Horror's first real masterpiece of the sound era.
Frankenstein is one of the most dazzling horror films of the entire 1930's. It is also one of the best films of 1931, a contender for being one of the best years in cinema history (at least in my opinion). It has aged beautifully and remains amongst the most iconic and recognisable horror films ever. So why has it withstood the test of time so much better than 'Dracula' (which came out the same year)? Firstly, the film takes full advantage of the new sound technology at its disposal. The awkward and clunky lack of a score in Dracula is replaced here by an atmospheric and grand orchestral score, which matches the action on the screen perfectly. To me, this helps to show just how ahead of the game director James Whale really was.
Next, the film's acting remains strong and has only slightly aged. Boris Karloff gives the performance that would launch one of the greatest careers in horror cinema. His portrayal of the creature is as perfect as Lugosi's Dracula, utterly flawless. Dwight Fry is enjoyable once again (however I will admit that his material is lacking compared to Dracula), as is Colin Clive in one of the most underrated performances in early horror. His demented yet tortured stare and physically involved acting style is totally engrossing, grabbing the audience by the collar and not releasing for 70 minutes. The rest of the cast is strong also and generally their performances hold up stronger than the supporting performances in Dracula.
The film's set design is wonderful and is defiantly one of its key draws. From the iconic lab set, as ingrained in our cultural memories as anything else in horror cinema, to the atmospheric graveyard set the film opens on. The film looks gorgeous and I will often find myself pausing the film to drink the ambiance they provide in. Unlike Dracula, the film never loses steam in this department, offering 70 whole minutes of beautiful painted backgrounds and perfectly balanced sets.
Overall Frankenstein is a masterpiece. Its ending is one of the most intense sequences in early horror, and James Whales darkly witty signature permeates every layer of the film. Kenneth Branagh's embarrassment does not deserve to share a name with this slice of cinematic wonderment.
Next, the film's acting remains strong and has only slightly aged. Boris Karloff gives the performance that would launch one of the greatest careers in horror cinema. His portrayal of the creature is as perfect as Lugosi's Dracula, utterly flawless. Dwight Fry is enjoyable once again (however I will admit that his material is lacking compared to Dracula), as is Colin Clive in one of the most underrated performances in early horror. His demented yet tortured stare and physically involved acting style is totally engrossing, grabbing the audience by the collar and not releasing for 70 minutes. The rest of the cast is strong also and generally their performances hold up stronger than the supporting performances in Dracula.
The film's set design is wonderful and is defiantly one of its key draws. From the iconic lab set, as ingrained in our cultural memories as anything else in horror cinema, to the atmospheric graveyard set the film opens on. The film looks gorgeous and I will often find myself pausing the film to drink the ambiance they provide in. Unlike Dracula, the film never loses steam in this department, offering 70 whole minutes of beautiful painted backgrounds and perfectly balanced sets.
Overall Frankenstein is a masterpiece. Its ending is one of the most intense sequences in early horror, and James Whales darkly witty signature permeates every layer of the film. Kenneth Branagh's embarrassment does not deserve to share a name with this slice of cinematic wonderment.
Originally posted 21/10/14 on IMDB.com, as part of HALLOWEEN HORROR REVIEWS 2014
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