Rating: 
Summary: It's Still Very Much Alive After All These Years
Review: After repeated attempts of securing a Frankenstein, director James Whale hired a middle-aged character actor named William Henry Pratt (stage name: Boris Karloff) who had previously been limited to cameos, stand-ins, and predominantly small eccentric parts to play Frankenstein's monster. Karloff's restrictive age, massive obscurity, and absence of experience may have emerged as hindrances for this newly discovered personality. However, time and popular opinion has obliterated these fears into long lost paranoid hallucinations. It is Boris Karloff's indisputably iconic and singularly haunting performance as the child-like brute, misunderstood and despised by all, who's only longing and desire is to be loved and cared for by others that continues to be one of cinema's timeless jewels of acting perfection, dramatic magnitude, and note-fully seamless pathos. Karloff's monster, like Anthony Perkins's Norman Bates or Robert De Nero's Travis Bickle, is one of cinema's fortunate accidents of how the exact casting of just the right perfect someone can unbelievably bolster the film. Karloff's casting as the inevitably sympathetic artificial concoction of a mad scientist with a deity complex turned out to be one of many grandiose happy accidents that has allowed this 70 year-old Gothic horror film to continue to be copiously admired, internationally beloved, and enthusiastically cherished up to contemporary times. Frankenstein retains numerous stellar elements including a magnificently captivating early sound ensemble cast including Edward Van Sloan (Doctor Waldman), Mae Clarke (Elizabeth), Frederick Kerr (Baron Frankenstein), Dwight Frye (Fritz), and the unforgettable Colin Clive, the archetypal mad scientist, (Henry Frankenstein), brilliantly provocative Frankenstein make-up by make-up genius Jack Pierce, manically splendid and cleverly articulated German Expressionistic sets, that place this tale in an indescribable alternate Grimm Fairy Tale reminiscent landscape, James Whales immeasurably eloquent moral consolidation and inventively multi-faceted interpretation of Mary Shelly's tale, and forever crowned with one of cinema's most cunningly virtuoso and unredeemable bravura performances of inarticulate primal indignation and childish rage ever recorded on film by Karloff as the monster. However due to it's age and Hollywood production values at the time, Frankenstein is not totally absent of problems: lacking of a musical score to counter-match the film's profuse talkativeness, predictably saddled with pedestrian and extremely dated comedic and romantic sub plots, and weakened by an awfully trite comedic conclusion. Despite these blemishes, Frankenstein consummately embodies the finest narrative qualities of the early Universal monster films, contains the simply greatest incarnation of Frankenstein's monster, and stubbornly remains both in ambiance and creative evocativeness the finest film version of the Mary Shelly story. Either virtually creating or establishing the most memorable template for many of the horror genre's most blessed clichés and stereotypes including the angry mob laced with the burning torches and sharp pitchforks, the rustically appearing European town, the burning windmill, the broadly mentally troubled mad scientist, the tragically misinterpreted monster, the lavishly designed laboratory machinery, the chronically sadistic hunchback, and the supposed evil psychological significance of lightning. James Whale's Frankenstein remains an altogether manifestly influential film landmark that has predisposed numberless incalculable sequels, remakes, homages, and spoofs to habitually exhume its timeworn formula over the last seventy years. One only has to warmly revisit this beloved perpetual love letter of the classical macabre to immediately lovingly recap its' resplendent spoils of immortality time after exultant time to re-experience all of the perpetual sacrosanct celluloid epiphanies that compose James's Whales Frankenstein and are eternal adjectives of film all by themselves. Imagine the following: the incessant utterance of Dr. Henry Frankenstein's immortally poetic verbally lyrical realization of success, "Look! It's moving. It's alive. It's alive.. It's alive, it's moving, it's alive, it's alive, it's alive, it's alive, IT'S ALIVE!" Following this volcanic explosion of scientific fervor the near psychotically elated scientific heretic beguilingly exclaims, "Oh, in the name of God! Now I know what it feels like to be God!" Who couldn't instantaneously vividly recall the tense furious physical caginess, grotesquely gyrated sweat marinated facial contortions, eye ballet of the pathological, the authentically grisly euphoric vocal earnestness of absolute discovery, and the very specific details of the man that was (and agelessly is with it's fortunate restoration and preservation on film) Colin Clive's Henry as he fervently serenades those hallowed words of revelation with a primordially unnerving flirtatiously ricocheting salvo of eternal laughter that essentially biblically jettisons sanity away from the film itself, for that moment. In an ethereal totalitarian rush of such narrative spiritual possession and sheer air-tight uncanny intensity, the viewer is ultimately left spiritually adrift in a wanton cinematic wasteland of unnaturally insurmountable depravity where for the moment the clandestine doesn't even seem conceivable. Virtually nothing else in the medium of film has ever been able to produce this peculiar ambiance of malignant domination of film storytelling since. With the possible exceptions of Janet Leigh's liquid demise and Anthony Perkins's earnest feminine confessional in Hitchcock's Psycho, the lynch-party triumph at the end of George A. Romero's Night of the Living Dead, and Anthony Hopkins nonchalant walking towards a Caribbean dinner engagement in Jonathan Demme's Silence of the Lambs, James Whales's Frankenstein endurably inhabits the uncommon role of rarefied unicorn of cinematic perfection, and that's not likely to falter anytime soon.
Talk about staying power!!! As for Frankenstein's DVD format, it contains a uncannily pristine Pan and Scan standard presentation, a 45 minute absorbingly intriguing making-of documentary, film historian Rudy Behlmer's consistently stellar illuminating time-defying chronological exodus of a film audio commentary, original theatrical trailer, a short 1930's fictional film subject entitled Boo!, and much more. Universally (pun intended) recommended to anyone interested in film classics, the Universal Monster films, or the everlasting time repelling landmark films of the 1930's. Followed by James Whales' superior sequel The Bride of Frankenstein (1935).
Rating:
Summary: FRANKENSTEIN AHEAD OF ITS TIME.
Review: This movie classic was the best for its time.. Just imagine what it must of been like being at Radio City Music Hall when this film first came to the big screen.Boris Korloff, was the greatest movie monster of all time. James Whale was a genius.
Rating: 
Summary: Frank and Bride make it worth it but not for an upgrade
Review: I haven't seen these films since I was a kid. Out of nostalgia sake I picked up this Frankenstein set and was quite pleased. I had forgotten how good Frankenstein was and in particular, how great Bride of Frankenstein was. Those two films alone, make this set a good purchase. In my opinion, the other 3 films are garbage and barely worth a viewing. All of the films and most of the supplemental material on this version have been previously released. If you already own Frankenstein and Bride, I can't see this set being worth your upgrade just to get the other 3, barely passable films. But if you do not own those two, this set makes for a good collection.
The Van Helsing movie looks especially bad to me, and seems like a poor attempt to capitalize on the past legacy of these characters. Stick to the originals.
Rating:
Summary: AFI top 100 film, Universal's Frankenstein is#1, now on DVD!
Review: Universal Studios made its indelible mark in Hollywood due to its famous mastering of the Horror movie. In 1931 Universals "Frankenstein" changed the film world forever. Even today it remains a very basic classic horror movie. The American Film Institute (AFI) voted it into the top 100 films in the first 100 years of film (1998). Universal gathered the movie genius' and embarked on adapting Mary Shelly's novel to the screen. James Whale was chosen as the director and the make-up master Jack Pierce to create the giant Frankenstein Monster (played by Boris Karloff). NOTE: The movie actually had a opening caution film introduction because of its 1931 unspeakable subject matter. People were genuinely scared, horrified but curious to see this film. Summary: The mad Dr. Frankenstein (Colin Clive) & his hunchback Assistant Fritz (Dwight Frye) are robbing graves for bodys to construct a man to bring back to life. The Dr. still needs a brain to fullfill his inventory. Fritz steals a brain from the local medical school. Unfortunately the only one available is an abnormal one. The Dr. creates his monster being with the abnormal brain unknowingly. Through lightning storms, electrical shocks and unbelievable special effects brings the Monster to life! Now the horror is unleashed. This is the first in Universal Studio's "Classic Monster Collection" DVD Series. This collection is the very best of their horror movies completely digitally remastered and uncensored. With lots of special features, photos and narratives. A must have DVD collection of classic Hollywood horror films.
Rating:
Summary: The Frankenstein Legacy
Review: In celebration of VAN HELSING, Universal has pulled out the classic monster movies and given them the royal treatment that has been long overdue to them. This is the FRANKENSTEIN box set, containing five of the films telling the horrific, tragic tale of the Frankenstein Monster. 1. FRANKENSTEIN (1931)
Under the protection of darkness, Dr. Henry Frankenstein (Colin Clive) and his hunchback assistant Fritz (Dwight Frye) steal bodies and organs to build the doctor's dream; a man-made being. On a stormy night, with Dr. Frankenstein's mentor, Dr. Waldman (Edward Van Sloan), Victor Moritz (John Boles), and his fiancee Elizabeth (Mae Clarke) watching him, Frankenstein brings his creation to life. Unknowingly, the brain Frankenstein used was a criminal's brain. Now, the doctor must do what he can to stop the Monster (Boris Karloff)
A pure classic, none the less. The atmosphere is appropriately gothic, the makeup is ingenious, the script is almost flawless, and the direction is very unique (4 closeups in a row, followed by an establishing shot). Performance wise, Clive defines the accursed doctor, Boles does what he can in his thankless role, Clarke is breathtaking as Elizabeth, Frye sets the standard for crazed assistants, Van Sloan is in strong form, and of course, Boris Karloff is in his star-winning performance as the monster.
JUDGEMENT: 10/10 2. THE BRIDE OF FRANKENSTEIN (1935)
Though apparently killed by the burning windmill, the monster (Boris Karloff) survives, as does the good doctor (Colin Clive). Unfortunately, Dr. Pretorious (Ernest Thesiger) coerces Henry back into the realm of gods and monsters, suggesting they give the monster, who has learned how to talk, what he wants; a bride (Elsa Lancaster)
James Whale has done the unthinkable. He has created a sequel that has surpassed it's legendary original. The gothic scenery, the beautiful dialogue, and the narrative is brilliant, retaining the elements of the novel and being original at the same time. Karloff delivers his greatest performance ever, Clive delivers an intensity that was unrivaled during that time, Thesiger is simply brilliant as the Dr. Hyde version of Dr. Frankenstein, Lancaster is equally beautiful as Mary Shelley as she is terrifying as the bride, and they're supported by a well-rounded supporting cast.
JUDGEMENT: 10/10 3. SON OF FRANKENSTEIN (1939)
Many many years after the "destruction" of the monster, Dr. Frankenstein's son, Wolf Von Frankenstein (Basil Rathbone) and his family have moved in to Castle Frankenstein, despite the hatred the town has for their family. Their happiness is shattered when Wolf discovers that the monster (Boris Karloff) lives in his father's laboratory. The monster's friend, Ygor (Bela Lugosi) convinces the doctor to help the monster. However, Ygor lies behind ulterior motives.
While it lacks a bit in atmosphere, it certainly lives up to the previous films, with a welcome sense of sarcasm and humor. Karloff is back for the final time as the monster, once more speechless, and he delivers another fine performance. Rathbone brings some youthfulness to the franchise and a daringness that Henry Frankenstein didn't have in the first two. Atwill shines in one of his many roles in the Frankenstein films, and Lugosi nearly steals the movie in the only role that surpasses DRACULA.
JUDGEMENT: 10/10 4. THE GHOST OF FRANKENSTEIN (1942)
A few years have passed now, and the people demand that Dr. Frankenstein's abandoned laboratory be destroyed. They destroy it, but fail to kill Ygor (Bela Lugosi), who miraculously survived the wounds Wolf Von Frankenstein inflicted upon him. When the building is blown up, the Monster (Lon Chaney, Jr.) is set free. However, he is sick and requires the help of Dr. Frankenstein's 2nd son, Ludwig Von Frankenstein (Sir Cedric Hardwicke). Ludwig reluctantly agrees to help the monster, but then chooses to give this monster a good brain, one that will rid it of evil. However, Ygor has other plans.
Though good, it falls behind a bit. Erle C. Kenton, though a good director, clearly lacks the style and wit of James Whale and Lee Rowland. The screenplay is good, though, and the film overall is more tense than the previous films. Hardwicke is a nice contrast from the more energetic Rathbone, Lugosi is good as always, Atwill is back in a different role, and Chaney, Jr. is trying his best to play the monster, but fails to bring any of the compassion or terror that Boris Karloff could create. Worth a watch.
JUDGEMENT: 8/10 5. HOUSE OF FRANKENSTEIN (1944)
Dr. Gustav Niemann (Boris Karloff) escapes from prison with his assistant, Daniel (J. Carrol Naish), with the intent to find the records of Dr. Frankenstein and make his own monster. Along the way, Dr. Niemann seeks revenge against those who sent him to prison, and they also run across a gypsy woman (Belle Mitchell) who Daniel falls in love for. They also meet Count Dracula (John Carradine), Larry Talbot AKA The Wolf Man (Lon Chaney, Jr.) and Frankenstein's monster himself (Glenn Strange)
Though overly silly at times and not as effective as the rest of the bunch, HOUSE is a nice addition to the franchise. Karloff, though sadly missed from his trademark role, does good here, and it's nice to see him without all that makeup for once. Naish makes his hunchback sympathetic, and Mitchell is wonderfully full of life. Chaney, Jr. is great as Talbot/Wolfman, and it's nice for him to have a love interest this time out. Carradine takes the role of Dracula and makes it his own, but he feels like an afterthought and pretty much slows the narrative down. Strange, though physically on the mark, is a goofy-looking idiot in that makeup and he plays it robotically, without any emotion or trace of what this monster once represented. Still, not too bad.
JUDGEMENT: 6/10 EXTRAS
There are also some really nice and informative documentaries. THE FRANKENSTEIN FILES tells you all you ever wanted to know about these films, SHE'S ALIVE! is strictly about the creation of THE BRIDE OF FRANKENSTEIN, and there is a documentary featuring the cast and crew of VAN HELSING discussing these old films. Both FRANKENSTEIN and BRIDE OF FRANKENSTEIN have commentaries, but they are boring and dull. A couple of trailers, a short film, and a few extras scattered around as well.
JUDGEMENT: 9/10 OVERALL JUDGEMENT: 90
Three flawless films, one really good film, and one good yet flawed film, combined with boring commentaries, interesting documentaries, a fun short film, and Stephen Sommer's VAN HELSING documentary make for a wonderful box set that is everything that these films deserved and then some.
Rating:
Summary: Great DVD, best of the 3 legacy sets
Review: 1. Frankenstein (1931) - Dr. Frankenstein breathes new life into a body made of dead parts. Unfortunatly it gets an abnormal brain and begins to terrorize the countryside. The only one who can stop him is his creator. Even for a 70+ year old movie, this is how to make a classic horror movie. Contained commentary from a film historian. 10/10 2. Bride of Frankenstein (1935) - The monster survived, and now is looking for companionship. Meanwhile another scientist forces Dr. Frankenstein to continue his reanimation of the dead. The monster gets to speak and suprisingly gives an emotional performance. Also has running commentary. 9.5/10 3. Son of Frankenstein (1939) - The son of Frankenstein returns to discover the monster still lives with his friend Ygor (Lugosi). When the monster begins to kill again he must find a way to stop him. 7/10 4. Ghost of Franestein (1942) - Ygor and the monster find the OTHER son of Frankenstein :-) and starts brain-switching to cure the monster. 4/10 5. House of Frakenstein (1944) - All 3 monsters appear in this movie, but Dracula get shafted early and this is mostly the wolf-man show. Has some really great acting all around. 6/10 .. All this for ~ 20$! Also has 2 documenterys (~40min each) Great buy for 5 great movies, the first 2 are classics! Plus you get to see famous parts that Mel Brooks spoffed in "Young Frankenstein".
Rating:
Summary: CLASSIC UNIVERSAL HORROR!
Review: In part to take advantage of the release of "Van Helsing", Universal has release three great collections of movies centering on their three great horror Stars: Dracula, the Wolf Man, and Frankenstein. In Frankenstein: The Legacy Collection you get five Frankenstein movies on two discs. It's actually three discs as one is double-sided. The Movies are Frankenstein, The Bride of Frankenstein, Son of Frankenstein, Ghost of Frankenstein, and House of Frankenstein. In addition to the five films, you get two 40 minute documentaries on the making of Frankenstein and the Bride of Frankenstein. Those two films also have full-length commentaries by film historians Rudy Behlmer and Scott MacQueen. There are also still galleries of the posters used to promote the first two Frankenstein Films as well as a short film feature called "Boo". The Films have been re-mastered and restored to their original forms without the edits that were made over the years. Finally there is a short look at the new Van Helsing film. Much more cannot be said of Frankenstein and "Bride". They are two of the renowned classics of the genre and deservedly so. James Whale's brilliant and atmospheric directing provide a gothic sense of forboding that were lacking in the rest of the films. Son of Frankenstein was the third in the series and the last to feature Boris Karloff as the monster. Basil Rathbone plays the son who returns to the village where his father made the original monster and is scorned by the villagers. To his astonishment, he finds out that the monster was not destroyed and has been cared for by Ygor, played by Bela Lugosi as a broken-necked grave robber. Eventually they revive the creature who does Ygor's evil bidding. The creature regressed here and was no longer talking as he did in "Bride". He is also much more decidedly evil as opposed to the sympathetic creature of the first two films. Son also lacks the gothic atmosphere of the first two movies but it's still good. House of Frankenstein was one of several teamings made in the 1940's of Universals "big Three" of the Monster, Dracula, and the Wolfman. The others included House of Dracula, Frankestein Meets the Wolf Man, and Abbott and Costello Meet Frankenstein. While there is a definite decline in quality as the series goes on, this is still an outstanding collection and I think the best of all the recently released Legacy collections. I particularly love the vast array of movie posters which were produced, many of which I had never seen before. A definite must for fans of classic horror. Hopefully Universal will not stop here and eventually will produce sets on the Mummy and Creature from the Black Lagoon.
Rating:
Summary: Lovingly executed collection of Frankenstein flicks...
Review: Beautifully done collection of the classic Universal FRANKENSTEIN films. Of course the first two are the best--still chilling and mesmerizing; the subsequent sequels, however, are best only for inducing nostalgic memories of Saturday matinees gone by... Even, so Universal's done a terrific job of collecting and packaging the franchise. The bonus features are good, too, although the blatant tie-in with the new VAN HELSING movie is borderline obnoxious and can only be forgiven because of Stephen Somers's on eloquent infatuation with the original films. Definitely a keeper!
Rating:
Summary: Who could ask for more!!!!
Review: I can't believe it. For twenty dollars you get five of the classic Universal Frankenstein films! The original, the Bride sequel, the Son of, the Ghost of, and the House of. This is the Boris Karloff collection, but he does not appear in 'Ghost of Frankenstein', the monster is portrayed by The Wolfman himself, Lon Cheney. Also House of Frankenstein is awesome becouse Boris is the mad scientist that succumbs to the monster. As if you need anything else, Bela Lugosi plays Igor in Son and Ghost. These are the classics that we all searched for for years. Now they are all together in an awesome package. Great price, great movies, and awesome extras. Hear from Boris' Daughter, film historians, and even Clive.
Rating:
Summary: He loves dead, hates living
Review: Frankenstein's Monster is probably one of the most misunderstood monster in horror film's history. Wasn't his choice, the Monster was made to be alive. He speaked for himself, "I love dead, I hate living." The Monster wasn't that bad at all, he's just like the Elephant Man, quite sympathetic. The DVD contains 2 disc (1 single sided and 1 double sided) with 5 classic horror films: four sequels of Frankenstein, and one another film called House of Frankenstein. It comes with quite lots of special features like original theatrical trailers, documentary feature, commentary audio track, original poster and photo galleries, English closed captioned, and other substitles, etc. Surprisingly, both picture and audio quality are quite good & clear. Obviously, they are newly remastered for better clarity. It also includes an exclusive behind-the-scenes look at how these original Frankenstein films inspired director Stephen Sommers on his new movie Van Helsing. I don't feel it's an inspiration, I think Stephen Sommers wants to reuse couple classic scenes to show some authenticity of Frankenstein's monster in his new movie. But it seems it's trying to promote his new movie Van Helsing. Besides that, the true & serious fans of Frankenstein should find this DVD as their MUST-HAVE collectible item.
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