The Bride of Frankenstein Reviews

Fully representative of the uncommon idea that a sequel can surpass its predecessor on every level, "The Bride of Frankenstein" is a groundbreaking feature, casting an inexplicable spell over audiences that remains entirely undiminished by the passage of time, cinematic technologies and styles. Despite the genre transforming beyond recognition in terms of the Universal era's creaky Gothic sets and content restrictions, James Whale's subtext-laden films have preserved his legacy for further generations, securing his continued relevance as a figurehead of the first wave of classic horror cinema almost a century on.

Inexorably more refined and adventurous, Whale's innovative overhaul of the first film's drawbacks, such as the underdevelopment of the main characters, their motivations and weak, stilted dialogue and performances, is notably present from the opening scene, which depicts Mary Shelley regaling her husband and Lord Byron with an oral continuation of her greatest work; it is this daring departure from the original story that ensures a more dynamic, technically superior experience, far improving on its source material. Commencing from the climax of the previous film, the villagers are resigned to the belief that the Monster is dead, having supposedly engulfed in flames along with the windmill, however, he is very much alive, although now badly scarred, escalating and accentuating his intimidating physical form and grisly visage even further. Upon emerging from a flooded pit, the Monster proceeds to terrify Dr. Frankenstein's hilariously shrill, screeching maid and kill two of the villagers whose daughter he drowned in the original. It is at this point that the film evolves from a generic Universal horror, establishing a macabre jocularity, eccentric overtones and gallows humour which differentiates it from the formulaic, passable first outing.

It is with the introduction of Dr. Frankenstein's equally mad old colleague, the cunning and highly flamboyant Dr. Pretorious, who endeavours to revert the reformed scientist back to his previous God complex antics, that decipherable codes of homo-eroticism are implemented, also evidenced by the Monster's budding relationship with a blind hermit, cruelly circumvented by passing members of the lynch mob baying for blood. Once the Monster learns to speak, his sense of loneliness becomes more pronounced, and as such, our sympathy for him extends further than simply his plight as a persecuted aberration; we discern that the creature has developed human traits and now curiously hopes to be afforded the unalienable right to love and be loved in return. Aided by the desperate, desolate Monster, the Machiavellian, devious Pretorious takes credit for the Monster's education, ensnaring him for his own ends to coerce the guilt-ridden, disenchanted Victor Frankenstein into assisting the construction of a female mate for his own rejected abomination. Pretorious and his more artificial creation, The Bride, a twitching swan-like beauty who screams wildly at the sight of her betrothed, are ancillary, even minor characters, but once they appear, their respectively bizarre appearance, camp theatricality and gestural nuances dominate the screen and threaten to overshadow the film itself, symbolising its ubiquitous iconography. Pretorious's urge for dangerous knowledge and power is ultimately his downfall, as the dejected Monster deems them both equally monstrous, selfish and thus wholly undeserving of love. In educating and humanising the creature as to the sins, vices and evils of man, Pretorious brings about his own demise, therein completing the Monster's tragic story arc, registering him as cinema's ultimate unnatural outsider, too grotesque and hulking to ever be considered normal by society's deeply hypocritical, prejudiced standards.

James Whale's magnum opus serves as a prime example of how much he had grown in confidence since directing "Frankenstein", influenced by his own rebellion and outsider status in Hollywood, "The Bride of Frankenstein" remains a sublime exploration of the unacceptable outcast and humankind's instinctive disdain for their very existence.

Reactions to this, James Whale's ageless masterpiece, are varied; some say it just could be the Greatest Horror Film Ever Made, some think it's just an overblown tongue-in-cheek comedy sham. Probably Whale himself would have been the first to label his picture a "farce", but count me among those who think it's a brilliant piece of work, well in consideration as one of the undisputed top-tier horror classics of any decade. It qualifies as horror, but mostly plays along more like a child's twisted storybook fantasy. It's renowned as one of the few movie sequels which may be considered even better than its original (in this case, that would be James Whale's 1931 FRANKENSTEIN). While I think both films are excellent, with the first being more serious in tone than its follow-up, I'd give the hair's edge to BRIDE.

One of the best Universal Monsters sequels the Bride of Frankenstein it is a direct sequel to the movie Frankenstein unlike the first one that didn't really follow the book as this one stick more to the book subplot it also makes you sympathizes with the monster rarely a few time I cried for a movie this is one of them. it also features of the of the greatest mad doctor of all time Dr. Pretorious the new Monster the Bride has also became famous her hairstyle to exact.

"To a new world of gods and monsters!"

Successful sequel to the classic 1931 film Frankenstein is just as good as the original, if not even better.

Taking place just after the events of Frankenstein, this film again follows The Monster (Karloff) who survived the blaze in a burning windmill that supposedly killed him. He rises from the rubble to run rampage once more.

A shadowy scientist named Dr. Pretorius (Thesiger) is determined to make a mate for the monster, and teach him how to speak. Pretorius blackmails Dr. Henry Frankenstein (Clive), forcing him back into the laboratory to revive another corpse - this time a woman - that will become The Monster's partner.

This remarkable sequel has been regarded as better than the original, and I tend to agree. Bride of Frankenstein reunites most of the original cast, including Karloff and Clive among others.

Director James Whale also returns to the director's chair to craft this quality classic horror movie. Karloff's portrayal is perfect. He makes a tragic monster who is made a lot closer to the source material. Instead of killing everything in his path he acknowledges the kindness of others who wish to help, and his halting words of dialogue are haunting.

Colin Clive returns to the role that he made back in 1931, and still retains the character's intrigue as well as his determination.

Special effects and make-up look amazing considering that it's a film made over 70 years ago.

Overall, Bride of Frankenstein is classic horror balanced out with comic relief. It has dated badly, but the brilliance still shines through and makes for a very historic 75 minutes of viewing.