of the attempts to bring the Frankenstein legend to the screen. Ernest Thesiger played the eccentric and charming but utterly ruthless Pretorius with a full measure of glee and it shows. Through their scenes together his presence matches Karloff's step for step. Any of the scenes he plays opposite the other players he just out and out steals. One of the films greatest touches is offered through O.P. Heggie as the blind hermit who reveals the monster's humanity are. The first scene between him and the monster remains one of the more moving ever filmed.

My reactions to the work from the rest of the cast are little more mixed. Colin Clive returned as the driven but creator and still turned in a decent performance, but this time with slightly less zest. Clive was only two years from death when the film was shot, already suffering from acute alcoholism and probably afflicted with tuberculosis as well. (That was listed as part of the cause of his death). Whatever the reason, his energy level is less consistent than in the first film and it shows. Una O' Connor as the Frankenstein's maid gives the film it's balance with hilarious moments of comic relief; you can't watch her and not laugh, which is what (Director James) Whale intended. Valerie Hobson fares slightly less well. She's a radiantly beautiful Elizabeth but, like Mae Clark in the original film, struggles with some of her dialogue (though in her defense any rational reasoning human being would have struggled with those lines). Her character is one dimensional and ends up being little more than a babbling foil for the film's much stronger male characters. As well, her personality and presence is distinctly English where Clark was so obviously American. These factors, as much as the alterations in the prelude, hurt both the film and the continuity between the two films.

When taken against the film as whole however, those complaints are minor ones. This film succeeds because of the depth of it's story line and the multi-faceted nature of it's principal characters. There is Frankenstein, a man torn between revulsion for their deeds and his drive to seek truth, Pretorius, the brilliant loner with his self-effacing humour and fascination with death which borders on necromancy and the blind hermit, the one man who accepts the monster simply because he feels but can't see and as a result becomes the only one able to really "see" the creature. Then, there's the creature, savage and misunderstood, angry but tender, a being as human as any but rejected by even the one created to be with him. Under Laemmle and Whale writer William Hurlbut allowed the monster to evolve, to grow as a character. In this film his movements are less stiff, his thinking more sophisticated and he gains the power to speak and articulate his thoughts, feelings and desires. It was a masterstroke, and sadly, the last time that would be allowed in the series. Visually, like the first one, this film is a treat. The lighting, brilliantly conceived is moody, atmospheric, subtle where needed and and enhances characters, scenes and action. As always, with Whale's films cinematography is superb. Whale had a touch for composing the way scenes were staged and how they would flow. One example is the how Valerie Hobson's dress trails behind her as she walks during the scene where her character is first introduced. Whale has it set so as to flow into the character behind her, something which visually enhances the feel of motion within the scene. It was a device he used in the first film and one he uses again here. Another remarkable moment is the moment where the creature rampages through the graveyard just prior to his first encounter with Pretorius. This is a masterpiece of lighting and composition and one which was imitated countless times in the decades that followed; it has only seldom been equalled. The score, by Franz Waxman, underscores, enhances, and at times, drives, the content of the film beautifully. His work was connected with many noteworthy films through his life. A few familiar ones are Mr. Roberts, Rear Window, Objective Burma and The Philadelphia Story. With this film producer Carl Laemmle, director James Whale and the rest of the ensemble set the standard which, almost seventy years later, is not just the text book on how it's done, but also, how to do it with style and flair.

The debate goes on and on....which is better? 'Frankenstein' or 'The Bride Of Frankenstein'?.....'The Bride Of Frankenstein' is a wonderful mix of horror and comedy, with Karloff giving another incredible performance as the monster. I have read he was not in favor of having the monster speak in this film but, he handles the task ingeniously. This could have looked and sounded ridiculous, but Karloff somehow pulls it off perfectly and gives us more to understand about the monster. That being said, I think 'Frankenstein' is the better of the two films IMHO. It's a straight forward horror film and is more consistent. The Bride has some different actors in roles that should have been reprised by the original players and this adds some confusion. I did think it was amusing to have several actors from the first film who were killed by the monster playing different roles, only to be killed again. I did not care for the minature people that Dr Pretorious created, they seemed out of place to me and added a fantasy element I didn't care for. Regardless, we are splitting hairs here because both films are essential viewing and true classics of cinema. The DVD transfer looks very good with some minor cropping issues etc. This is a film everyone must see!