La novia de Frankenstein

Their are few sequels that are superior to their predecessors, however, Bride of Frankenstein not only equals it's masterful original prototype Frankenstein (1931), but infinitely surpasses it in every way. Despite the first films reputation as a classic, it's honestly not quite as witty and is much too straightforward when being compared to much more satirical, Bride of Frankenstein. Not to mention, it lacks much of the sophistication in the effects and eccentricities that the immortal sequel possesses. Needless to say, both films are justly hailed as classics, but it's the immortal sequel where James Whale's combining of horror and wicked humour (and "hidden" inflammatory work) is expressed more clearly and more prominently.

After initially refusing to do a sequel to Frankenstein, director James Whale would eventually falter when Universal agreed to let him have complete artistic freedom. Production was much-publicised as early as 1933, however, Whale, who was following his towering success with Frankenstein, The Invisible Man, and The Old Dark House, wouldn't begin working on a sequel until late 1934, which was originally entitled The Return of Frankenstein. The film was adapted by William Hurlbut and John Balderston from an incident from the Mary Shelly novel Frankenstein, in which the monster demands a mate. However, in the novel, Dr. Frankenstein creates the Bride, but instead of bringing the monster to life, he decides to destroy it, greatly differing the film adaptation from the novel.

Most of the original cast remained, as the film reunited Colin Clive (as Dr. Frankenstein) with Boris Karloff (as the Monster), but Mae Clarke, a blonde, who was dropped from Universal was replaced by then seventeen year old Valerie Hobson, a brunette (as Elizabeth). Clark was acceptable in the role as Elizabeth in the first film, however, Hobson excels when in comes to chewing up scenery; therefore handles the role much better in the sequel. Both Marilyn Harris (Little Maria from Frankenstein) and Dwight Frye (Fritz from Frankenstein) would return as well, but as different characters - Harris appearing uncredited and Frye appearing in another memorable role as Karl. Also, new characters were brought to the forefront: Ernest Thesiger (as Dr. Pretorius) with Una O'Connor (as Minnie) and Elsa Lanchester having a dual role (as both Mary Shelley and The Bride).

Unfortunately, Clive had suffered from a broken leg during most of the filming - a result from a horseback riding accident - and most of his scenes were shot sitting or laying down. However, once again, Clive did an absolutely incredible job portraying Dr. Henry Frankenstein and proved to be a perfect choice yet again. Though, for much of the film, he takes a backseat to the fine and unique acting of Thesiger, who gives an unforgettable performance as the "mad scientist" named Dr. Septimus Pretorius, who much of the film revolves around. There is a sexual uncertainty to Pretorius' character and many suggestions of homosexuality. With the films masterful blend of horror and black comedy, it's Thesiger who shines best and in many ways the film is stolen by him when he's seen on screen; the equally charismatic O'Connor works best when playing directly opposite of Thesiger.

Bride of Frankenstein is also presented with the same terrific German expressionist camera-work by cinematographer John J. Mescall, although reportedly drunk through much of the production, uses brilliantly effective camera movements and angles that added eminently to the creation of the Bride scene. Mescall also composed a number of bizarre and inventive angles that intensified Thesiger's skeleton-like frame and vivid characteristics aiding his already superb performance. Although for Karloff, the four hour makeup job done by Jack P. Pierce, which was blue-green in colour, gave Mescall nothing but problems. The film is also accompanied by a fascinating score composed by Franz Waxman, which is nothing less than a masterpiece of excitement and melody. Though it wouldn't be Waxman's most mature work, it most certainly remains one of his most famous and probably his most influential.

Much of the film concerns itself mostly with the Monster (Karloff) trying to find a place in the world and his growth; much of his character is seen as a humanely being craving for the company and acceptance of others but is mostly rejected. He fails to seek friendship with the young shepherdess (Ann Darling); with the Monsters experience in the first film with Little Maria, he knows that he must save her from drowning. Of course, everyone finds him too frightening, however, in one of the many incredible scenes the film provides, the Monster is eventually provided with sympathy and encouragement when he encounters the old blind hermit (O.P. Heggie), who becomes the Monsters first true friend. Karloff's performance is truly remarkable, as it was in Frankenstein. Although, he opposed that the Monster speak, his character benefits greatly from this, as he finds room to expand on his already brilliant craft.

The memorable sequence of bringing the Monster's Bride (Lanchester) to life is unequaled - even the original scene in Frankenstein pales in comparison. The presentation of the birth of the Bride is stunningly as well, as Clive exclaims: "She's alive! ALIVE!" Lanchester who only stood 5'4" tall was placed on stilts that made her 7'0" tall, as well as, her unforgettable shock hairstyle which stood up and hinted that the electricity had shocked her to life was held by a wired horsehair cage. Also, her darting swan-like movements were inspired by the angry swans in London's Regent Park. Although, the Bride's appearance is extremely brief, it's most certainly worth it, especially when she finally encounters the Monsters.

The macabre, satirical Bride of Frankenstein is a key film to the horror genre (perhaps the best) and one of the genuinely great films of any genre. It's one of the most wonderfully crafted films in cinema history and is easily lauded as Whale's finest screen hour. This one has rightfully deserved it's ranking amongst the best of what Hollywood has to offer.

The sequel to the iconic horror classic Frankenstein is an oddball one. That's part of its charm. The Bride of Frankenstein sounds like a piece of parody rather than a sincere followup, and in a way it's awareness of its sometimes satirical nature makes it stronger than its straighter predecessor. However, its finest facets are its ahead-of-its-time technical aspects. The stark cinematography is astonishing and the precision of its sharp editing is unprecedented, let alone the reliably impressive production design. It's a much more entertaining and enduring experience than other films of the 30s. James Whale got much better conviction out of his actors this time around and it deals with the moral consequences of their actions rather than leaving it to loud anguish. While the film is a bit of retread of the first film as Frankenstein's monster is chased from place to place, it adds development and essential sensitivity to his character leading its tragic end to be much more meaningful in its destruction. This was a very pleasant surprise, ominously horrific and slyly comic, without the two clashing.

8/10

I love the first Frankenstein, it was shocking and enthralling despite the complaints of it being dated and slow. Maybe so but I still love it. The Bride of Frankenstein is a wonderful sequel to an already wonderful film, and surpasses it technically I feel. Even if the acting is a little forced in the beginning scene, with the exception of Elsa Lanchester, that is such a minor flaw compared to how good and enjoyable this film was. If you ask me Bride of Frankenstein is one of the greatest achievements in the history of horrordom.

First of all, it is extravagantly produced. The sets are really imaginative, the cinematography is beautiful and the costumes are extravagant. Along the way I noticed two improvements compared to the first film. One is that Bride of Frankenstein is faster in pace, and two the music score is more haunting and melancholic here, Franz Waxman was the perfect choice for composer. Bride of Frankenstein also has some really effective scenes, the ending was very well done as was the unveiling of the bride to the sound of wedding bells and the miniature people in the bell jars, but I found the scene between the monster and the blind hermit especially touching. James Whale's direction is innovative just like in the first film, and the script is also very good and adds to the atmosphere. The acting is excellent, Colin Clive is very good once again as the eccentric Henry Frankenstein, and Ernest Thesiger gives a genius turn as Doctor Pretorious. Valerie Hobson is alluring and sympathetic as Elizabeth, occasionally overdoing it with the hysteria but she was fine overall, while Elsa Lanchester is good as Mary Shelley but electrifyingly beautiful as the bride. Once again though, Boris Karloff gives the finest performance, his towering presence and frightening look ensures for some scares, but he is very poignant as well, as his monster only wants to fit in and is rejected by everybody.

Overall, a wonderful sequel, and not to be missed! 10/10 Bethany Cox

Everything went right; from the opening,where Lanchester plays Mary Wollstonecraft Shelley with a gleam in her eye, and overly sweet sarcasm, to the beginning of the sequel, where Karloff is thought dead, to Lanchesters Nefertiti hair near the end , her priceless reactions.

Karloff is excellent as a monster wanting a mate. Una O'Connor is a scream as Minnie, the old biddy who is screeching to see the Monster killed, then shrieks when she spots the Monster. She is told to shut up at least five times in the film. Ernest Thesiger as Dr. Pretorius is a great mix of horror and humor; he robs graves, and also swigs gin out of laboratory beakers, has supper on top of a coffin, gets the Monster to have cigars with him.

Franz Waxmans' playful score, the cinematography and set design that are both reminiscent of "The Cabinet of Dr. Caligari" (1919), Everything works. The perfect mix of horror and humor.

Forget the likes of "The Godfather II" and "The Empire Strikes Back" - "Bride of Frankenstein" is THE greatest example of a sequel completely surpassing the original in terms of sheer brilliance. Coming four years after the original 'Frankenstein' in 1931, director James Whale was originally reluctant to make a sequel but changed his mind after being allowed to make the film more on his own terms. No other director has ever managed to blend horror, comedy and pathos as successfully Whale. The film features some of the most memorable scenes in cinema history, notably the monster's encounter with a lonely hermit and the introduction of 'The Bride'. The film has it all: superb casting, tremendous sets and make up, memorable dialogue ("To a new world of Gods and monsters") and a brilliant score by Franz Waxman. Boris Karloff must surely be one of the greatest actors to ever appear on film. He manages to improve on his initial characterisation of the Monster, due mainly to the addition of dialogue ("Friends, good!"), and, unlike in the first movie, actually makes us feel total empathy for the Monster. Colin Clive returns as the reluctant Doctor F, Una O'Connor makes a wonderful addition as the twittering and hysterical Minnie, but it is Ernest Thesiger who steals the film with his hilarious performance ("Have a cigar. They are my only weakness") as the sinister Dr. Pretorious. Although Elsa Lanchester appears as the Bride for only about 2 minutes at the film's finale, it will be the role for which she is forever associated. The film is regarded as the high point of the Universal horror series and stands as a testament to the genius of James Whale.