Frankenstein

Strickfadenmageddon!

Frankenstein
USA 1931 Directed by James Whale
Universal Blu Ray Zone B

Okay so... next up on my Universal Horror rewatch list is James Whale’s Frankenstein, which would eclipse even Tod Browning’s Dracula from the same year and re-enforce the idea that these brand new motion picture spectacles focusing on the, as yet unnamed, genre of ‘horror’ can really bring in a lot of box office take for the studio. So this one was rushed into production with Robert Florey originally scheduled to direct, along with new Dracula star Bela Lugosi as the monster. After some twenty minutes of, sadly lost, test footage of Lugosi in a quite different make up as the monster, the actor turned the job down which, considering what shape the script was in at the time, wasn’t necessarily something you can blame him for but it was certainly a missed opportunity and rocketed Boris Karloff to fame when the final choice of director for the film, James Whale, was brought in and spotted Karloff in the canteen.

After some gruelling evenings of various make up tests with studio monster make up genius Jack Pearce, Karloff was ready. One of Karloff’s contributions to the make-up came by way of a dental bridge in one of his cheeks, which he was able to take out to leave a hollowed out side to his face, something which Pearce accentuated with his brushes. That being said... the haunting make up from this film never looked the same on Karloff in the sequels and one of the contributing factors to that is that, due to his new found fame, popularity and success that this role and others subsequently brought him (in his mid 40s, after already having made over 80 films in Hollywood in minor roles), he was able to afford to get his teeth fixed up properly and so he couldn’t repeat the same trick twice for his subsequent roles as the monster in The Bride Of Frankenstein (1935) and Son Of Frankenstein (1939). Indeed, Karloff’s name wasn’t even included in the opening credits of the first movie as he was just left with a question mark where his name should be as “The Monster........?”, just as Elsa Lanchester would have the same treatment in the opening credits of the first sequel. His name was, however, obviously restored for the end credits... ‘a good cast is worth repeating’ as Universal pictures of that period often used to say at the end. Although the typeface they chose for certain words here use these terrible, sideways versions of the letter ‘s’ which I can never get used to.

The film begins with a mirror of something from another film which people haven’t been able to see for about 88 years and which is now deemed lost to time, alas. I’m talking about the lost footage from the 1931 film Dracula (which I reviewed here) in which Edward Van Sloan, who played Van Helsing, came out and gave little monologue to calm the audience down after the picture had finished. It’s a shame that this footage that has never turned up since the first release but Whale, or his studio bosses, chose to open Frankenstein in exactly the same way. This gives it some continuity in terms of Universal trying to create some horror branding in a way... although they possibly didn’t know it yet. So we once more have Edward Van Sloan, who plays Dr. Waldman in this production, come out from behind some curtains and do a little pre-credits speech to warn the ‘faint of heart’ and sensitive souls in the audience of what they are about to see. Of course, by now and after the roaring success of Dracula, this is as much about showmanship as it is about anything else but it’s a nice moment before we go into some opening titles (where Mary Shelley is billed, unbelievably, as Mrs. Percy B. Shelley) and the film starts proper.

The film opens with the end of a funeral with Henry Frankenstein (not Victor as in the original novel) played by Colin Clive and his hunchbacked assistant Fritz played by Dwight Frye, who was so brilliant as Renfield in Dracula, looking on from behind cover and ready to rob the grave in the aftermath for Henry’s experiments. Clive was, in fact, a direct descendent of Clive of India and even acted in a film four years later about his ancestor although, bizarrely, Ronald Coleman actually played the famous Clive. Colin Clive, however, had his own problems and struggled with alcoholism which would lead to complications and help kill him just six years after he filmed Frankenstein (and two years after he reprised his role for the sequel).

Once the mourners are gone we have Frankenstein and Fritz digging up the body and the whole sequence from the funeral to the finish of the scene is a strangely long and protracted affair, taking time to build the atmosphere over many minutes where the later Universal Horrors of the 1940s, which were admittedly more B movies, were as likely to do this kind of set up with visual shorthand. Thanks to film historian Rudy Behlmer on one of the wonderful commentary tracks provided on this latet Blu Ray Legacy Edition (the other is by Sir Christopher Frayling) for pointing out that, with a statue of death present in the background, we have Henry Frankenstein literally shovelling the soil from the grave (amplified with a microphone hidden below) and, literally, throwing dirt in the face of death, via this tombstone statue. It’s a nice comment on Frankenstein’s target of facing down death and bringing life, albeit in monstrous fashion, into the world and, given the placing of the statue and the obvious choice to literally fling the dirt in this particular direction, I think it’s more than likely that Whale or one of the actors probably introduced this concept on the day of shooting and were more than aware of this visual metaphor they were creating.

Following this scene, as Frankenstein and Fritz are wheeling the corpse home, they come across an executed man (or dummy) on a gibbet and Fritz is told to cut him down to add to the good professor’s stock of cadavers and Frye deliberately plays Fritz as nervous and jumpy in the face of all things to do with death... presumably so that in one of the following sequences, when he drops the jar containing the ‘normal brain’, we believe he really is startled and jumping at his own shadow as a bumping sound causes him to lose grip on the jar.

So we come to that scene and here we meet, for the second time, Edward Van Sloan teaching students in his medical college about human biology and specifically about the difference between a ‘normal’ and ‘criminal’ brain and, this is exactly how his jars containing the two brains are, hilariously, labelled up... ‘Normal Brain’ and ‘Criminal Brain’. After the class has finished, Fritz goes down to take the ‘Normal Brain’ but is startled, smashes it and instead absconds with the ‘Criminal Brain’ as a replacement... thus robbing the obvious innocence of the resulting creature and rendering his actions somewhat more fateful in the final analysis. It should perhaps be pointed out that this scene was not in the original novel and neither was Fritz, who was a character invented for some of the many stage versions of the play, one of which this film, like Dracula before it, was based on as opposed to the first version of the source material. That being said, and again thanks to Behlmer for this piece of info, the distinction between the ‘normal’ and ‘criminal’ brain is not made in the stage plays and is therefore a completely new invention for the film. Which is kind of interesting, I think, given its implications.

Okay, so after this we meet Mae Clark as the future Mrs. Frankenstein and her bizarre love triangle person Victor, played by John Boles, a relationship which is almost completely forgotten about for most of the rest of the movie (there’s a reason for this, I suspect and I’ll get back to it later). They decide, along with Frankenstein’s father played by Frederick Kerr and Edward Van Sloan as young Frankenstein’s former teacher, to go out to Henry’s forbidden lab which Baron Frankenstein, Henry’s father, refers to as being in a windmill. This is kinda interesting because it’s not.. its a big watchtower but it was originally meant to have been a windmill and, when the monster ‘returns home’ with Henry at the end of the movie, it is actually to a windmill. So this was possibly overlooked and left in the script at this point in the filming. It’s also mentioned about Henry Frankenstein’s “insane desire to create life” and it says something, I think, about him and the long line of ‘creation mad’ scientists who came after him because, as I always say, they could have a lot more fun creating life in the old fashioned way.

So the various sets in the watchtower look, to me, like they were recycled from Dracula, including the big staircase that Dracula flung Renfield down at the end and, I think, must have been used and recycled from production to production a lot at Universal. As were the wonderful electric gizmos invented by electrician/hobbyist/tinkerer Kenneth Strickfaden, who would build these things as a hobby and, before he knew it, was doing a lucrative business hiring them out to organisations like Universal for their ‘crazy and sparkly lab equipment’ sets. Certainly they are reused, probably along with half the sets, in the Flash Gordon serials which I so love and cherish. The watchtower interiors also seem to have learned somewhat of a lesson from German Expressionism too, with distorted angles to windows and walls and twisted shadows drawn in with light. It doesn’t get to ‘the full Caligari’ as it were in terms of dominating the screen like it does, quite wonderfully, in Son Of Frankenstein in 1939 but... there’s more than a suggestion of it here and it surely works well to building the almost gothic atmosphere of some of the scenes.

During the creation scene we have lines like “Now I know what it feels like to be God” which were cut in some states and completely removed on later re-releases by the more organised censorship board due to being blasphemous. I'll get onto a consequence of one of the cuts made to this film a little later on.

Karloff’s cadaver, which reanimates at the end of the sequence, has a bandaged up head so the audience are unable to see what the creature looks like yet. When he does enter in another scene shortly after, it’s a really unusual entrance and, though it possibly looks a little clunky by today's standards, it must have been something in terms of an audience in 1931 watching it without having seen much in this newly created genre in the ‘talkies’ before. We hear the sound of Karloff’s footsteps and then cut to a shot of the door frame with Karloff pushing open the door as he walks in backwards. He then slowly turns to camera and we finally get a look at that iconic make-up. Then we have two closer shots of his face cut together in quick succession, getting closer and really putting that visage ‘in the face’ of the audience. And the film is full of interesting staging and editing like this. For example, in an earlier scene where Henry asks his three guests if they really want to go into his laboratory, instead of a long shot of them responding, we get three separate close ups of each one looking to the right of the camera and nodding. A very long and drawn out way of doing things which I don’t think you’d catch being done in the same way nowadays.

Okay so I’m not going through the whole movie blow by blow here and you probably almost certainly know the story but there are some nice shot set ups and ways of doing things like the above dotted throughout the movie. Whale’s fondness for dollying from one room to the next via a cutaway section is in evidence at certain points and there’s a wonderful 'two shot' where Karloff is chasing Frankenstein around the rotating inner mechanism of the windmill and you see both of the actors framed in the little rotating rectangles made by the path of said mechanism, one after the other... almost like the director was trying to remind us of the look of an old Zoetrope.

The chase scenes at the end, around mountains which are definitely shot in an interior set, are both magnificent looking but, alas, also unfortunate in that the cyclorama which depicts the clouds in the sky has a lot of wrinkles on it and these are very noticeable... as if the sky was just wallpaper stuck on and it had dried out and started to peel. Which it kinda was, I guess. Of course, various high definition DVDs and now this Blu Ray have made that more apparent to viewers as the years go on and as our technology gets, in some ways, more refined. Still, if you like the film enough I’m sure you can turn a blind eye to this kind of thing.

What the censors for the subsequent re-release versions a few years later couldn’t turn a blind eye too... in addition to the religious iconigraphy and the blasphemy mentioned earlier, was the shot of Frankenstein’s monster running out of daisies to throw in the lake... so he innocently picks up the young girl he’s playing with and throws her in, accidentally drowning her. And this is a nice thing to show just how stupid censorship is because, sometimes, what you cut out makes things worse. I’ve mentioned this before about when they used to slice out the protracted eye gouging scene in Lucio Fulci’s Zombie Flesh Eaters (reviewed here) in this country. It’s such a rubbish effect that when you see the splinter of wood slowly poke the eye out, it really doesn’t look real but, when the actual special effect is cut out, what you imagine is much worse than the actual reality. Well the same thing happened with Frankenstein. When the little girl’s demise is cut after the daisy throwing scene and she turns up shown dead later, what the audience imagines could have happened to her is far worse and, of course, is something else which takes away from the childish naivete of the central creature. Did he rape her? Strangle her? What happened? Thankfully we now have a fully restored print of the movie we can enjoy at home.

And that’s about all I have to say about Frankenstein other than, perhaps, two more quick points...

One, that secondary love interest. It’s made even more apparent when Henry leaves his fiance in the ‘care’ of her friend Victor. Frankenstein was meant to die but the studio changed their mind later and an epilogue was shot with a stand in for Colin Clive who is glimpsed in the next room recovering from his wounds. So that’s this additional Victor character done with and he doesn’t turn up, as far as I remember, even once in the sequel.

The other thing I wanted to say was that, when I said Karloff’s make-up was iconic... I meant just that. There were three previous movie productions of the story before this but it’s this one with Karloff in Jack Pearce’s make-up that is the most imitated and best remembered... it’s influence is beyond measure but, think about what the first thing that comes into your head when you hear the name Frankenstein (who was, indeed, named after his creator in the stage version on which this was based). It’s something you don’t forget and also, although the creature was fully articulate in speech in the original novel, it wasn’t until the second movie that the creature got some, basic, speech and intellect shown. Something which was jettisoned again by the time of the next film.

Frankenstein, like the unforgettable monster with its exaggerated walk (half created by built up boots and boards incapacitating joints), is a classic of its kind and if you’ve never seen this movie and some of its sequels then you are missing out. Personally, I think the next two films in the series are even better than this one but it doesn’t diminish the sheer brilliance of this first film and if you’ve not imbibed you should maybe take a look. There’s a reason why we’re all still talking about these classic Universal monsters after all this time.