Rating: 
Summary: Not your average horror film.
Review: This film is considered the apex of Universal's classic horror films. It is memorable for Boris Karloff's role-defining portrayal of Frankenstein's nameless creature, James Whale's unique direction, and the trademark "look" of the high-coiffured bride. In addition, there is the presence of Dr. Praetorius, the epitome of prissy evil. He is obviously one of the "have not" types that live in a garret and plot vengeance on the world that he feels slighted him. Sexually he is ambiguous. Praetorius looks with nose crinkling disapproval on Henry Frankenstein's marriage relationship with Elizabeth. Praetorius anxiously keeps his "king in a bottle" away from the little queen. Yet, he is the one who comes to Frankenstein by night and argues the case they should collaborate to create a mate for the monster. Perhaps this is his revenge on an unsuspecting world of heterosexual couples. Dr. Praetorius utters the classic line "of gods and monsters" as he and Frankenstein ponder their !unholy alliance. This gives the viewer some insight into his visions of power.
James Whale directs a unique film that blends a horror movie with a subtext of dark humor and thought provoking nuances. Religious symbolism, used in peculiar ways, adds to the bizarre humor. Karloff's creature, especially after he learns speech, is both menacing and vulnerable. The scene with his "bride" is comically grotesque, and leads to explosive disaster. The enigmatic bride is one of the most unusual looking creatures in all of Universal's horror classics. Her one-time appearance is all too brief. The mad doctors' lab flashes and crackles with electricity from the dread machines that Dr. Frankenstein uses to harness the lightning that rages around the castle's ramparts. For collectors of classic horror films, or for anyone who would enjoy a twist to the familiar "boy meets girl" plot, this movie is for you. Remember, beware those who do not reckon upon God! Recommended for multiple vie!wing. ;-)
Rating:
Summary: "To a new world of Gods and Monsters!"
Review: It could only have taken a brilliant God of the Cinema such as James Whale to direct this stylish, delightful, and in many ways superior sequel to his original FRANKENSTEIN film. More faithful to the original story, the Monster (again played by Boris Karloff), who can now speak, survives the fire from the windmill and with the aid of an eccentric old scientist Dr. Pretorius (Ernest Thesiger in an unforgettably loony performance) seeks Henry Frankenstein (again played by Colin Clive) to create a female companion for him. Film contains a wonderful cast of supporting players as Valerie Hobson replacing Mae Clarke as Elizabeth, Una O'Connor as Minnie the Housemaid, Dwight Frye, Mary Gordon, Torben Meyer, Tempe Pigott, E.E. Clive, Gavin Gordon, Douglas Walton, and let's not forget Elsa Lanchester who plays not only the Bride, but in a delightful prologue Mary Wollstonecraft Shelley! Lanchester, with the green Monster make-up, formal wedding gown, and wacky Queen Nefirtiti hairstyle is such a standout, she almost steals the film from both Thesiger and Karloff! DVD includes a wonderful documentary "She's Alive! The Making of the Bride" hosted by GREMLINS and EXPLORERS director Joe Dante, and an equally fascinating film commentary by Scott MacQueen. In short, one of the greatest films in Hollywood History is now even greater!
Rating: 
Summary: Bride of Frankenstein ¿ Still The Class Act
Review: Having the characters introduced by the author, Mary Shelley was an interesting idea, but, in this case it didn't work. Elsa Lanchester (also the "Bride") comes off well (if a little pretentious) as Mary Shelley but the other two don't. Douglas Walton as the poet, Shelley, is almost a non presence. As Lord Byron, Gavin Gordon, speaking lines one would have to stay awake writing and memorizing for the next day comes across as the most pompous, pretentious and annoying ass in history. The setting for this recap looks to predate the events of the original film by about a hundred years, and, even with footage from the original film it doesn't pick up the thread exactly the way it had left off.The word for this part of the film is lame. That said, don't let this five minute bit of stupidity detract from the enjoyment offered by an otherwise excellent film. Bride of Frankenstein has long been regarded as possibly the best of it's kind and that praise is well deserved. Boris Karloff gave the role of the savage but tragic creation depth of character and humanity that no other actor playing the part in the remainder of Universal's outings ever achieved. Karloff was the rare sort of actor with the gift for being able to "speak volumes" with a small gesture or a shift of expression. His monster is unpredictably menacing and indescribably lonely all at the same time. Ultimately, his portrayal of the creature is still the most charismatic of any of the attempts to bring the Frankenstein legend to the screen. Ernest Thesiger played the eccentric and charming but utterly ruthless Pretorius with a full measure of glee and it shows. Through their scenes together his presence matches Karloff's step for step. Any of the scenes he plays opposite the other players he just out and out steals. One of the films greatest touches is offered through O.P. Heggie as the blind hermit who reveals the monster's humanity are. The first scene between him and the monster remains one of the more moving ever filmed. My reactions to the work from the rest of the cast are little more mixed. Colin Clive returned as the driven but creator and still turned in a decent performance, but this time with slightly less zest. Clive was only two years from death when the film was shot, already suffering from acute alcoholism and probably afflicted with tuberculosis as well. (That was listed as part of the cause of his death). Whatever the reason, his energy level is less consistent than in the first film and it shows. Una O' Connor as the Frankenstein's maid gives the film it's balance with hilarious moments of comic relief; you can't watch her and not laugh, which is what (Director James) Whale intended. Valerie Hobson fares slightly less well. She's a radiantly beautiful Elizabeth but, like Mae Clark in the original film, struggles with some of her dialogue (though in her defense any rational reasoning human being would have struggled with those lines). Her character is one dimensional and ends up being little more than a babbling foil for the film's much stronger male characters. As well, her personality and presence is distinctly English where Clark was so obviously American. These factors, as much as the alterations in the prelude, hurt both the film and the continuity between the two films. When taken against the film as whole however, those complaints are minor ones. This film succeeds because of the depth of it's story line and the multi-faceted nature of it's principal characters. There is Frankenstein, a man torn between revulsion for their deeds and his drive to seek truth, Pretorius, the brilliant loner with his self-effacing humour and fascination with death which borders on necromancy and the blind hermit, the one man who accepts the monster simply because he feels but can't see and as a result becomes the only one able to really "see" the creature. Then, there's the creature, savage and misunderstood, angry but tender, a being as human as any but rejected by even the one created to be with him. Under Laemmle and Whale writer William Hurlbut allowed the monster to evolve, to grow as a character. In this film his movements are less stiff, his thinking more sophisticated and he gains the power to speak and articulate his thoughts, feelings and desires. It was a masterstroke, and sadly, the last time that would be allowed in the series. Visually, like the first one, this film is a treat. The lighting, brilliantly conceived is moody, atmospheric, subtle where needed and and enhances characters, scenes and action. As always, with Whale's films cinematography is superb. Whale had a touch for composing the way scenes were staged and how they would flow. One example is the how Valerie Hobson's dress trails behind her as she walks during the scene where her character is first introduced. Whale has it set so as to flow into the character behind her, something which visually enhances the feel of motion within the scene. It was a device he used in the first film and one he uses again here. Another remarkable moment is the moment where the creature rampages through the graveyard just prior to his first encounter with Pretorius. This is a masterpiece of lighting and composition and one which was imitated countless times in the decades that followed; it has only seldom been equalled. The score, by Franz Waxman, underscores, enhances, and at times, drives, the content of the film beautifully. His work was connected with many noteworthy films through his life. A few familiar ones are Mr. Roberts, Rear Window, Objective Burma and The Philadelphia Story. With this film producer Carl Laemmle, director James Whale and the rest of the ensemble set the standard which, almost seventy years later, is not just the text book on how it's done, but also, how to do it with style and flair.
Rating: 
Summary: Don't Carry This BRIDE Across Your Threshhold
Review: I am one of the legion of admirers who believe that this film represents the apex of both James Whale's directorial career and Universal Studios' first cycle of monster movies. Cleverly scripted, flawlessly acted, wittily directed, and hauntingly scored, it's a marvel of a movie on many levels; it works as a horror film, a satire, a black comedy, a social commentary -- even as a romantic melodrama -- depending on your individual interpretation. It's a real pity, then, that this rich cinematic treasure has received such a disappointing transfer to the DVD format. After experiencing the sharply focused, pristine prints presented on Universal's DVD releases of "Frankenstein" and "The Mummy", my expectations for "Bride" were enthusiastically high. What a letdown! The film is grainy, with distractingly poor contrast -- the actors appear to have microcrobes running across their faces, like amoeba that you might observe under a microscope. And there were a couple of pops and jumps inherent in the source material that I don't recall having seen on the VHS tape release of this film. The extras are the only features that keep this disc from being a complete fiasco. The poster and still archive is remarkable, and the "making of" featurette is informative and enjoyable. The theatrical trailer is the one used for the film's Realart re-release and not the Universal original. I strongly suspect (and hope) there will some day be a "restored" edition of this movie available. Unless you just can't wait to add this title to your DVD collection, I have to regretfully advise that until such an improved version comes along, you spend your hard-earned pennies on an alternate selection.
Rating:
Summary: James Whale's new world of gods and monsters
Review: From a cultural standpoint the 1931 Universal film version of "Frankenstein" that introduced Boris Karloff as the Monster is an important film because it ended up replacing Mary Shelley's novel in the popular consciousness. The great sin by the novel's Dr. Frankenstein was not the creation of the creature but abandoning it once it was alive, but in James Whales' film it is clearly the act of creation that is the abomination. This idea ends up being quite ironic given that the authoress herself appears in the prologue to the 1935 sequel, "The Bride of Frankenstein," which is actually the better film. Mary Shelley (Elsa Lanchester), Percy Shelley (Douglas Walton), and Lord Byron (Gavin Gordon) are sitting around on a dark and stormy night and having apparently narrated the events of the first film, Mary tells her audience that the collapse of the windmill was not the end of the story and that both Dr. Frankenstein and the monster have both survived. The doctor has learned the error of his ways and wants to stop tampering with the forces of life, but his wife, Elizabeth (Valerie Hobson) is kidnapped by Dr. Pretorius (Ernest Thesiger), an even madder mad scientist if ever there was one. Alone Frankenstein created a man; together they will create a mate for the monster, a bride (also played by Lanchester in an unforgettable performance that owes much to the traditions of German expressionist film). The sequel is a better film mainly because the production is much more polished and Colin Clive has come back from the edge in terms of both his character and his performance. However, while the film works perfectly well on its own it has been reinterpreted in light of Whale's homosexuality, which became part of the cultural landscape with the 1998 biopic "Gods and Monsters." Critics like Gary Morris are not alone in now seeing "Bride of Frankenstein" as a bold gay parable, especially given that Thesiger was also openly gay in the Hollywood of the 1930s and that his performance is pure high camp. However, you can enjoy the film perfectly without working out the idea that the monster and his bride have a pair of male parents. It is important to see both of Whales' "Frankenstein" films and to appreciate the important differences between the two works. To do so you only have to look at a pair of memorable scenes. In the 1931 film this would be the scene where the monster comes across little Maria (Marilyn Harris), throwing daisies in the lake and he accidentally drowns her as they play together. In the 1935 sequel the key scene is when the monster comes upon the hermit (O.P. Heggie) living alone in quiet solitude and finds a friend. Both scenes represent the apotheosis of pathos in their respective films, but they also indicate great irony of how the more human the monster becomes, the wider the gulf that is created between him and humanity. Even as a master metaphor of current age the saga of the Frankenstein monster remains a very human story as well, and it draws its enormous narrative power from both. The performance by Karloff, who is now able to speak a few words (most notably, "I love dead"), creates a pathos for the monster that is unmatched in all the Frankenstein films made since. Much more than the original and despite the title, "The Bride of Frankenstein" is Boris Karloff's film.
Rating:
Summary: The best horror (and Frankenstein) movie ever made!
Review: Even though I'm only twenty-one, I grew up watching Boris Karloff and Bela Lugosi on Halloween festivals. I'm glad they're getting immortalized on the ever so kick... DVD format now. I collected all of the Universals on VHS about five or six years ago, and now I'll have to get the DVDs. James Whale was a genius as a horror director and he should also be credited with creating the only film sequel in history that was superior to its' original. Colin Clive is back in form as the half-crazed Dr. Henry Frankenstein, but the two show-stealers are Boris Karloff as the Monster and Ernest Thesiger as the wicked Dr. Septimus Pretorious. Elsa Lanchester is terrific as the Bride and as Frankenstein writer Mary Shelley in an amusing prologue.
The best scenes involve the Monster's bonding with the blind man, which is very touching and where the viewer particularly feels sorry for this poor creature, which was pretty often while Karloff was playing him. One of the few Frankenstein movies, or movies period for that matter, which is absolutely perfect. I once read a review of Mel Brooks' Young Frankenstein that said the two movies make a good view together. It's true, just as long as you watch Son of Frankenstein with them on a triple-bill.
Rating:
Summary: Here Comes the Bride
Review: This is the best of the vintage Universal Studio monster movies and a sequel even better than its predecessor. This movie made the phrase "The Bride of... " somewhat of a trademark for many spoofs and sequels in the horror movie genre and in general. The black humor, religious symbolism, climactic ending (complete with a musical bridal march score) and even the hokey backgrounds where you can see the shadows of the villagers on the painted, studio backdropped sky as they search for the Frankenstein monster make this movie an unforgettable experience. A few laughs are added by Una O'Connor, who plays Minnie, the shrilly and annoying but likable servant of Dr. Frankenstein and the village drama queen. For those with a tendency or desire to look deeper into this movie, there is plenty to ponder. Although originally released in the 1935, the themes of life and death eerily foreshadow some increasingly controversial contemporary issues in our society (genetic cloning maybe??) and subtley implicate technology as the source of some age old dilemmas (can technology replace humanity?) which are likely to persist. Beyond the classic horror apeal, this movie is also rich in emotion. The scenes where the monster befriends the blind hermit and the later rejection by his newly created bride add the most touching elements to this classic "horror" movie and also add a very human quality to the 'monster'. Monsters have feelings too ... and this is evident throughout some other parts of the movie. You just can't help empathizing with the monster at times, which make the character and this movie so unforgettable. **For real laughs, check out Mel Brooks version of "Young Frankenstein" which is an entertaining spoof of this vintage tale. A more serious 80's remake of the original "Bride of Frankenstein" was also released and simply called "The Bride" which starred Sting and Jennifer Beals.
Rating:
Summary: A Alltime Classic
Review: theres 1 thing i dont like and its the title
The Bride of Frankenstein.... but it aint hte bride of frankenstein because frankenstein is suppose to be the scientist or whatever u call him
if the title was
The Bride of Frankenstein's Monster then it'd tell the whole thing on what its about But still its 1 of my fav horror films of all time!
Rating:
Summary: James Whale's new world of gods and monsters
Review: From a cultural standpoint the 1931 Universal film version of "Frankenstein" that introduced Boris Karloff as the Monster is an important film because it ended up replacing Mary Shelley's novel in the popular consciousness. The great sin by the novel's Dr. Frankenstein was not the creation of the creature but abandoning it once it was alive, but in James Whales' film it is clearly the act of creation that is the abomination. This idea ends up being quite ironic given that the authoress herself appears in the prologue to the 1935 sequel, "The Bride of Frankenstein," which is actually the better film. Mary Shelley (Elsa Lanchester), Percy Shelley (Douglas Walton), and Lord Byron (Gavin Gordon) are sitting around on a dark and stormy night and having apparently narrated the events of the first film, Mary tells her audience that the collapse of the windmill was not the end of the story and that both Dr. Frankenstein and the monster have both survived. The doctor has learned the error of his ways and wants to stop tampering with the forces of life, but his wife, Elizabeth (Valerie Hobson) is kidnapped by Dr. Pretorius (Ernest Thesiger), an even madder mad scientist if ever there was one. Alone Frankenstein created a man; together they will create a mate for the monster, a bride (also played by Lanchester in an unforgettable performance that owes much to the traditions of German expressionist film). The sequel is a better film mainly because the production is much more polished and Colin Clive has come back from the edge in terms of both his character and his performance. However, while the film works perfectly well on its own it has been reinterpreted in light of Whale's homosexuality, which became part of the cultural landscape with the 1998 biopic "Gods and Monsters." Critics like Gary Morris are not alone in now seeing "Bride of Frankenstein" as a bold gay parable, especially given that Thesiger was also openly gay in the Hollywood of the 1930s and that his performance is pure high camp. However, you can enjoy the film perfectly without working out the idea that the monster and his bride have a pair of male parents. It is important to see both of Whales' "Frankenstein" films and to appreciate the important differences between the two works. To do so you only have to look at a pair of memorable scenes. In the 1931 film this would be the scene where the monster comes across little Maria (Marilyn Harris), throwing daisies in the lake and he accidentally drowns her as they play together. In the 1935 sequel the key scene is when the monster comes upon the hermit (O.P. Heggie) living alone in quiet solitude and finds a friend. Both scenes represent the apotheosis of pathos in their respective films, but they also indicate great irony of how the more human the monster becomes, the wider the gulf that is created between him and humanity. Even as a master metaphor of current age the saga of the Frankenstein monster remains a very human story as well, and it draws its enormous narrative power from both. The performance by Karloff, who is now able to speak a few words (most notably, "I love dead"), creates a pathos for the monster that is unmatched in all the Frankenstein films made since. Much more than the original and despite the title, "The Bride of Frankenstein" is Boris Karloff's film.
Rating:
Summary: The monster TALKS!
Review: James Whale returns to direct the sequal to his origional 1931 classic, Frankenstein. The Bride of Frankenstein (1935) staring Boris (Frankenstein monster) Karloff, Colin (Henry Frankenstein) Clive, Valerie (Elizabeth) Hobbson, Ernest (Dr. Preturios) Thesiger, and Elsa (monster's bride) Lanchester is a classic film, and one of the only sequals ever made to match the origional. Frankenstein went through major character development in this film. In the origional Colin Clive states that the monster was only a few days old and his brain must be given time to develope. Well, it seems that it is developing very nicely. The monster learns to love and wants to be loved back. He is funny at times and serious (even scary) at times. He tried to befriend mankind, but gets nothing but ridicule as a result of being "different." When the monster decides he can't have a human friend, he goes to Henry Frankenstein and demands a mate! If Henry will not grant the monster's wishes, the monster is willing to make Henry's mind for him at the price of possibly Elizabeth's life! There is only so much one can say about this film, other then it is a classic. It is funny, sad, and scary all at the same time. The Bride of Frankenstein (1935) is truely a timeless classic film, and one of the best Universal monster movies!
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