Not even the most fastidious of contemporary filmgoers can refute the eternal brilliance of BRIDE OF FRANKENSTEIN, one of the silver screen's all-time classics and rightful possessor of a Top 200 place at IMDb.
This sharp 1935 triumph is first and foremost a visual treat, with wonderfully inspired makeup and sets vividly beaming across our screens in glorious black and white; in fact, it is difficult to invoke another film where these two aspects have contributed so much. The use of more sets also gives the movie less of the stationary feel the original had. The sights create a decidedly creepy yet fun atmosphere as only old horror films can.
But the makeup artists and set designers aren't alone in earning praise. Everyone involved with BRIDE OF FRANKENSTEIN did the unthinkable, particularly by 1930s standards, by improving upon what came before. This starts with star Boris Karloff (whose name actually appears in the credits, unlike the original, where he was secretively identified with a string of question marks.) As the monster stitched together from human remains in the original, Karloff conveyed as much raw emotion as possible from behind heavy rubber makeup. Here he's every bit as good, and the addition of limited dialog makes him even more of a pleasure to watch. The supporting cast, including Colin Clive (Dr. Frankenstein) and Ernest Thesiger (Dr. Pretorious), don't miss a beat, and clearly had the right feel for the type of entertainment being created.
And what can be said about legendary director James Whale? Universal's removing of his artistic shackles probably made the film what it is. In keeping with the more polished effort of this sequel compared to its predecessor, Whale outdid himself. His guidance ensured the finished product was smart and smooth, making the most out of the considerable talent surrounding him. He knew where the picture should go and exactly how it would get there.
If there's one quibble some fans might have with BRIDE OF FRANKENSTEIN, it is that the title character is barely present. Indeed Elsa Lanchester's skunk-striped monster does not appear until about the final two minutes, dashing hopes of a lengthy interaction between she and her male counterpart. But like many great directors before and (mainly) after him, Whale knew that the fun was in the build-up, not the execution. It would have been interesting, to say the least, to see more of the two together, but this by no means diminishes the film.
It's been said before, but it deserves to be said again. BRIDE OF FRANKENSTEIN is quite possibly the most stark example of a sequel outshining the original. It is a truly remarkable effort.
This sharp 1935 triumph is first and foremost a visual treat, with wonderfully inspired makeup and sets vividly beaming across our screens in glorious black and white; in fact, it is difficult to invoke another film where these two aspects have contributed so much. The use of more sets also gives the movie less of the stationary feel the original had. The sights create a decidedly creepy yet fun atmosphere as only old horror films can.
But the makeup artists and set designers aren't alone in earning praise. Everyone involved with BRIDE OF FRANKENSTEIN did the unthinkable, particularly by 1930s standards, by improving upon what came before. This starts with star Boris Karloff (whose name actually appears in the credits, unlike the original, where he was secretively identified with a string of question marks.) As the monster stitched together from human remains in the original, Karloff conveyed as much raw emotion as possible from behind heavy rubber makeup. Here he's every bit as good, and the addition of limited dialog makes him even more of a pleasure to watch. The supporting cast, including Colin Clive (Dr. Frankenstein) and Ernest Thesiger (Dr. Pretorious), don't miss a beat, and clearly had the right feel for the type of entertainment being created.
And what can be said about legendary director James Whale? Universal's removing of his artistic shackles probably made the film what it is. In keeping with the more polished effort of this sequel compared to its predecessor, Whale outdid himself. His guidance ensured the finished product was smart and smooth, making the most out of the considerable talent surrounding him. He knew where the picture should go and exactly how it would get there.
If there's one quibble some fans might have with BRIDE OF FRANKENSTEIN, it is that the title character is barely present. Indeed Elsa Lanchester's skunk-striped monster does not appear until about the final two minutes, dashing hopes of a lengthy interaction between she and her male counterpart. But like many great directors before and (mainly) after him, Whale knew that the fun was in the build-up, not the execution. It would have been interesting, to say the least, to see more of the two together, but this by no means diminishes the film.
It's been said before, but it deserves to be said again. BRIDE OF FRANKENSTEIN is quite possibly the most stark example of a sequel outshining the original. It is a truly remarkable effort.