In 1818, a young aristocrat named Mary Shelley was inspired by a summer night of ghost story readings with friends to write what may be the greatest horror story in history. Her short story, "Frankenstein," about a scientist named Victor Frankenstein and his attempts to generate new life from dead tissue, has since inspired countless novels, plays, TV series, and movie adaptations. However, the famous interpretation of the monster by Boris Karloff in the 1931 Universal film adaptation differs significantly from Shelley's original depiction.
Karloff's monster was a slow, mute creature who acted out violently due to fear and confusion. In contrast, Shelley's monster was highly intelligent and articulate, with his violent behavior stemming from the internal anguish over how he had been created. This monster was capable of confronting his creator intellectually, expressing his pain and suffering. Ultimately, Karloff's version was more cinematically impressive, as a direct interpretation of Shelley's cerebral monster may not have had the same visceral impact on film audiences. Shelley's novel worked brilliantly as a written horror tale, but its cerebral monster may not have translated as effectively to the screen.
In 1926, Willis O'Brien, the acclaimed special effects pioneer, sought to capitalize on the success of his feature "The Lost World" by developing a stop-motion adaptation of Frankenstein. However, this idea was short-lived, as O'Brien soon shifted his focus to another classic monster project - "King Kong."
Despite this change in direction, O'Brien did write a script for a film that would feature both monsters, titled "King Kong vs. Frankenstein." Though he shopped the script around to various studios, they ultimately passed on the project. Universal eventually obtained the rights and shelved the script for decades, before selling it to the Japanese film company Toho, who adapted it into the iconic "King Kong vs. Godzilla." Reportedly, O'Brien was deeply saddened to learn that his original vision had been so dramatically altered.
A few years later, Universal purchased the rights to Mary Shelley's novel and set out to adapt it for the big screen. Initially, French director Robert Florey directed two reels of test footage with Bela Lugosi portraying The Monster. However, Universal was not impressed with the results, so they ultimately scrapped the project.
Boris Karloff arrived in Hollywood in 1917 and began his career as a bit player in several films. It was his silent portrayal as the monster in "Frankenstein" that later catapulted him to the "A" list of Hollywood horror actors. However, in real life, Karloff was anything but a monster. He was widely known as a gentle, kind man who loved to entertain children. This was in stark contrast to the terrifying roles he became famous for on the silver screen.
When Universal released "Frankenstein" in 1931, the film was far from a typical black-and-white classic. In fact, the studio took innovative steps to enhance the viewing experience. Contrary to common perception, the original theatrical screenings featured creative color techniques - the daytime scenes were tinted in amber, the night scenes in pale blue, the eerie moments in green, and the climactic fiery sequences in red.
To further heighten the film's chilling atmosphere, Universal went to great lengths to market it. They parked ambulances outside many theaters and stationed nurses in the lobbies, ready to attend to any audience members overcome by fright. The studio even planted a screaming actress in the crowd who, at the movie's most suspenseful moments, would dramatically leap from her seat and run up the aisle. While such theatrics may seem over-the-top by today's standards, they reflect Universal's innovative efforts to transform "Frankenstein" into a truly immersive and unforgettable cinematic experience for 1930s audiences.
Harnessing the power of a raging electrical storm, Frankenstein jumpstarted his creation into life. At first, the towering, seven-foot creature merely twitched, but as Frankenstein poured on more power, the monster mustered the strength to rise up from the table, a look of newfound vitality in its eyes. "It's alive!" Frankenstein exclaimed, his voice brimming with a mixture of triumph and trepidation.
Frankenstein's servant Fritz torments the monster, a decision the servant would later regret as the confused creature becomes Fritz's first victim. Concerned that his creation is pure evil, Frankenstein enlists his friend Dr. Waldman (played by Edward Van Sloan) to dispose of the abomination. However, the monster has other plans - it strangles Waldman and escapes the castle.
In the countryside, the Monster discovers a young girl by a small lake, tossing flowers into the water. Unafraid, they begin to play together. However, the scene takes a tragic turn when the Monster, after exhausting the flowers, throws the girl into the lake to see if she will float. This particularly violent sequence was cut from the original film, as the censors deemed it too graphic. What remained was even more unsettling - the audience saw the two at play, then the girl's body being pulled from the lake, left to assume the Monster had murdered her with cruel intent. This ambiguity allowed the imagination to conjure the most violent scenarios.
Inside the mill, The Monster carries Frankenstein to the roof as the villagers set the structure ablaze. Another fierce fight erupts between creator and creation. This time, The Monster raises Frankenstein above his head and hurls him to the ground below. The burning mill soon collapses, with The Monster perishing in the fiery wreckage. Miraculously, the battered Frankenstein survives the ordeal and goes on to marry Elizabeth, ending on a triumphant note.
Legendary movie monsters, like Frankenstein's creature, are destined to return time and again, as audiences continue to embrace these timeless characters over the decades.
FRANKENSTEIN (1931)
Directed by James Whale, this classic horror film from Universal Studios features a talented cast, including:
Colin Clive as Dr. Henry Frankenstein
Mae Clarke as Elizabeth
John Boles as Victor Moritz
Boris Karloff as The Monster
Edward Van Sloan as Dr. Waldman
Frederick Kerr as Baron Frankenstein
Dwight Frye as Fritz
Lionel Belmore as Herr Vogel
Marilyn Harris as Little Maria
The screenplay was written by John L. Balderston, Francis Edward Faragoh, Garrett Fort, Robert Florey, and John Russell, based on the novel by Mary Shelley.
The film has a runtime of 71 minutes and was released on November 21, 1931 in the USA. It is presented in black and white with a mono sound mix.
Mae Clarke as Elizabeth
John Boles as Victor Moritz
Boris Karloff as The Monster
Edward Van Sloan as Dr. Waldman
Frederick Kerr as Baron Frankenstein
Dwight Frye as Fritz
Lionel Belmore as Herr Vogel
Marilyn Harris as Little Maria
The screenplay was written by John L. Balderston, Francis Edward Faragoh, Garrett Fort, Robert Florey, and John Russell, based on the novel by Mary Shelley.
The film has a runtime of 71 minutes and was released on November 21, 1931 in the USA. It is presented in black and white with a mono sound mix.
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