"With times as tough as they are, we present a formula for cheap amusement:" "Nightmares." "First you eat a real lobster - not the kind they send to Congress." "Then you add milk and mix in a horror story." "We've all heard of the worm that turned, but this is the bookworm that turned - inside out." "If you can work up a chill, it helps." "A little tomain poisoning will get your mind off your other troubles." "When you get that feeling, a cross between delirium tremens and the seven-year itch, you know that something will come up any minute." "A good nightmare always begins in a dark cellar with a coffin." "A caretaker comes down to see that all the ghosts are locked up for the night." "He'd better keep away from the casket or he'll be coughing'." "But he doesn't care." "You can see how brave he is." "So he decides to ask the guy his name and how he feels." "Why, it's Dracula, the guy who invented necking." "The caretaker decides to run out and have a good fit." "He's afraid that Dracula may want a blood transfusion any minute, but when he tries to go away, he meets himself coming back." "It looks as though he's having his ups and downs." "He acts like Congress and always ends up where he started." "This exercise is good for water on the knee, water on the brain and other naval diseases." "It is also a good way of enjoying the jitters without drinking alcohol." "The poor fellow is afraid to go to bed, so he sleeps in a hammock." "Dracula wants to start his stuff." "He thinks he's clever, but we see right through him." "So the caretaker comes downstairs with a hatchet." "I don't know how he got upstairs, but anything can happen in a nightmare." "Dracula was a big cheese, so he always had mice around him." "So he hits Dracula in the coffin." "As usual, Dracula rises to the occasion." "Now he's got Dracula sore, and the caretaker hasn't a ghost of a show." "The caretaker decides he might have been seeing things." "Maybe his near beer was nearer than he thought." "No, sir, he was right." "A guy with a face like Dracula must be a spook, or he'd have his face lifted." "And the worst of it is, this spook looks screwy." "There's nothing screwier than a screwy spook." "He decides to retire." "If I were in his place, I'd resign or at least quit." "As the door blows open, he gets the delicious aroma of fresh ghost." "He gets an attack of the pivot disease." "It's like the hiccups - the more you do it, the more you have to." "When you think you're over it, you're just beginning." "The only way to stop is to do it faster and tire yourself out." "If you saw this sight in your bedroom, maybe you'd have a jitter or two." "He's got it again." "This is what's known as being several sheets in the wind." "It's becoming a habit." "Pretty soon he'll wear out the sheet and he'll have to start on the mattress." "Then he'll get down to the rugs and they'll need new furniture." "So Dracula comes up close and shows us what the well-dressed ghost is wearing." "He throws his silhouette on the wall, and the wall is so scared, it looks plastered." "And now the blood may spurt any minute." "Gush, gush." "There is the profile that has won first prize in all the ghost beauty contests." "When Dracula was born, his mother took one took at that face and had herself arrested." "So he decides to go back to his coffin and sleep for 100 years until Congress decides to do something about the Depression." "Well, well, what a nightmare." "Think of having Dracula and the monster from Frankenstein in the same dream." "He's asleep, but maybe if we talk in his own language we can wake him." "You see, it's very simple, if you know how to handle your monsters." "This looks dangerous." "Hey, Doctor, look out." "He's awake." "Well, it's too late." "It looks as if the doctor is going to need a doctor." "No, we were wrong." "The doctor's going to need an undertaker." "The monster starts out to look for trouble." "There's so much trouble these days, he shouldn't have any trouble finding it." "He can't decide which way to go." "He's like a woman automobile driver." "Here's Dracula." "When he and the monster get together, things should happen." "What do you think of that?" "He's afraid of Dracula." "Which proves that a monster can dish it out, but he can't take it." "Who's this?" "Why, it's Helen Twelvetrees." "Maybe the nightmare is going to become a pleasant dream." "No, we're wrong." "The monster is still looking for trouble." "A man tells Helen she has no business being in the same nightmare as Dracula." "But Dracula's nearby and the gentleman's finish starts to begin to commence." "Meantime, the monster is looking on and studying Dracula's technique." "Helen is beside herself, and now something else is beside her." "There's nothing for Helen to do but faint and wait for the nightmare to be over." "Dracula's income tax was due and he had to get some money." "When night came, Helen had decided to call it a day." "But she forgot to take her jewels off, and they look like ready money to Dracula." "He has to be careful." "Helen is very ticklish around the neck." "In fact, it's a very ticklish situation." "And, of course, the monster is taking it all in." "But suddenly Dracula throws caution to the winds and his fingers to the windpipe." "Finally, the deed is did, and Helen awakes in her sleep." "When Helen tells the young man she saw a ghost, he says he'd like to see one too." "Well, it's too bad." "It looks as if his goose is cooked or his cook is hashed." "Dracula gets him and we hear the vampire eating his supper behind the wall." "It's becoming tough." "Every time Helen talks to a man, Dracula gets him." "At this rate, she could never get married - she'd be a widow every 15 minutes." "Dracula has finished his entrée and is coming back for the dessert." "The monster is still around and he's getting a lot of bad ideas." "There comes Dracula in disguise, but we'd know him anywhere." "You can always recognise him by the fourth toe on his left foot." "The monster thinks chasing women is a lot of fun." "In fact, he decides to try it himself." "And here's little Mae Clarke." "She's going to be married and, as you see, she's jumping with joy." "In the background is the monster, ready to try out Dracula's technique." "If Mae had eyes in the back of her head, she'd faint." "Hey, Mae." "It's..." "Too bad." "We tried to warn you, Mae." "So she starts to run with the monster behind." "They start to play follow-the-leader, then it becomes ring-around-the-rosey." "Mae is so scared, she's running around in circles." "If her fiancé sees her, he'll think she's nutty." "She finally tells the monster she can't play because she's got to be married." "The poor monster is broken-hearted because nobody's afraid of him." "He has to sit down all day, because when he stands up his feet touch the floor." "But finally he sees what he wants and decides to go after it." "What can it be?" "Maybe it's Dracula." "Whatever it is, he wants it." "Why, it's our lobster-and-milk friend, and look where he is." "He'd better look out, or the monster will get him." "It's a good thing he's waking up, or he might fall and break his chandelier." "And the moral of this story is:" "You can milk a cow, but a lobster is very ticklish." "Look." "It's moving." "It's alive." "It's alive." "It's alive." "It's alive" "It's alive It's alive" " It's alive" " Henry, in the name of God" "In the name of God, now I know what it feels like to be God." "Sometimes I think we film historians are a bit like mad scientists, poking around in dusty vaults, stitching together our research, trying to give a jolt of new life to Hollywood's forgotten heritage." "Fortunately one film that's never been forgotten is James Whale's Frankenstein, one of the most influential and imitated motion pictures of all time." "When the film was first released in 1931," "Universal added a special prologue, part showmanship, but partly out of real apprehension that Frankenstein might be too much for nervous audiences of the Great Depression." "I think it will thrill you." "It may shock you." "It might even horrify you." "So if any of you feel that you do not care to subject your nerves to such a strain, now's your chance to..." "Well, we've warned you." "While Frankenstein may no longer really shock or horrify, it has never lost the power to fascinate." "Boris Karloff's star-making performance created one of the most instantly recognisable cultural images of the 20th century." "So, if my friend here doesn't make you nervous, perhaps you'll join us both as we enter the vaults of Universal Studios, and open the Frankenstein Files." "Have you never wanted to do anything that was dangerous?" "Karloff's performance is definitely unique, and one of the great performances, in my estimation, in film." "My father always referred to the monster as his very best friend." "It's simply the most powerful character make-up ever created for the movies." "I wanted to be Dr Frankenstein." "I wanted to be the guy who made the monsters." "Those films were the ones that inspired me." "Most people have come to know the story of Frankenstein through motion pictures, especially the films produced by Universal and starring Boris Karloff." "But the original tale was the work of a precocious teenaged writer," "Mary Wollstonecraft Shelley." "Published anonymously in its first edition," "Frankenstein;" "or, The Modern Prometheus, was the result of a parlour game she played with Percy Shelley and Lord Byron during a rainy vacation in Switzerland in the summer of 1816." " Come, Mary." "Come and watch the storm." " You know how lightning alarms me." "They were all hole n there, the weather was bad, and somebody came up with the idea " "Percy or Lord Byron - that they should have a writing contest." "Frightened of thunder, fearful of the dark." "And yet you have written a tale that sent my blood into icy creeps." "Look at her, Shelley." "Can you believe that lovely brow conceived of Frankenstein?" "A monster, created from cadavers out of rifled graves." "We're so used to the Hollywood version of Frankenstein, the Universal picture, with all of the electrical apparatus and the tremendous production value." "Of course, Mary Shelley, when she wrote the book back in the early 19th century, described it somewhat differently, and, if I may read just a paragraph, it leaves a great deal up to the imagination." ""It was on a dreary night of November that I beheld the accomplishment of my toils."" ""With an anxiety that almost amounted to agony," "I collected the instruments of life around me that I might infuse a spark of being into the lifeless thing that lay at my feet."" ""It was already one in the morning, the rain pattered dismally against the panes, and my candle was nearly burnt out, when, by the glimmer of the half-extinguished light," "I saw the dull yellow eye of the creature open."" ""It breathed hard, and a convulsive motion agitated its limbs."" "Then she goes on." "She left it deliberately vague." "You're not quite sure whether there was black magic involved, or whether there was some vague elixir or something." "Certainly not by thunder, lightning, electrical impulses and so forth and so on." "There was none of that." "There are certainly many dimensions to this story." "We can talk about Faust, we can talk about the overachiever, we can talk about man trying to emulate God." "There are so many aspects, which I think is the keynote as to why this particular idea has transcended time." "The novel was perfect for stage dramatisation, and playwrights realised this right off the bat." "It was just a few years after the novel was published that the plays started coming forth." "In 1823, I believe," "Richard Peake presented Presumption, which was the fate of Frankenstein, which actually was quite a melodramatic offering." "It starred as the monster an actor named Thomas Potter Cooke, who became in the 1800s pretty much what Boris Karloff became in the 1900s." "He became typecast, playing the Frankenstein monster in all kinds of revivals of that play, in other plays." "The stage production that most influenced Universal's film was the version written in 1927 by Peggy Webling and produced by the British actor/manager Hamilton Deane." "Deane himself played the monster." "Film historian and former actor Ivan Butler was a member of Deane's company." "And he had to rely wholly, of course, on stage make-up, which was quite effective." "Mixtures of greens and yellows and blues." "And a matted wig on the top." "He was as tall as I am, and he wore lifters under his shoes to make him a bit taller still, and he looked enormous." "Hamilton Deane in the stage production actually was dressed very much like - he was the monster, the creature - very much like Henry Frankenstein, the creator." "They dressed very closely, and once again it was the mirror-image bit." "In the late 1800s, early 1900s, it became fashionable to interpret the novel in a way that Victor Frankenstein and the monster were like Yin and Yang, opposite sides of the same coin, Jekyll and Hyde." "They were basically the same character." "Deane played Frankenstein in repertory with his production of Dracula, which partly formed the basis of the Universal film starring Bela Lugosi." "But, unlike Dracula, the Frankenstein monster was a sympathetic character." "There was this touch of pathos with regard to the monster." "He was to be pitied." "He didn't ask to be brought forth into the world, and there he was." "And because of his appearance, which was not his doing, no matter where he went or what he did, people were frightened of him." "He threw a dove out of the window." "We had a cage full of doves and one stuffed one." "And Deane used to get very angry when he couldn't get hold of the stuffed dove, cos the other doves were saying "What are you doing?"" "And he used to throw it out of the window." "He never said "Fly"." "He said "Floy"." "Most peculiar accent he had." "Deane staged his melodrama with almost none of the special effects that would later become standard." "His creation scene was a masterpiece of theatrical understatement." "You just saw him move and then he got up." "He got up very effectively." "The monster's ultimate revenge on his maker was staged with the simplest materials, enhanced immeasurably by dim lighting." "He attacked Frankenstein, bent him over a table, apparently tore his throat out." "He had a bowl of red dye and a sponge." "He used to bend over and he'd pick out this dripping thing and throw it down." "It was really quite effective." "There was a tremendous roll of thunder, flashes of lightning, and that was the final curtain." "Techniques of the theatre, especially expressionist theatre, had a major influence on prototype horror movies produced in Europe in the 1920s." "In terms of art direction, German expressionist cinema was characterised by intense light and dark, lots of shadows." "The Hollywood style for a very long time was generally flat lighting, lighting to make sure people saw everything." "When Hollywood filmmakers were first confronted with the German films, they were very surprised by the kind of atmosphere you could create, and that flows into the horror films, especially that Universal made." "Studio founder Carl Laemmle was born in Germany and imported much European talent to Universal City." "It was his son, Carl Junior, who was most attracted to horror themes, much to his father's initial disapproval." "But the success of Dracula was all that was needed for Junior Laemmle to have his way with horror films." "Frankenstein, another classic, was the obvious next choice." "Frankenstein was originally to be directed by Robert Florey and to star Bela Lugosi." "Bela Lugosi was a hot actor." "He'd just come off of Dracula, so it was, again, a logical choice." "And Florey claimed that some of the scenario, if not all of it, was his idea." "Robert Florey was a Franco-American." "He'd grown up partially in France and had started out in the '20s making interesting little experimental films that were very strongly influenced by German expressionism." "The Cabinet of Dr Caligari starred Werner Krauss and Conrad Veidt in a tale of mind control, madness and murder." "It was one of Florey's favourite expressionist films and a model for his proposed Frankenstein." "There are similarities in that you have in The Cabinet of Dr Caligari the Werner Krauss character who, in some ways, creates this being, but he is without his own will." "He is a somnambulist who Caligari keeps bringing back almost from the dead." "Another antecedent to Frankenstein, of course, is The Golem, which is also a film about a human-made monster that comes to life and then wreaks havoc." "Although Bela Lugosi was announced as the star of Frankenstein, he had objections to the assignment from the beginning." "With the success of Dracula, he didn't want to play the monster, this mute, heavily made-up character." "He thought he was too handsome and too well known." "There actually was a test scene of Lugosi shot for Frankenstein." "The make-up people who were there all describe Lugosi's make-up as basically resembling the golem." "And the story is that Lugosi had a very claylike skin, a claylike look and also this big head of hair." "I keep hoping that this footage crops up somewhere." "I would love to see it." "The first writer assigned to the project was Garrett Fort, who combined Florey's ideas with an unproduced stage adaption of the Peggy Webling play by John Balderston." "Despite Florey's passion for the project, another director was already waiting in the wings, and Florey was soon out of the picture." "There is no paperwork in the files as to why he was taken off the project, but then, as we know, James Whale became the director." "James Whale had come over from England." "He had directed a very successful play in England called Journey's End, with Colin Clive, who eventually played Henry Frankenstein." "Whale was a rapidly rising Hollywood director, noted for his direction of World War I dramas." "Sir lan McKellen was nominated for an Academy Award for his portrayal of James Whale in the film Gods and Monsters, which earned writer/director Bill Condon an Oscar for adapted screenplay." "Action." "It was the moment when theatre directors were being imported by Hollywood to deal with the fact that actors suddenly had to speak." "Whale was more than anything responsible for the choice of Karloff." "My father had been in Hollywood about ten years when he made Frankenstein in 1931." "And what most people don't know is that it was his 81st film, I believe." "He was in many silent films and also in a lot of talkies before Frankenstein." "He was having lunch in the commissary, dressed in one of his good suits and looking very spiffy, and James Whale spotted him." "Whale saw his face and was fascinated by the bone structure of it, and called him over to have some coffee." "Whale, as he put it, engaged in general conversation about England and about the problems of English actors and English directors in Hollywood, and then suggested that he had a role for which he would like Boris Karloff to do a screen test" "and would Karloff be willing to do it?" "And Karloff jumped at it without even knowing what it was." "My father used to say his feelings were a bit hurt, since he was looking his very best that day, and to be considered for the role of the monster, he thought "Hm"." "But he was wise enough to take the part and, with the help of Jack Pierce and his genius make-up, went on to make cinema history." "Jack Pierce was the creator of all the classic Universal horror make-ups, the head of the make-up department at Universal during the golden age." "He was the man that did Frankenstein's monster, the mummy and the wolf man, and all the classic make-ups." "And he didn't have the luxury that we have today of the modern materials." "Everything that he did was an out-of-the-kit make-up." "Everything was fabricated." "He was a master at it." "This make-up, the Frankenstein's monster, everyone knows this." "It's instantly recognisable and it's one of the all-time great make-ups." "I just hope someday I can do something that comes close to that." "Of course, there's a great deal of debate about that make-up." "A lot of people think that it was inspired by James Whale rather than Jack Pierce." "Jack Pierce, naturally, would say that he was the man, although he did say at one time that it was a compromise." "Who came up with the monster's make-up and look?" "My idea, muchly." "From my sketches." "Big, heavy brow." "Head flat on top so you could take out the old brain and put in the new like tinned beef." "The monster's trademark square forehead may have been partly inspired by Thomas Edison's 1910 version of Frankenstein, in which Charles Ogle played the monster." "But there's no question about who executed that job." "It was Pierce." "Films really are a collaborative effort, and so many people are in the mix, and sometimes it works and sometimes it doesn't." "This was a case where it all worked so well, when you had James Whale, Boris Karloff, Jack Pierce, all the people involved in this film, it just clicked." "I've seen photos of an earlier test." "It was very similar." "He still had the flat head and the brow, but there were these two ridges on his forehead with a little semicircular clamp on each one." "In fact, it's a photo that still crops up when they need a picture of the monster." "I guess the photo editors weren't too careful about whether it was really in the film or not." "The frontal bone, the brow here, was fabricated out of cotton and spirit gum and collodion, which is this really strong-smelling, very solventy-smelling plastic." "You would put on a coat of spirit gum, stick some cotton on it, paint some collodion on it, and gradually build up the form." "The same with the top of his head." "The flatness of the head was built up that way." "It was quite painful to have this cotton and collodion built up every day, especially so close to your eyes, with that strong solvent smell." "And the painful process of removing it, as well." "He had to have amazing endurance to go through this." "I'm sure it helped that it was early on in his career." "The story goes that Karloff felt that in some of the original tests he looked too alive, his eyes looked too alive." "So he suggested that Jack do something to it, so they ended up building up these heavy eyelids with mortician's wax over Karloff's own lids, only allowing him to open them partway like this, but he was still able to give an amazing performance with these lids." "Another thing that helped that corpselike appearance was Karloff had a bridge, on his right side, which he removed so he could suck in his cheek, on that one side, and Pierce shaded it to accentuate it." "Again, when you think of this make-up, you think of the flat head and of the electrodes, which most people think are bolts through his neck." "But they are actually supposed to be how the electricity entered into his body." "There's a positive and a negative, like on a battery." "Because it all worked with the contours of Karloff's face, he was able to express an entire range of emotions that other actors couldn't do under the make-up when they essayed the role." "That's part of the beauty of this make-up." "He was able to perform in it because so much of it was his face." "If you would have built up much more on him, he would have become very stiff." "Collodion isn't really very flexible, especially when you mix it with cotton." "Not only was the make-up arduous, on and off every single day, it took three, three and a half hours to put on and almost as long to get it off..." "The wardrobe itself was heavy and black, and they shot in the middle of August." "The boots were heavy and cumbersome." "I know there was one really torturous day, which I think was almost a 24-hour day." "Being made-up like this, being outdoors." "I think they shot the "throwing the girl in the water" scene and then had to come back and shoot something else." "And it was not a fun job, I'm sure, for Boris." "The most difficult part of the shoot was my father carrying Colin Clive up a hill time and time again until they got it right." "Ultimately, he ended up having three back surgeries." "He really suffered for the rest of his life, physically, because of just the physical difficulties in shooting that film." "Designer Herman Rosse conceived a futuristic look for Frankenstein, but, in collaboration with art director Charles Hall and director Whale, the film took on a distinctly Gothic look, with angles and shadows in keeping with Robert Florey's initial expressionist vision." "The concept of the burning windmill also originated with Florey, who felt the laboratory should also be situated in the mill." "Preproduction concepts for the monster itself by Hall and Rosse were obviously discarded by director Whale, an experienced production designer in his own right." "He was very meticulous about every shadow and every camera setup, and the way that the frame was filled so completely to the top." "There's an amazing verticality to the design of his sets." "Emotionally, so much of Frankenstein leads up to that moment when the monster sees the sun for the first time and reaches up, trying to touch it." "And you wonder if the whole verticality of the movie wasn't designed by Whale just to get you to that moment." "The sizzling laboratory equipment was the handiwork of Kenneth Strickfaden, a Santa Monica inventor who put his mark on mad-scientist laboratories for all time." "The original machines would continue to put in movie appearances until the 1970s." "Karloff was fourth billed in a cast headed by Colin Clive, an actor whose anguished roles sadly reflected his own inner turmoil." "James Whale chose him over the previously considered Leslie Howard." "Colin Clive" " Henry Frankenstein - was a very broke personality, having rather a Jekyll/Hyde personality," "Jekyll when he was sober." "Really, the whole company of Frankenstein was apprehensive, at the time the film was made, that Clive might begin drinking and become Mr Hyde, if you will, one night in Hollywood, and it would greatly endanger the picture." "But Whale handled him with great sensitivity." "Mae Clarke played Frankenstein's fiancée, Elizabeth, and shared her memories with film historian Gregory Mank." "Mae Clarke was still very much the actress and insisted on acting out scenes from Frankenstein in her bungalow at the motion-picture home." "And she got up and did the monster." "She relished playing the monster." "She went marching across the room with the monster steps." "And she acted out his discovery of light and raised her hands to the skylight." "And she was really quite good." "She made a good monster." "Mae Clarke adored James Whale." "She said he was" ""the pluperfect gentleman and the genius"." "He had directed her in Waterloo Bridge, in a wonderful part as Myra, the streetwalker, who dies in World War I." "And so she already had a great relationship with Whale." "She said that he was involved in every capacity of production." "He'd be up on the boom-crane tower, he'd be in the sound room, he had his finger on every single pulse of the picture." "She talked about Colin Clive, whom she had great sympathy and empathy for." "She said that he was the handsomest man she ever saw, and also the saddest, and she had great sympathy for the torment that drove him to an early death." "She very much admired Boris Karloff." "She said "Dear Boris Karloff was a pussycat."" "In her scene with Karloff in the boudoir, the monster comes through and stalks behind her and growls at her." "She screams." "She was terrified." "She really was scared of him at that point." "She said to him "If I turn around and see you, I'm afraid how I'll react."" "And so Boris said "I'll tell you what we'll do, Mae."" ""You just keep your eye on my upstage, away-from-camera little finger, and I'll wiggle it."" ""You'll see the monster wiggling his finger and know it's Boris in make-up."" "He did wiggle his little finger, which was a little finger compared to the rest of him, and she got through the scene all right." "Edward Van Sloan, who had played the role of Professor Van Helsing in Dracula on stage and screen, brought a similar note of moral authority to the role of Dr Waldman." "Next to Boris Karloff, seven-year-old Marilyn Harris gave the film's most poignant performance." "Would you like one of my flowers?" "Marilyn had an immediate rapport with Boris Karloff." "She said that on the morning that the company assembled at Universal to go on location to Malibu Lake for the scene, there was this little parade of limousines and out came the monster, and she, at the age of seven, ran right up to him and took his hand and said" ""May I drive with you?" And Boris Karloff said "Would you, darling?"" "Here was this child who was terrified of her mother, but who instinctively loved the monster." "She said it was like magic." "And the magic really carries over to the scene." "Karloff protested throwing Marilyn into the lake." "He wanted to change the script." "Karloff's idea was for the monster to show his innocence by playing with the child and not having anything awful come of it." "James Whale said "It's all part of the ritual."" ""This has to happen, to show the tragedy of the monster."" "So Karloff, of course, accepted it." "But when he did pick up Marilyn and throw her into the lake, she didn't sink." "And so James Whale went up to her and he said" ""I'll give you anything you want if you'll do this scene over again."" "And Marilyn said "All right, I know what I want."" "He said "What?" She said "A dozen hard-boiled eggs."" "Her mother always had her on a diet." "So, sure enough, Boris Karloff threw her again into the lake, farther, and later she received her present from James Whale." "It was two dozen hard-boiled eggs." "As Frankenstein's demented assistant, the former Broadway actor Dwight Frye followed an equally bizarre role as the insect-eating madman in Dracula." "The character of Fritz, not in the novel, originated in the earliest stage productions of Frankenstein." "I don't know how James Whale found my father, really." "I don't know whether he saw Dracula and thought he would be a good idea for Fritz or whether he had seen some other of my dad's work, I don't know." "But James Whale became, ultimately, during and after the making of Frankenstein, a champion of my father's." "He was in five different James Whale films throughout his career." "But the versatile actor was soon typecast in over-the-top horror roles." "I think it is true that the larger-than-life figures that he may have played on film result from his character work and his acting work on Broadway, where you do have to project something more than just your own self." "You have to be bigger than life on the stage." "They're all weird and they're all crazy, to one extent or another, but they are different from each other." "I think the first time I saw them, he was watching my reaction quite carefully." "I was probably six at the time." "And, as I understand it from my mother, when we came back and I went to bed and got up the next morning, my father was very upset that I hadn't been frightened by anything I'd seen." "Children seemed to empathise with the creature and probably understood the message my father was trying to deliver with his portrayal, and that was that the monster, or the creature, as he preferred to call him, was the victim more than the perpetrator." "And children seemed to understand that instinctively, he said." "They were not afraid of him and they were not afraid of the creature." "The Frankenstein monster is totally innocent." "He's rather like an adolescent." "He's in a world that is not of his making and he doesn't completely understand the rules." "And, like many adolescents, he's a clumsy, very awkward thing, so of course children across the world just grafted on to the Frankenstein monster, particularly Boris Karloff, because they could see the inherent innocence, could see the pathos," "could see that the Frankenstein monster was very much a child like themselves." "Film audiences often confuse Frankenstein's name with that of his creation, and possibly with good reason." "James Whale seems to have been fascinated with the dramatic interdependency of the characters, according to film historian Paul Jensen." "The film works, at least partially, because its maker empathised with those two characters." "And I can't help but think that these are two people, each of which is a version of James Whale." "For Whale, a self-made artist who overcame poverty and misunderstanding, the story of Frankenstein's creative struggle may have resonated deeply." "Whale loved the stage and the theatre." "You get an impression of this, but the dialogue nails it home." "When Henry says:" "Quite a good scene, isn't it?" "One man crazy, three very sane spectators." "The whole idea of it being a stage setting and he's the orchestrator of it," "Whale brought out of or found in the situation something I don't think other directors would have bothered or recognised, and that is something that taps into his own sense of demonstration, of presentation, of theatricality." "One of the most effective and personal speeches was added during production, and was possibly written by Whale himself." "Where should we be if nobody had tried to find out what lies beyond?" "Have you never wanted to look beyond the clouds and the stars, or to know what causes the trees to bud and what changes the darkness into light?" "But if you talk like that, people call you crazy." "Maybe Whale wrote it, maybe not - I don't know." "But it wasn't in the shooting script." "But it's one of the most important scenes in the film." "So, Whale must have wanted it there, and that's where this side of Henry is expressed." "Sometimes I find that the scenes that don't contain the most dramatic action might reveal the director's style of work and his talent in ways that are unexpected, if we look at them carefully, those scenes." "One such scene in Frankenstein, for me, is the first conversation scene, the one between Victor and Elizabeth where they're talking about Henry." "It's a passive scene." "So what does Whale do to try to make it seem alive or come alive?" "Take a look at that scene because, aside from the fact that it begins with four close-ups - which itself is unusual - instead of an establishing long shot, we've got a close-up of a framed photograph of Henry," "close-up of the maid, close-up of Victor arriving, close-up of Elizabeth rising, and only then an establishing long shot." "We've had to figure out what we're seeing and how those shots go together." "We're involved because our mind has had to relate those shots together." "We have a scene that could be thrown away by a lesser director that is actually turned into a highly visual and cinematic scene." "The last third of Frankenstein is the part where at least the story line has its weakest moments, I think." "There are things that happen that you have to simply take at face value and take for granted, because they're not explained." "And I'm willing to allow that." "There are little contrivances." "Dr Waldman's been murdered in the tower." "Who finds Dr Waldman's body?" "No one ever seems to go up to that tower." "Who found him?" "But she has been murdered." "How does the girl's father know that she was murdered?" "All he would really realise is that she had drowned." "We just have to accept that." "Those don't bother me particularly, because I accept those statements to move the plot along." "But the scene in which Henry locks Elizabeth in her room because he's afraid the monster might be around, and then the monster enters Elizabeth's room and confronts her, is the one scene where I think a contrivance hurts the film considerably," "because it's a major scene." "There is no way that we can have any idea how the monster knows whose house that is, if the monster knows whose house that is." "But 1931 audiences paid scant attention to such implausibilities." "For many, Frankenstein simply was an overwhelming experience." "In 1931, so many of the things that Frankenstein showed and dealt with were rather unusual and new to people, and they tapped into things that were perhaps very dormant, or things that people didn't want to consciously think about." "We had thumping of the dirt on the top of the coffin." "We had things that really were never shown before." "The gibbet with this body hanging there and being cut down, and the cadavers, and reanimating." "It's hard to believe now, because of the excess that we've all been subjected to over the decades, but in 1931 this was a big deal." "What they objected to in Frankenstein were the little girl getting drowned, there were some fairly graphic close-ups of the monster being stuck with hypodermic needles." "And where Fritz, the hunchback assistant, is tormenting the monster with a torch, there are some horrific close-ups of the monster with the torch in front of his face." "These are things that today you would see in G-rated movies on television." "The scene with the monster throwing the girl in the lake was cut in certain areas." "Some people saw the entire scene, some saw him just reaching for her, which, later, when the father appears holding her and she's in such disarray, actually created a much more sinister impact than what was intended." "There were pressure groups." "The Legion of Decency, the Catholic pressure group." "There were problems with the Colin Clive line "In the name of God..."" "Now I know what it feels like to be God." "In the original version that we got on television, since the 1950s, whenever we would get to that scene, there'd be a physical splice and you could see a jump cut where Colin Clive is getting very ecstatic when he realises what he's accomplished." "During the early talkies, sound was not on what we have today, an optical track, which is a visual strip along the edge of the film." "In the old days, the sound was recorded on big records about this size, and they were played in the theatre, synchronised with the projector." "In 1966, a friend of mine who was working at a local Los Angeles radio station called me and he said "You'll never believe what's in our studio - the sound disc from the original Frankenstein."" "And I was always disappointed when all the restored versions of Frankenstein always left this line out." "With or without the censored footage, Frankenstein was a sensation, and the monster became a major new Hollywood icon." "Boris Karloff's stardom was assured, although in real life he had little in common with monsters." "He was the antithesis of the roles that he played." "He really was a cultured, well-educated, articulate, well-read English gentleman, who earned his living scaring children and little old ladies." "Robert Florey's initial uncredited enthusiasm for Frankenstein was finally rewarded with an acknowledgement on the French poster and the chance to direct a highly stylised horror film in the expressionist manner." "Murders in the Rue Morgue starred Bela Lugosi as a mad scientist destroyed by his own experiment, and was partly filmed on the original Frankenstein sets." "Universal spent four years on a sequel to Frankenstein, and it was worth the wait." "In what was finally called Bride of Frankenstein," "Karloff returned and brought a whole new dimension to the monster:" "Speech." "I love dead." "Hate living." "You're wise in your generation." "A talkative monster and the creation of his mate were both elements from the original Mary Shelley novel." "She's alive." "Alive" "The bride of Frankenstein." "Karloff played the monster for a third and last time in Son of Frankenstein." "This time he had a companion who did the talking for him, the broken-necked Ygor, played by Bela Lugosi." "It's my friend." "He does things for me." "Basil Rathbone played the title role of Wolf Van Frankenstein." "Is it the old legendary monster of my father's time?" "Or am I supposed to have whipped one up, as a housewife whips up an omelette?" "Daddy Daddy" "In Ghost of Frankenstein, the relationship between Ygor and the monster got closer." "Your father was Frankenstein, but your mother was the lightning." "Much closer." "I, Ygor, will live for ever." "Next, Universal paired two of its most popular monsters for amplified impact." "I can't do it." "I can't destroy Frankenstein's creation." "I've got to see it at its full power." "Frank You're making him strong again." "Since Bela Lugosi's brain had been sewn into the monster's head in the last film, it made some sense for Lugosi to finally play the monster himself, speaking in Ygor's voice." "But the effect was considered ridiculous by studio heads, and the monster was rendered voiceless again for the release print." "Encouraged by the success of Frankenstein Meets the Wolf Man," "Universal pulled out all the stops with House of Frankenstein, featuring its entire stable of monsters, with the curious exception of the mummy." "Don't go this way." "Quicksand." "Quicksand." "The creature was now played by former stunt man Glenn Strange, in a halting, robotic manner." "Boris Karloff, wisely avoiding career quicksand, made his final appearance in a Universal Frankenstein film." "In House of Dracula, Frankenstein's creation made the briefest of appearances, a thankless lurch around the lab." "In Abbott  Costello Meet Frankenstein the classic Universal monsters were reunited for an affectionate spoof, and for what many considered to be the best horror comedy ever made." "Help me with this excelsior." "Come on." "Take it all out." "Get it all out." "Well, we got him." "But the Frankenstein mystique didn't end with the films of the '30s and '40s." "The Universal tradition has inspired generations of filmmakers, even to the present day." "The evil of Frankenstein." "The evil of a man who created a monster by crude surgery, and harnessed the tempestuous forces of nature to give it life." "The laboratory equipment in Gods and Monsters was no longer the work of Kenneth Strickfaden, but the Universal look was unmistakable." "In 1997, Boris Karloff and Frankenstein had the unique honour of appearing on a US postal service stamp, along with four other classic Universal monsters." "It was wonderful." "The Post Office could not have been better to work with." "We got about 17,000 signatures." "All over the country people pitched in and helped us." "It was a very, very rewarding experience, because people were so enthusiastic." "I think my father would be the one that would be most surprised and pleased." "He always stressed how grateful he was for having been given the opportunity by James Whale to play the monster, how it changed his whole life." "He certainly had seen the opposite side of success for many, many years before fame came his way." "And I don't think he ever had any difficulty with being typecast." "He felt, and I heard him say on more than one occasion, that a typecast actor was a very lucky actor, because if you had been able to make a niche for yourself, do something that nobody else had done or was likely to do," "you were very lucky." "You left your mark in your profession." "He truly felt being typecast was the luckiest thing that ever happened to him." "In her introduction to the revised edition of Frankenstein in 1831," "Mary Shelley instructed her hideous progeny to go forth into the world and prosper." "Exactly 100 years later Universal took her directive to heart and created the most successful movie monster of them all." "The original advertising campaign for Frankenstein featured the tag line:" ""The monster is loose."" "And, you know, it still is." "The formally attired gentleman is Edward Van Sloan, who plays Doctor Waldman in Frankenstein." "Here he is out of character to introduce the film." "Van Sloan had closed the Bela Lugosi Dracula film in a similar manner." "This was an added scene, photographed long after the film completed production, in anticipation of objections from religious groups over the theme of divine presumption." "Staff Universal screenwriter at the time, John Huston, wrote earlier drafts that included lines such as "Frightful, supremely frightful, would be the effect of any human endeavour to mock the stupendous mechanism of the creator."" "Scenario editor Richard Schayer wrote another version, which includes material used in the speech now being given:" ""Here we unfold the portentous record of Frankenstein, man of science, who sought to create a man in his own image, not reckoning upon God."" "This is Rudy Behlmer speaking." "The main title is presented in a properly misterioso manner." "The music is an original composition written for the picture by film composer Bernhard Kaun." "Other than the end-title music, it is the only scoring used in the picture." "This was typical for 1931." "Background scoring throughout a film did not become accepted practice until later." "The writing credits may seem a bit complicated:" ""Based upon the composition", "From the novel", "Adapted from the play"," ""Screen Play", "Scenario Editor"..." "All this will be sorted out." "Then, of course, a single card for director James Whale." "Notice "The Monster" is only identified by a question mark in the cast list." "This was reminiscent of the very first stage production of Frankenstein in 1823." "The character of the monster was billed only with a question mark at that time." "Originally, this opening sequence began with a distant shot in profile of the funeral procession going up the hill." "This was dropped during editing, but appeared briefly during the flashback sequence in The Bride of Frankenstein." "The panning shot of mourners ends by a statue... and the statue is of the Grim Reaper." "Here we are introduced to Henry Frankenstein, played by Colin Clive, and his assistant, played by Dwight Frye." "This sequence does not derive from the novel, nor does it derive from any of the play adaptations that followed." "But the novel that spawned the Frankenstein phenomenon was radically different in many ways from the countless dramatisations that followed on stage and screen." "When did this saga of Frankenstein begin?" "It started on a stormy night, June 1816, with a 19-year-old woman who was lying half-awake in a villa on the shores of Lake Léman in Switzerland." "Mary Wollstonecraft Godwin was staying there with her lover, later her husband, the poet Shelley." "Together with their neighbour Lord Byron, his physician, Doctor Polidori, and Mary's stepsister Claire, they would often gather on chilly, wet evenings and read ghost stories aloud." "One evening Byron suggested they each try their hand at writing a story, a story of the supernatural." "On another night, Mary heard an intense conversation between Shelley and Byron concerning the nature of the principle of life, and whether it might ever be discovered and communicated." "According to Mary, the talk went on to include speculation that perhaps a corpse could be reanimated, perhaps the component parts of a creature might be manufactured, brought together and imbued with vital warmth." "After going to bed, she later wrote" ""I did not sleep, nor could I be said to think."" ""I saw - with shut eyes, but acute mental vision " "I saw the pale student of unhallowed arts kneeling beside the thing he had put together."" "And here's Frankenstein literally throwing dirt on the face of death." ""I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life and stir with an uneasy, half-vital motion."" ""His success would terrify the artist."" ""He would rush away from his odious handiwork horror-stricken."" ""I could not so easily get rid of my hideous phantom - still it haunted me."" ""On the morrow, I announced that I had thought of a story."" "Shelley encouraged her to develop and expand the material." "He also helped her to edit the manuscript as it evolved." "21 months later, in March 1818, Frankenstein was published." "In 1831, Mary Shelley revised her novel for a new edition." "She also added an introduction, which tells the story of its origin and ends with Mary bidding her "hideous progeny go forth and prosper."" "And indeed it did." "Frankenstein is one of the most often-reprinted novels in the history of literature." "The adaptability of the story to the theatre was recognised immediately." "In 1823, there were at least five stage versions, both serious and comic." "One, Presumption; or, the Fate of Frankenstein by Richard Peake, was to serve as a basic transcription of the novel for the stage and a source for further elaboration." "Action and melodrama were the keynotes of Peake's play, and Frankenstein the creator and his creature were presented as instant antagonists." "There is a major creation sequence - not in the novel - an assistant to Frankenstein named Fritz - not in the novel - and a non-talking monster." "In the book, Frankenstein's creature eventually becomes absolutely verbose, with an impressive vocabulary and masterful syntax." "His monologues run on for pages and, on occasion, entire chapters." "Here at the medical college we are going to meet again actor Edward Van Sloan, this time in character as Doctor Waldman - a variation on his Van Helsing role in Universal's Dracula with Bela Lugosi that was released earlier in 1931." "Van Sloan also played Van Helsing in the New York stage production of Dracula, with Lugosi, in 1927." "Later he played Van Helsing again in Universal's 1936 sequel Dracula's Daughter, and a similar role, Professor Müller, in The Mummy in 1932." "Van Sloan began his professional acting career on the stage in 1910." "He worked with stock companies in Montreal, Canada, and in Boston, Newark and Cleveland, finally reaching the New York stage in 1923." "All in all, he was in approximately 150 plays." "His film career began with Dracula, but he soon became a victim of typecasting:" "The Death Kiss, Death Takes a Holiday, The Black Room, The Phantom Creeps," "Before I Hang, The Monster and the Girl, and so on and so on." "He died in 1964." "The technical advisor for Waldman's lecture was Doctor Cecil Miller, a brain specialist." "The character of Fritz, played by Dwight Frye, was not in the novel, but was introduced in the 1823 Richard Peake stage dramatisation." "In early drafts of the film scripts the character was mute, but it made sense to give him speech so that Frankenstein could have dialogue rather than talking to himself or resorting to pantomime during the rather nefarious preparatory work for the experiments." "The about-to-be-dropped-and-shattered "normal brain", followed by Fritz taking the "criminal brain", was a later addition to the script by Francis Edwards Faragoh." "This element had never been used before in novel or plays, and indeed took away from the basic innocence of the monster." "Perhaps it was felt, because of the severe time compression necessary in the film, that the criminal brain would justify the monster's early acts of violence, in addition to his being tormented." "Close-up of Henry Frankenstein's photograph." "Close-up of a maid." "Close-up of guest, Victor Moritz." "Close-up of Henry's fiancée Elizabeth." "Then cut back to the establishing shot, with the top half, including chandelier, being a matte painting." "A rather unusual way to introduce a new sequence and new characters." "The room in Elizabeth's home is a set left over from Universal's The Cat and the Canary from 1927." "Leading man John Boles was given the thankless part of Henry's friend and Elizabeth's friend - although he would like to be much more than friend to Elizabeth." "Boles acted and sang on Broadway, then came to Hollywood and starred in several musicals, such as The Desert Song, Rio Rita and King of Jazz, revealing a rich baritone voice." "Later he became a leading man in screen soap operas, such as the 1932 Back Street, Only Yesterday, and the 1937 Stella Dallas." "And he was a father or father figure to Shirley Temple in The Littlest Rebel and Curly Top." "Here it is planted that Victor has strong romantic feelings toward Elizabeth, but, being a gentleman, he doesn't overplay his hand, and for the most part stays in control with regard to his feelings." "Henry Henigson, a Universal executive, early in the preparation of Frankenstein complained to screenwriter Garrett Fort that the implied frustrated love affair between Elizabeth and Victor was "insufficient" as relief from the horror plot." "Fort responded "The girl is not deeply in love with Henry and does love Victor."" ""Her wedding to Henry is the result of a childhood arrangement between families, quite in keeping with the continental conception of such matters."" ""She is fond of Henry, she admires him."" ""Her emotions, when she finds him in trouble, are not those of love, but pity."" ""She has given up Victor because of obligations she feels she cannot sidestep."" ""Henry is an abnormal character." "The Victor and girl character are normal."" ""The audience will be rooting for them, although, at the same time, sympathetic to Henry because of his ill-starred love, wrecked because of his absorption in science."" ""The girl, in her scenes with Henry, will receive all the sympathy because we realise she is making the best of a bad bargain, but doing it like a thoroughbred."" "Mae Clarke, director James Whale's leading lady in the recently completed Waterloo Bridge, whom he liked, was a natural choice for Frankenstein's fiancée." "She had been in film since 1929, and before that was a dancer, actress, singer, appearing primarily in nightclubs, Broadway musicals, vaudeville." "In 1974, author Anita Loos revealed that Clarke was the inspiration for her Lorelei Lee in Gentlemen Prefer Blondes in 1926." ""I patterned her on a cute, little blonde HL Mencken was escorting at the time."" ""Her name was Mae Clarke." "Mencken was a beau of mine."" "In The Public Enemy, also made in 1931, Clarke was the memorable recipient of a half-grapefruit slapped and twisted on her face by James Cagney." "She was Cagney's leading lady in two other films after The Public Enemy " "Lady Killer and Great Guy." "Mae had a stand-out and showy role as Molly the prostitute in the 1931 version of The Front Page." "But her starring role in Waterloo Bridge, in which she played a woman forced to turn to prostitution by her circumstances, was Clarke's favourite part - and she is excellent in it, delivering a performance of extraordinary delicacy." "Because of legal complications regarding two remakes, one with Vivien Leigh, it was unavailable for viewing for decades." "James Whale said that on Frankenstein" ""I asked for Mae Clarke for Elizabeth because of her intelligence, fervour and sincere belief that Frankenstein would claim the public interest."" "The only other actress of record considered for the part was Bette Davis, under contract to Universal for six months." "But apparently producer Carl Laemmle Jr did not think too highly of her sex appeal." "After Frankenstein, James Whale immediately cast Mae in the leading role in The Impatient Maiden." "Here is the miniature exterior of the old watchtower set and the full-scale portion of the exterior." "The interiors were built on a Universal sound stage." "Back in 1927, English theatrical producer and actor Hamilton Deane decided to try out another subject for his company, to alternate with his version of Bram Stoker's novel Dracula, on his tour of the English provinces." "This was to be a new adaptation of Frankenstein by Peggy Webling." "The initial presentation of this Frankenstein took place late in 1927 in Preston, England." "It continued to alternate in the provinces with Dracula, and it finally opened in London, considerably revised, in February 1930." "Peggy Webling retained some basic ideas from the novel and the previous plays, but she made substantial changes in time, locale, incidents and characters." "Mary Shelley's narrative took place over a considerable period of time." "In the novel, Frankenstein vows to destroy his creation and pursues him to the Arctic, where the scientist dies and his foe goes off into the ice and mist, presumably to his death." "Shortly after the play opened in London, the London Times announced that it would be produced on Broadway." "As with Deane's Dracula, playwright and newspaper correspondent John L Balderston - who had recently written the hit play Berkeley Square - was engaged to revise and brush up the material for American consumption." "He kept, for the most part, Peggy Webling's modifications and structure, but he added several touches of his own." "For example, Fritz, the hunchback who assists Frankenstein in his experiments, was added - although he is mute in Balderston's version." "With the release of Dracula in early 1931, Universal Pictures had a major success." "Even before it was in theatres, there had been discussions regarding a follow-up." "Frankenstein was a logical choice." "The film Dracula was based more on the Hamilton Deane play than on the novel." "This stage version had been exceptionally well received in England and in America." "Since Universal bought the play version of Dracula from Deane and Balderston, they decided to do the same with Frankenstein." "The original novel, of course, was in the public domain." "In May 1931, the screen rights for the play were purchased for $20,000, with an additional 1% of the gross earnings to go to Webling and Balderston." "At Universal's stipulation, the play wasn't produced in America - never has been - contrary to the original plan." "Notice the lateral move here." "James Whale liked moving from one area to another, as on a stage, with a cutaway." "Rex Ingram's 1926 film The Magician has various aspects that were later used in Frankenstein." "The dwarf assistant in The Magician hobbled down a staircase similar to the one in this film when he was going to open the tower door." "Also, there is a comic porter scene from Shakespeare's Macbeth, and that's often been cited as an influence." "In a letter, Florey said that he and Schayer "worked with Garrett Fort" - who wrote Universal's Dracula " ""on the first screenplay, following the lines of my synopsis treatment."" ""Fort wrote the dialogue."" ""My contribution was as continuity of action and development."" "Florey directed a test, shot on the castle set left over from Dracula, with Bela" " Dracula" " Lugosi in the role of the monster." "As early as April, Lugosi had been announced for Frankenstein." "Florey claims he had thought of him for the role of Frankenstein, but that Universal executives insisted he play the monster." "According to Florey, the edited test ran for 20 minutes, which seems extremely long." "It was photographed by Paul Ivano, and it started with a short conversation between Victor Moritz and Waldman, leading to both going into the Frankenstein laboratory." "Following a scene with Frankenstein and Fritz in the lab, there was the arrival of Waldman and Victor." "According to Florey, the test lasted up to and including the initial awakening of the monster." "The actors involved were Edward Van Sloan, Dwight Frye, Lugosi - all of whom from the film Dracula - and two stock players." "From all indications, Lugosi's test make-up and garb were reminiscent of Paul Wegener in The Golem, the 1920 German film about a legendary figure of clay brought to life by Rabbi Loew in the 15th century." "According to Forrest J Ackerman's interview with Edward Van Sloan - who later played the major role of Doctor Waldman in Frankenstein " "Lugosi arrived for the test with a head "about four times normal size, with a broad wig on it."" ""He had a polished clay-like skin."" "Lugosi claimed he did not want to play a speechless brute laden with make-up." "Mary Shelley's and Webling and Balderston's talking monster had been relieved of speech, but he did speak in Universal's first sequel, The Bride of Frankenstein, for which Balderston received co-adaptation credit." "The evolving script at the time presented the monster as totally unsympathetic, devoid of any pathos." "Who could blame Lugosi?" "In an interview Carl Laemmle Jr gave within six months of his death, he states that the sight of Lugosi in the test make-up made the studio head "laugh like a hyena"." "Florey claimed the test make-up was virtually identical to the final make-up worn by Karloff, but obviously Laemmle didn't regard the Karloff version as funny in any way." "Karloff himself recalled that he had been told the Lugosi make-up was "a horrid, hairy thing." "Not at all like our monster."" "Make-up artist Jack Pierce told an interviewer that Lugosi himself influenced the test make-up negatively, thinking "his ideas were better than anyone's."" "Though not followed to the letter, the general structure of the first half of the Webling/Balderston play was at least in evidence in the evolving film script for Frankenstein." "But the last part of the play was not used until Universal made Bride of Frankenstein four years later." "The final act of the play was concerned with Frankenstein's preparations for the making of a mate for the creature." "This originated in the novel." "But the monster kills Frankenstein in the play after his creator decides at the last moment not to provide him with a mate." "Then the monster stumbles into the electrical apparatus and dies as a result of a flash of lightning and the machine that brought him to life." "Between the time the play premiered in Preston, England, in 1927 and its London opening in 1930, there were considerable changes in the script." "In the early version, the monster leaps from a cliff and destroys himself." "Frankenstein and his fiancée, whom the monster had wanted to possess, are then happily reunited." "There is no material regarding the plan to create a mate for the monster." "By the end of June, a director was confirmed for Frankenstein:" "Britisher James Whale." "Whale was relatively new to Universal." "He'd just finished directing an extremely well-received screen adaptation of Robert Sherwood's play Waterloo Bridge for that studio." "His previous film-directing credits were the dialogue scenes in Howard Hughes' aviation epic, Hell's Angels, and all of Journey's End - the screen version of the exceptionally popular RC Sherriff World War I play that Whale had directed on the stage in London and then in New York." "All of the elaborate electrical apparatus, full of sound and fury, but signifying and actually doing nothing, was built by Kenneth Strickfaden, who began his film career as an electrician in 1921." "The first film to use some of his electrical pyrotechnics was the 1929 Return of Sherlock Holmes." "The devices that, as a hobby, he had collected over the years and stored, came from discarded industrial parts, old aeroplanes, sections of automobiles, radio-broadcast transmitters and odds and ends of electrical equipment." "In 1981, he said "I'd put something together, then sit back and marvel at it."" ""Then I found there was a market."" ""The styling all depended upon what kind of junk I had at hand."" "The apparatus was leased by the studio and Ray Lindsay operated it." "In 1981, the Academy of Motion Picture Arts and Sciences sponsored a gala affair in Strickfaden's honour." "Above the ceiling-opening of the lab set electricians operated large lightning-arc machines, which gave off bright flashes of intermittent light and showers of sparks." "Boris Karloff recalled years later "The scene made me as uneasy as anyone, for while I lay half-naked and strapped to Doctor Frankenstein's table," "I could see directly above me the special-effects men brandishing the white-hot, scissors-like carbons that made the lightning."" ""I hoped that no one up there had butterfingers."" "Director James Whale later commented on the importance of the creation scene:" ""I consider the creation of the monster to be the high spot of the film, because if the audience did not believe the thing had been really made, they would not be bothered with what it was supposed to do afterward."" ""By this time, the audience must at least believe something is going to happen."" ""It might be disaster, but at least they will settle down to see the show."" "The lines "In the name of God" and "Now I know what it feels like to be God"" "were deleted by some local and regional censor groups at the time." "And in 1937, the Production Code Office required that the lines, among other aspects, definitely be eliminated for reissue approval." "Throughout this film, scenes of incredible intensity and dramatic impact are relieved by relatively mild scenes." "Here we are introduced to Henry's father, Baron Frankenstein, portrayed by British stage actor Frederick Kerr, who had recently worked with director Whale on Waterloo Bridge." "Incidentally, the baron here refers to "an old ruined windmill" where his son is." "In early drafts of the script, Frankenstein's laboratory was in an old ruined windmill." "This was changed to a watchtower, but somehow this reference in the script wasn't changed." "Frederick Kerr was on the stage almost continuously for 50 years in both England and America." "In 1930, he commenced his film career and appeared in Raffles with Ronald Colman, among other films." "Whale requested Kerr for both Waterloo Bridge and Frankenstein and said that "He is an asset to any picture."" "Kerr died in 1933 at the age of 74." "Enter the burgomaster, played by Lionel Belmore." "The British actor arrived in America in 1907 after being on the London stage." "For a long time he was with the old Vitagraph Studio in New York City." "Belmore appeared in a great range of parts over the years, in such films as the 1922 Oliver Twist, the 1924 Sea Hawk," "The King of Kings, The Count of Monte Cristo, Cleopatra, Mutiny on the Bounty," "Little Lord Fauntleroy and The Adventures of Robin Hood in 1938." "His so-called horror pictures are The Vampire Bat, Son of Frankenstein," "Tower of London and The Ghost of Frankenstein." "Apparently, producer Carl Laemmle Jr wanted Whale to do Frankenstein." "He was now the fair-haired boy around the lot." "But Whale wasn't sure." "Dracula and Frankenstein were both pushed through to production by junior Laemmle's efforts." "He was enthusiastic about this tale of the macabre, but his father, Carl Senior, founder and president of Universal, was apprehensive." "Frankenstein was even stronger stuff than Dracula." "But young Laemmle, who had been made head of production in 1929 as a 21st-birthday present from his father, had been right about the very successful All Quiet on the Western Front in 1930, and, of course, he was right about the recent Dracula." "Whale, after giving the subject some thought, decided to do Frankenstein - partly, perhaps, because it wasn't yet another World War I subject." "Here is another relatively calm and quiet scene." "But we are gradually building up to the revealment of the creature, better known as "the monster", although so far he has done nothing to deserve that title." "Remember, in 1931 no one had seen what the character had looked like, other than advertisements, posters." "His visage was hardly that of the icon we have known through the decades." "Also, we weren't sure what he would do, how he would react, what would happen." "This speech of Henry Frankenstein, not in the final shooting script, gives us an added dimension to Henry's character and psyche." "Colin Clive plays it extremely well." "It is a telling counterpoint to his utterly believable theatrics in the creation scene." "Here is the intelligent, enquiring and sensitive human side of the obsessed and passionate man of science." "Although Universal wanted Leslie Howard for the role of Henry Frankenstein," "Whale insisted on Colin Clive, the British leading player of the stage and screen versions of Journey's End, both directed by Whale." "Universal went along with Whale, and Clive sailed from England." "Even assuming that Fritz replaced the jar marked "abnormal brain"" "before handing it to Frankenstein, it would seem, with all his training, the doctor would have spotted the differences between a criminal brain and a normal brain, as outlined and demonstrated by Doctor Waldman." "Well, let's call it dramatic licence." "The monster's criminal brain became a thread in many Universal follow-ups." "The first son of Frankenstein wanted to provide the monster with a healthy brain." "The second son did replace the brain, but with one not exactly normal - that of Igor, played by Bela Lugosi." "Then, in 1948, Count Dracula" " Lugosi - would try to give the monster the brain of Lou Costello in Abbott and Costello Meet Frankenstein." "And so it goes, or so it went." "And now, after much anticipation, surely one of the great theatrical entrances." "Whale chose to direct this in an unusual, but very effective manner." "First, we heard the sound of the monster in the hall:" "Suspense." "Then, when the door opens, he walks in backwards:" "More suspense." "And the dramatic turn, followed by a series of progressively closer shots, which allow us to be startled, and yet able to observe in detail that face." "Whale certainly was involved in the concept of the monster's look." "He made several sketches and consulted with make-up artist Jack Pierce, but Pierce was the man who executed the work." "He and Karloff worked for several hours each evening over a three-week period to evolve the make-up prior to the start of production." "Over a bald cap, the head was built up with layers of cotton and collodion." "The scars were painted on, and careful shadow-definitions were applied." "Pierce would then hand-lay the hair." "Karloff had a bridge of molars on his right side that were removed and he sucked in his cheek." "Pierce shaded this for accent." "Karloff's lean, gaunt face and features were necessary for the perfect realisation." "A top layer of blue-green greasepaint gave the skin a grey look on black-and-white film." "Karloff, according to some accounts, suggested his eyelids be heavily caked, giving the creature a look of only partial awareness." "Pierce accomplished this with mortician's wax." "The metal studs that protruded from the sides of the monster's neck were inlets for electricity." "Significantly, the creative make-up always allowed Karloff's expressions full play, accounting to a considerable degree for the effectiveness of his characterisation." "His legs were stiffened by steel struts." "To add to the bulk, he wore a built-up and padded double-quilted suit and raised heavy boots." "These were weighted in such a way as to enable him to lean considerably forward." "The ill-fitting black suit was made up with shortened sleeves to make his arms appear longer." "Years later," "Pierce stated that the monster's final visage was "a compromise"" "between his own ideas and those of Whale." "The overall look of the monster in all of the subsequent Universal sequels was never as effective as it was in the original production - at least, in my opinion." "Karloff's test convinced Whale and Universal executives that he was perfect for the part." "In the August 12th script this scene is handled quite differently." "I quote from that script:" ""The dwarf drops on the floor on all fours, fumbles in his pocket, takes out a dirty package of cigarettes, strikes a match and lights a cigarette."" ""The moment the monster sees the fire, it lets out an unearthly shriek."" ""Lts mouth widens to a hideous grin, its awful hands beat the air, it starts to rise from the chair, moves toward the dwarf."" ""Frankenstein and Waldman shout." "The monster takes no notice, however."" ""So Frankenstein, now frightened, seizes a box of matches and strikes match after match in the monster's face until it is cowed."" ""He grovels on the floor, shrieking."" ""Frankenstein again approaches the monster."" ""This time he holds a single lighted match in front of the latter's eyes a long while."" ""The monster shrinks from the fire."" ""During this, the dwarf has maliciously crept up."" ""Stealthily, he kicks the monster."" ""Just at this moment, Frankenstein's last match flares up, then dies out."" "Obviously, changing the matches to a torch made much more dramatic sense and was a precursor for things to come." "Fritz is played by Kansas-born Dwight Frye - neither a dwarf nor a hunchback, but another victim of typecasting after his role in the 1931 Dracula as the crazed Renfield." "After Frankenstein, he was the village lunatic in The Vampire Bat, and so on." "But, before coming to Hollywood in 1930, he had an impressive career on the stage." "After touring in stock, vaudeville and musical comedy, he then had leading roles in a variety of Broadway plays, and in 1929 the critics voted him one of the ten best actors of the legitimate stage." "He died in 1943, aged 44, from a heart attack, which could have been brought on by the strain of working nights at Lockheed Aircraft Company in World War II in order to support his family, while playing some bit roles by day and acting in local theatrical productions." "His death certificate listed his occupation as "tool designer"." "In the play, especially in Balderston's version," "Frankenstein's relationship to the monster is decreed, in Frankenstein's words, as "Only command, blind obedience, no discussion."" "He treats the creature cruelly, and in Balderston's adaptations makes considerable use of a whip and a hot iron." "He also finds satisfaction in having the monster perform tricks like a puppy, literally commanding him to "lie down, roll over", and he refers to him as a slave." "Frankenstein announces that the creature "must be afraid of me." "He must obey me."" "This cruelty is transferred in the final screen version to the character of Fritz, who continually provokes Frankenstein's creation with whip and torch, thereby making Frankenstein more sympathetic." "Incidentally, many people refer to the monster by the name of Frankenstein." "In fact, in Peggy Webling's 1927 play, the revised 1930 presentation, and Balderston's version of the play, the monster is called Frankenstein after its creator, on many occasions by some of the characters." "Whale was quoted, when asked why he decided to do Frankenstein:" ""Of 30 available stories, it was the strongest meat, and gave me a chance to dabble in the macabre."" ""I thought it would be amusing to try and make a physical impossibility seem believable."" ""Also it offered fine pictorial chances, had two grand characterisations, and had a subject matter that might go anywhere - and that's part of the fun of making pictures."" "Among the changes made in the script by the new writer, Francis Edwards Faragoh, was giving dialogue to Fritz, Frankenstein's assistant, who in the previous Universal scripts had been a mute." "Also, Frankenstein's laboratory was now located in an old watchtower, rather than the deserted mill." "The mill, however, was retained for the final scene." "Most importantly, both Frankenstein and the monster were modified into basically more sympathetic characters, given more dimension." "Certainly now we feel sorry for the monster, as in the novel and the Webling play." "In the novel Frankenstein is a student of science, not a doctor, not the son of a baron." "The scene in which the monster is given life takes place in the upstairs room of Frankenstein's house, not, as in this film, an old watchtower." "There is no apparatus giving forth a pyrotechnic display during the creation, no raging electrical storm outside." "In the Webling/Balderston play," "Frankenstein's study, in an old house at Goldstadt in Switzerland, has been fashioned into a laboratory, and there's a storm during the creation scene." "In the early versions of the screenplay an abandoned windmill is used for the lab and a storm is raging." "A description of the setting in a preliminary script draft in the studio files mentions "something suggestive of the laboratory in Metropolis."" "The 1926 German silent film had a mad scientist involved in a laboratory creation scene amidst considerable electrical paraphernalia." "In Mary Shelley's book, the description of the procedures by which Frankenstein gave his creation life is vague." "Indeed, this major sequence of the creation, a high point in this film, is presented in one not-very-detailed paragraph in the book:" ""It was on a dreary night of November that I beheld the accomplishment of my toils."" ""With an anxiety that almost amounted to agony," "I collected the instruments of life around me, that I might infuse a spark of being into the lifeless thing that lay at my feet."" ""It was already one in the morning;" "the rain pattered dismally outside the panes, and my candle was nearly burnt out, when, by the glimmer of the half-extinguished light," "I saw the dull, yellow eye of the creature open."" ""It breathed hard and a convulsive motion agitated its limbs."" "Then in another paragraph she wrote:" ""I had worked hard for nearly two years for the sole purpose of infusing life into an inanimate body."" ""For this I had deprived myself of rest and health."" ""I had desired it with an ardour that far exceeded moderation, but now, now that I had finished, the beauty of the dream vanished, and breathless horror and disgust filled my heart."" "The monster has been described as a projection of Mary Shelley's feeling of isolation and hatred, which stem from the death of her mother when she was only ten days old." "Mary was barely tolerated by her cruel father and was driven inward, spending her childhood in solitary pastimes:" "Reading, writing, daydreaming." "In a letter sent to Colin Clive before production, director James Whale described how he perceived the character of Frankenstein:" ""An intensely sane person, at times rather fanatical, and in one or two scenes, a little hysterical."" ""And a little reminiscent of the breakdown in Journey's End."" ""Frankenstein's nerves are all to pieces."" ""All the time I should feel Frankenstein is normally an extremely intelligent, a sane and lovable person, never unsympathetic, even to the monster."" "Shortly after talking over Frankenstein," "James Whale did not have an actor in mind to play the monster." "Whale's companion, David Lewis, had been impressed with Boris Karloff's performance as the rather ungainly and odd convict in the stage and screen versions of The Criminal Code." "He recommended that Whale meet the actor to see for himself the potential." "Whale and Karloff arranged a meeting and Whale decided to test him for the role." "Whale said later on that he was fascinated by Karloff's face:" ""His physique was weaker than I could wish, but that queer, penetrating personality, I felt, was more important than his shape, which could easily be altered."" "Although Karloff had been in American films since 1919, he was hardly a well-known performer." "Most of his parts in silent films were small or not particularly significant, but just before Frankenstein things were looking somewhat better, with showy parts in The Criminal Code and Five Star Final." "Karloff's real name was William Henry Pratt." "Born in a London suburb, he emigrated to Canada in 1909 and eventually joined various theatrical touring companies, playing supporting roles in plays all over Canada and the United States." "By 1919, he was in Hollywood playing extra and bit parts in films." "He also alternated as a truck driver until the mid-'20s to support himself." "Frankenstein, of course, made him a star in a myriad of horror films, but he also played character parts in a variety of other films." "But the public identified him with horror." "Once again, as relief and counterpoint to all of the preceding high-intensity drama, or melodrama, if you will, and the mayhem, we have a tranquil and idyllic interlude." "A romantic scene, yet." "Colin Clive gets an opportunity to shift gears now that he is away from graveyards and old watchtowers." "Clive was from a military family, a descendant of the famous Clive of India." "His father was a distinguished colonel in the British army." "Young Colin's horse fell in cavalry training, fracturing the young man's knee and ending his military future." "The leg never fully healed." "He was forced to resign from Sandhurst Royal Military College and went into the theatre, training at the Royal Academy of Dramatic Art." "He made his London bow in 1919 and toured in many plays, including repertory companies." "James Whale hired him to play the doomed Captain Stanhope in the extremely successful World War I drama Journey's End." "He starred in the play and film version, which was also directed by Whale." "Other film roles following Frankenstein include One More River, from the last of The Forsyte Saga novels, also directed by Whale," "Clive of India, about his ancestor, Mad Love, based on The Hands of Orlac," "The Man Who Broke the Bank at Monte Carlo, and, of course, The Bride of Frankenstein in 1935, in which he reprised his role for director Whale." "Mae Clarke said in 1971 "Oh, how I remember that voice."" ""Jim Whale would say about Colin 'His voice is like a pipe organ."'" ""'You just arrange him, pull out the stops and his voice comes out like music."'" "But Clive in his personal life was tormented and anguished, fraught with his private demons - a kind of Jekyll and Hyde." "He also drank heavily." "In 1937, at the age of 37, Colin Clive died as a result of alcoholism." "Prior to the 1931 Frankenstein there were three silent-film productions of the story, the first going back to 1910." "The Edison Company's approximately 15-minute-long version, according to the script, was a liberal adaptation of Mrs Shelley's famous story." "It featured a hunchbacked and shaggy-chested monster suggestive of Quasimodo, with a stark, kabuki-like white face and a mass of matted hair." "The monster was formed in a "cauldron of blazing chemical"" "rather than with the aid of electricity." "The climax of the film introduced some aspects of the Jekyll-Hyde theme - the monster was defeated by the power of love." "This, presumably the world's first horror film, was filmed at the Edison Manufacturing Company Studio at Bedford Park, the Bronx, under the direction of J Searle Dawley, and was colour-tinted and/or toned for daylight and night scenes." "Then there was the feature-length Life Without Soul in 1915." "In this adaptation the monster had no bizarre trappings or unusual make-up." "He was "awe-inspiring, but never grotesque"." "One character was established by being shown reading the story from a book." "When Frankenstein died after killing the monster, the book was closed and each of the characters revealed to be alive and well." "The third filming was done in Italy in 1920 and called The Monster of Frankenstein." "No known negatives or prints survive of the silent productions, with the exception of the 1910 version." "With the exception of this sequence," "Frankenstein was filmed on the Universal lot and the immediate surrounding terrain." "But now the production moved to what was almost certainly Lake Sherwood in the Santa Monica Mountains near Westlake Village and close to the dividing line between Los Angeles County and Ventura County." "Lake Sherwood and its immediate neighbour, Sherwood Forest, had been used for many years as a choice location for all kinds of outdoor pictures." "The name, according to various sources, derived from its use in Douglas Fairbanks's 1922 production of Robin Hood, and it was ideal for jungle epics, Westerns, you name it." "Seven-year-old Marilyn Harris was chosen to befriend the monster in this delicate portrayal." "The monster, for the first and only time, finds a human who is unafraid of him - an innocent peasant child." "Karloff later said" ""Whale and I both saw the character of the monster as an innocent one."" ""This was a pathetic creature who, like us all, had neither wish nor say in his creation, and certainly did not wish upon itself the hideous image which automatically terrified humans whom it tried to befriend."" ""What astonished us was the fantastic number of ordinary people that got this general air of sympathy."" ""I found all my letters heavy with it."" "In the Peggy Webling play the monster accidentally crushes a dove in his hands and throws it into the lake, where, much to his delight, it floats." "Then he takes Frankenstein's crippled sister, a character not in the novel or film, out in a boat and tries to make her float like the dove - but she drowns." "His remorse at this act is one of the motivations that leads to his flinging himself off the cliff in the 1927 play version." "The monster, as portrayed by Hamilton Deane in this play, was sympathetic." "In a variant version from the same play, at the side of a river the creature, unaware that death can be caused by drowning, placed the girl's head beneath the water to see her lovely face through the glassy surface." "Marilyn Harris, years later, recalled that" ""After the monster threw me into the lake I was supposed to swim underwater, but I had only three swimming lessons." "I didn't even know how to go underwater."" ""They had rowboats in a semicircle outside of camera range, but the first time the monster threw me in I couldn't go underwater," "I had too many clothes on."" ""I had to get all my clothes dry and my hair redone", says Marilyn." ""The second shot went fine." "Boris Karloff threw me in again and I went underwater out of camera range."" "Touched and excited with his first encounter with beauty, the monster tries to float the little girl and feels intense pain and confusion when she sinks." "Later the scene was considerably cut and modified from what you see now, but more about that anon." "This European village was built on the back lot at Universal for All Quiet on the Western Front in 1930." "It was used through the years for a great many films, including subsequent Frankenstein productions." "The village was destroyed by fire many years later." "The present European street was then constructed on the same site." "The dances are authentically performed by Austrian musicians and dancers." "Incidentally, where exactly are we?" "In Austria, Germany, Switzerland?" "And what is the time period?" "The wardrobe varies from 1931 fashions to Doctor Waldman's frock coat of an earlier vintage." "There is never any indication of an automobile, a telephone, a radio, to say nothing of the practice of hanging bodies on gibbets for public viewing." "This was abandoned in Europe before the 20th century." "And, being somewhere in Europe, they all speak with a British or American accent." "In another exchange between Universal executive Henry Henigson and screenwriter Garrett Fort during the script-development stage," "Henigson wrote "I think everyone in the production should speak perfect English and we should take away the jas, the Herrs, the Fräuleins and twists in the language's construction which give it a Teutonic distinction."" ""We're not trying to place the picture geographically in any particular spot, and I think that we can attend to this by taking the Teutonic element out of it."" "Garrett Fort replied "In a story laid in and around Goldstadt, with names like Frankenstein, Waldman, Moritz, Fritz, etc, it seems that a Teutonic element is inescapable."" ""If we lay it elsewhere it will be necessary to change every name in the cast, probably even that of Frankenstein, which certainly has Teutonic connotations."" ""This might lead to titles such as 'The Monster', 'Garibaldi', or 'Love and Murder in Norway', etc."" ""I have an idea that there is nothing offensive about the Teutonic slant."" ""And it is a particularly pertinent angle when we consider that the Teutonic type of mind is certainly foremost in the scientific world, etc."" "Another scene between Elizabeth and Henry." "This time Elizabeth's premonition of danger and death is about to become a reality." "In the novel, Frankenstein reluctantly agrees to create a female for the monster, but he changes his mind and the outraged monster tells Frankenstein" "that "I will be with you on your wedding night."" "After Frankenstein and Elizabeth marry, the monster keeps his word and kills the bride." "In Edison's 1910 film version, the monster returns on Frankenstein's wedding night and, hearing his bride scream, Frankenstein interrupts the attack and the monster flees." "In Peggy Webling's 1927 British play, the monster falls in love with Frankenstein's fiancée." "She is captured by him, but finally escapes." "Lewis Klein, the general manager of Horace Liveright Theatrical Productions, the potential producer of the Webling/Balderston US play version, added some ingredients of the bodice-ripping school of sensationalism to John Balderston's adaptation." "The monster confronts Frankenstein's bride and seizes her." "In the struggle he tears off her bridal veil and the top of her wedding gown " ""Which gown", Klein explained, "is a breakaway affair, and leaves her as nude as the censor will allow."" ""Then he is about to mount her in a rape."" "This production, as we know, was never presented on the stage." "The staging of this scene resembles a similar scene in the 1919 film The Cabinet of Dr Caligari, whereby the character portrayed by Conrad Veidt has been sent to kill a lovely girl in her bedroom." "The suspense here is well orchestrated and both players do not go over the top in the realisation of the scene." "Although Mae Clarke remembers tea breaks each mid-afternoon during filming, she never had an opportunity to get to know Karloff very well." ""He would arrive at 4am and spend four hours in make-up."" ""He didn't have lunch with us because it was easier for him, due to the make-up, to eat alone in his dressing-room bungalow, where he could remove some of his body padding."" ""Then a couple of hours would be spent removing his make-up at the day's end, and he would require a rubdown after stomping around all day with those weights on his shoes."" "The woodcutter is carrying his drowned daughter to the burgomaster's office." "The scripts had Maria being carried by her mother, who was also established earlier at their cottage." "This particularly long tracking shot - actually two tracking shots - apparently was difficult for both players." "Marilyn Harris recalled "And did that ever hurt." "It was the longest walk."" ""All I can remember is 'Stay limp, don't move, just let your arms flop, just let your hands flop."'" ""Oh, my back hurt so bad."" "Michael Mark, playing the father, appeared later in Son of Frankenstein," "The Ghost of Frankenstein and The House of Frankenstein, with different roles in each." "Going back to the drowning at the lake, this scene was cut entirely or in part by many local state and city censors and in foreign countries before the film's initial release." "But when the studio applied to the Production Code Administration for a reissue seal of approval in 1937, various cuts were demanded." "This scene was modified in a manner that paradoxically compounded the problem." "The action played as photographed up to the point where the monster had thrown his last daisy into the water." "He watched it, then looked at his empty hands and held them out toward the child." "The rest of the scene was deleted, and it stayed deleted for decades until Universal's restoration." "The motivation to destroy the monster is gaining momentum." "Maria's father, the townspeople, the burgomaster, and certainly Frankenstein, were ready." "Incidentally, has anyone noticed the disappearance of the old baron, Henry's father?" "He wasn't around before, during and after the monster was loose in the household, and he's not around now." "The original plan, as we know from scripts and memos, was to keep Victor Moritz on the scene, quietly longing for Elizabeth, so he and Elizabeth would be with each other after the forthcoming tragic events." "Hence the emphasis on "I leave her in your care."" "Obviously, it is clearly understood that neither Victor nor Elizabeth are joining the hunting party." "There seems to be no question about the durability of the Frankenstein theme, with its innumerable interpretations." "The cosmic theme of the limits of man and the power of God, which extends to man emulating God." "The disturbing idea that science could create life, possibly even eternal life." "The fascination with dolls, mechanical puppets and robots that effectively simulate life." "The Faustian concept of the overreacher, who momentarily commands divine power, only to be destroyed because of it." "The father creator who abandons his child." "Frankenstein's crime was that he abandoned his creature." "The theme of the divided self, in this instance creator and creature, that is part of the human psyche and derives from ancient legend." "The dumb innocent, craving love and understanding, but forced to become violent and exercise hatred because of the lack of compassion and the fear of others." "Frustration and overwhelming rejection were the cause of the monster's brutality." "Frankenstein, then, is a mixture of fascination and horror, dream and nightmare." "Mary Shelley succeeded in creating a tale that would, she said," ""Speak to the mysterious fears of our nature and awaken thrilling horror."" "The enraged, driven villagers, frequently carrying torches, became a staple in Universal's cavalcade of Frankenstein films." "In Bride of Frankenstein, villagers seek the monster with lanterns and weapons." "In Son of Frankenstein, the villagers storm Castle Frankenstein's gate." "In The Ghost of Frankenstein, villagers storm the castle to dynamite it." "In Frankenstein Meets the Wolf Man, the townspeople are in pursuit with guns and howling dogs." "In House of Frankenstein, there is a band of torch-bearing villagers." "In House of Dracula, the mob chases the murderer through the town, up the hills and through the cemetery." "The exterior chase scenes were shot on portions of the Universal back lot, including Pollard Lake, and around the nearby hills." "Lifted footage of the search party from Frankenstein was later inserted in The Bride of Frankenstein, The Mummy's Tomb and House of Dracula." "If Frankenstein had been made just a year or two later, at this point we would be listening to rousing music underscoring." "We're no longer on the back lot, but on one of Universal's sound stages with plaster rocks and a cyclorama in the background representing an ominous sky." "A cyclorama, incidentally, that had some problems, as you will soon notice." "Incidentally, director James Whale described this chase as "the pagan sport of a mountain manhunt"." "Note that the wounded man is character actor Francis Ford, who earlier had been a Universal writer, director and leading player." "He was director John Ford's older brother." "During the First World War, in the British army," "Whale was in a prisoner-of-war camp in Germany, where he directed and acted in plays for his fellow prisoners." "Later he abandoned his job as a cartoonist for a London newspaper to become a full-time theatre person - actor, director, set and costume designer and stage manager." "According to Whale biographer James Curtis, the genesis of the look and interpretation of Karloff in Frankenstein goes back to Whale's highly praised performance as the demented son of Charles Laughton in the London stage production of A Man With Red Hair in 1928." "Following Frankenstein, Karloff worked with Whale again in The Old Dark House and The Bride of Frankenstein." "But after Son of Frankenstein in 1939 with another director, he vowed never to play the monster again, since he felt that the character was becoming a clown or merely a prop." "Despite the horror genre going in and out of fashion," "Karloff continued to make films, work in television and appear in popular plays, such as Arsenic and Old Lace in 1941, and Peter Pan, as Captain Hook, in 1950." "Near the end of his life, Boris Karloff continued to work with half a lung, crippling arthritis and a bad heart." "He died in 1969 of respiratory problems." "Unlike many actors who played in horror films," "Karloff was always grateful for the monster characters that built his career." "He once said of Frankenstein's monster "God bless the old boy."" ""Without him, I would have been nowhere."" "Here is the confrontation scene between creator and creature." "The obligatory scene." "When the Laemmles lost control of Universal in 1936," "Whale's golden years at the studio came to an end, following the release that year of the extremely popular Show Boat," "Whale's last major success." "A few years later he retired from films and started painting in his Pacific Palisades home." "In 1957, his maid discovered Whale's fully dressed body in the pool out in the back." "There was an ugly gash on Whale's forehead, and many suspected foul play, but ultimately it was revealed that Whale committed suicide." "It wasn't easy for Karloff in take after take to carry Clive to the windmill and then up to the second level with all that heavy paraphernalia that he had on." "And certainly his physical conflicts were difficult for the same reason." "The exteriors of the windmill, built on the back lot at Universal, were a combination of a full-scale lower structure of 12ft and an upper miniature." "The Williams travelling matte process was used to effect overlapping elements." "The original plan was to have the monster seek the mill, the only refuge it knew from the time its life began." "This was before the laboratory in the mill was switched to the old watchtower." "Budgeted at $262,000 and given a 30-day shooting schedule," "Frankenstein had been laid out to film in continuity for the most part, starting on August 24th." "The schedule ran over by five days and shooting was completed on October 3rd." "Final cost: $291,000." "The film was previewed at the Granada Theatre, Santa Barbara, on October 29th." "When it started playing in theatres in late 1931," "Frankenstein did sensational business and garnered generally excellent reviews." "The New York Times called it "Far and away the best thing of its kind."" "The New York American told how it held its audience" ""in hypnotic thrill through every sequence"." "And the World-Telegram referred to it as "a singularly fine picture"." "Several local censor boards ordered cuts to be made before it was shown, even though the Production Code Administration," "the film industry's self-regulatory body, had passed it." "Czechoslovakia, Italy, Sweden, Belfast and South Australia rejected the film outright, and England made a considerable number of cuts." "But Frankenstein was breaking house-attendance records all over the US." "It made the New York Times ten-best list for the year." "Exploitation gimmicks that go back to Grand Guignol presentations in the 1920s and perhaps earlier were resurrected - ambulances stationed at the front of theatres, nurses on duty in the lobby, free nerve tonic, and so on." "Motion Picture Herald stated that the film had arrived" ""if the psychologists can be believed, at the familiar psychological moment"." ""People like the tragic best at those times when their own spirits are depressed, and the economists tell us that even more than their spirits are at a low ebb."" "Motion Picture Herald stated that the film had arrived" ""if the psychologists can be believed, at the familiar psychological moment"." ""People like the tragic best at those times when their own spirits are depressed, and the economists tell us that even more than their spirits are at a low ebb."" "The reference to the economists was referring to 1931-32 being the worst years of the Great Depression." "In 1937, when Universal submitted Frankenstein to the considerably tougher Production Code Administration for reissue approval, a number of deletions were ordered." "The official letter to the studio said:" ""Remove 'ln the name of God' and 'Now I know what it feels like to be God."'" ""Shorten views of Fritz with lighted torch rousing the fear and fury of the creature."" ""Eliminate view of doctor jabbing hypodermic into back of creature."" ""Eliminate scene in which the creature throws the child into the water."" "The ending of the film was changed at the last moment before its opening dates." "Up to this time it was intended that both Frankenstein and his creation would die at the conclusion of the film, as in the Webling/Balderston play." "Reaction at the previews caused Universal executives to decide on a new ending, which necessitated the filming of a short epilogue depicting Henry Frankenstein recovering from his injuries and reunited with Elizabeth, while his father, the baron, and the maids drink a toast" "to "a son of the house of Frankenstein"." "The ending was written by Whale and scenario editor Richard Schayer." "Colin Clive was on his way to Europe, so another actor was used instead." "And Mae Clarke could have been substituted, based upon the staging of the single shot." "Frederick Kerr, as the baron, reappeared from his prolonged absence from the footage." "The prologue with Edward Van Sloan was also a late addition." "The closing music is "Grand Appassionato" by Giuseppe Becce." "He was a composer of short orchestral mood pieces for motion pictures." "In fact, he was the innovator of the library of mood music for orchestra." "And this selection goes back to the '20s." "This is Rudy Behlmer." "How do you do?" "Mr Carl Laemmle feels it would be a little unkind to present this picture without just a word of friendly warning." "We are about to unfold the story of Frankenstein." "A man of science, who sought to create a man after his own image, without reckoning upon God." "It is one of the strangest tales ever told." "It deals with the two great mysteries of creation:" "Life and death." "I think it will thrill you." "It may shock you." "It might even horrify you." "So if any of you feel that you do not care to subject your nerves to such a strain, now is your chance to, er..." "Well, we've warned you." "(man)... dona eis, Domine:" "Et lux perpetua luceat eis." "Amen." "(bell tolls)" "(sobbing)" "Down." "Down, you fool!" "Now!" "Come on!" "Hurry, hurry." "The moon's rising." "We've no time to lose." "(clattering)" "Careful!" "Here he comes!" "He's just resting." "Waiting for a new life to come." "Here we are." "Look, it's still here." "Climb up and cut the rope." " No!" " Go on." "It can't hurt you." "Here's a knife." "Look out!" "Here's the knife." "Here I come." "Is it all right?" "The neck's broken." "The brain is useless!" "We must find another brain." "That'll do, gentlemen." "(laughter)" "And in conclusion, ladies and gentlemen, here we have one of the most perfect specimens of the human brain ever to come to my attention at the university." "And here, the abnormal brain of the typical criminal." "Observe, ladies and gentlemen, the scarcity of convolutions on the frontal lobe as compared to that of the normal brain, and the distinct degeneration of the middle frontal lobe." "All of these degenerate characteristics check amazingly with the history of the dead man before us, whose life was one of brutality, of violence and murder." "These jars will remain here for your further inspection." "Thank you, gentlemen." "The class is dismissed." "(cries out)" "(gong)" "(faint voices)" "Herr Victor Moritz." "Victor." " I'm so glad you've come." " What is it, Elizabeth?" " Oh, you've heard from Henry." " Yes." "The first word in four months." "It just came." " Victor, you must help me." " Of course I'll help you." "I'm afraid." "I've read this over and over again, but they're just words that I can't understand." "Listen." ""You must have faith in me, Elizabeth." "Wait."" ""My work must come first, even before you."" ""At night, the winds howl in the mountains."" ""There is no one here."" ""Prying eyes can't peer into my secret."" " What can he mean?" " What does he say then?" ""I am living in an abandoned watchtower close to the town of Goldstadt."" ""Only my assistant is here to help me with my experiments."" " Oh." "His experiments." " Yes, that's what frightens me." "The day we announced our engagement, he told me of his experiments." "He said he was close to a discovery so terrific that he doubted his own sanity." "There was a strange look in his eyes." "Some mystery." "His words carried me right away." "Of course, I've never doubted him." "But still, I worry." "I can't help it." "And now this letter." "All this uncertainty can't go on." "I must know." "Victor, have you seen him?" "Yes." "About three weeks ago." "I met him walking alone in the woods." "He spoke to me of his work, too." "I asked him if I might visit his laboratory." "He just glared at me and said he would let no one go there." " His manner was very strange." " Oh, what can we do?" " If he should be ill!" " Now, don't worry." "I'll go to Dr Waldman, Henry's old professor in medical school." "Perhaps he can tell me more about all this." "Victor, you're a dear." "You know I'd go to the ends of the earth for you." "I shouldn't like that." "I'm far too fond of you." "I wish you were." " Victor." " I'm sorry." "Good night, Victor." "And thank you." "Thank you." "Good night." "And don't worry." "Promise?" "I won't." " Victor!" " What is it?" " I'm coming with you." " You can't!" "I must." "I'll be ready in a minute." "Herr Frankenstein is a most brilliant young man, yet so erratic." "He troubles me." "I'm worried about Henry." "Why has he left the university?" "He was doing so well and he seemed so happy with his work." "You know, his researches in the field of chemical galvanism and electrobiology were far in advance of our theories here at the university." "In fact, they had reached a most advanced stage." "They were becoming dangerous." "Herr Frankenstein is greatly changed." "You mean changed as a result of his work?" "Yes." "His work." "His insane ambition to create life." "How?" "How?" "Please tell us everything, whatever it is." "The bodies we use now, dissecting them for lecture purposes, were not perfect enough for his experiments, he said." "He wished us to supply him with other bodies, and we were not to be too particular as to where and how we got them." "I told him that his demands were unreasonable, and so he left the university to work unhampered." " He found what he needed elsewhere." " Oh." "The bodies of animals." "Well, what are the lives of a few rabbits and dogs?" "You do not quite get what I mean." "Herr Frankenstein was interested only in human life." "First to destroy it, then re-create it." "There you have his mad dream." " Can we go to him?" " You will not be very welcome." "What does that matter?" "I must see him." "Dr Waldman, you have influence with Henry." "Won't you come with us?" "I'm sorry, but Herr Frankenstein is no longer my pupil." "But he respects you." "Won't you help us to take him away?" "Very well, Fräulein." "I've warned you." "But if you wish it, I will go." "(thunder rumbles)" " Fritz!" " Hello." " Have you finished those connections?" " Yes, they're done." "Well, come down, then, and help." "We've lots to do." "(thunderclap)" "Look out!" "Fool!" "If this storm develops as I hope, you will have plenty to be afraid of before the night's over." "Go on, fix the electrodes." "(crackling)" "This storm will be magnificent." "All the electrical secrets of heaven." "And this time we're ready." "Hey, Fritz?" "Ready." "Oh!" " Why, what's the matter?" " Look." "There's nothing to fear." "Look." "No blood, no decay." "Just a few stitches." "And look." "Here's the final touch." " The brain you stole, Fritz." " Yes." "Think of it - the brain of a dead man waiting to live again in a body I made with my own hands." "With my own hands." "Let's have one final test." "Throw the switches." "(thunderclap)" "Good." "In 15 minutes, the storm should be at its height." "Then we'll be ready." "(knocking at door)" "What's that?" " There's someone there." " Shh!" "Quiet." "Send them away!" "Nobody must come here." "Here." "Cover this." "Whoever it is, don't let them in." "Leave them to me." "Of all the times for anybody to come!" "Now!" " (Fritz mutters) - (knocking continues)" "I'll show them, messing about at this time of night." "Got too much to do." " (banging at door)" " Wait a minute!" "All right, all right!" "Wait a minute, I'm coming." " It's Dr Waldman, Fritz." " You can't see him." "Go away." "(knocking continues)" "All right, knock!" "You won't get in." "(mutters)" " Henry!" " Frankenstein!" " Henry!" " Frankenstein!" "Henry!" " (Elizabeth) Open the door!" " (Victor) Let us in!" "Who is it?" "What do you want?" "You must leave me alone now." "It's Elizabeth!" "Open the door!" " Henry!" " Frankenstein!" " What do you want?" " Open the door!" " You must leave me alone." " (Elizabeth) At least give us shelter." " What's this nonsense of locked doors?" " Henry!" "Elizabeth, please, won't you go away?" "Won't you trust me just for tonight?" " You're ill." "What's the matter?" " Nothing." "I'm quite all right." "Truly I am." "Can't you see I mustn't be disturbed?" "You'll ruin everything." "My experiment is almost completed." "Wait a moment." "I understand." "I believe in you." "But I cannot leave you tonight." " You've got to leave!" " Henry, you're inhuman." "You're crazy!" "Crazy, am I?" "We'll see whether I'm crazy or not." "Come on up." "You're quite sure you want to come in?" "Very well." "Forgive me, but I'm forced to take unusual precautions." "Sit down, please." "Sit down!" "You too, Elizabeth." "Please." "A moment ago, you said I was crazy." " Tomorrow, we'll see about that." " (Fritz) Don't touch that!" "(thunderclap)" "I'm sorry, Doctor, but I insist." "Please." "Doctor Waldman, I learnt a great deal from you at the university about the violet ray, the ultraviolet ray, which you said was the highest colour in the spectrum." "You were wrong." "Here, in this machinery, I have gone beyond that." "I have discovered the great ray that first brought life into the world." "Oh." "And your proof?" "Tonight you shall have your proof." "At first I experimented only with dead animals, and then a human heart, which I kept beating for three weeks." "But now I'm going to turn that ray on that body, and endow it with life." "And you really believe that you can bring life to the dead?" "That body is not dead." "It has never lived." "I created it." "I made it with my own hands from the bodies I took from graves, from the gallows, anywhere." "Go and see for yourself." "(thunderclap)" "You too." "Dead, hey?" "Quite a good scene, isn't it?" "One man crazy, three very sane spectators." "(thunderclap)" "Yes!" "Test the batteries." "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!" " Henry, in the name of God!" "In the name of God?" "!" "Now I know what it... (voice drowned out by thunder)" "Henry is well, but he's very busy." "He said he would get in touch with you soon." "Don't worry about him, Baron." "He'll be home in a few days." "You two have it all arranged, haven't you?" "You think I'm an idiot, don't you?" "But I'm not." "Anyone can see with half an eye that there's something wrong." "And I've two eyes, and pretty good ones at that." " Well, what is it?" " You're quite mistaken, Baron." "What's the matter with my son?" "What's he doing?" "He's completing his experiments." "Why does he go messing around an old ruined windmill when he has a decent house, a bath, good food and drink, and a darned pretty girl to come back to?" "Would you tell me that?" " Baron, you don't understand." " I understand perfectly well." "There's another woman, and you're afraid to tell me." "Pretty sordid experiments these must be." "Huh!" " Oh, but you're wrong!" " And how do you know?" "If you please, Herr Baron, the burgomaster." " Well, tell him to go away." " But he says it's important." "Nothing the burgomaster can say can be of the slightest importance." "Good day, Herr Baron." "Fräulein." "Well, what do you want?" "If it's trouble, go away." "I've trouble enough." " Oh, there's no trouble, sir." " What do you mean, "no trouble"?" "There's nothing but trouble." " I brought you these flowers." " Thank you, Herr Vogel." "Both in my private and official capacities as burgomaster..." "Yes, yes, yes, we know all about that, but what do you want?" "What I really want to know is when will the wedding be, if you please." "Unless Henry comes to his senses, there'll be no wedding at all." " But the village is already prepared." " Well, tell them to unprepare." "But such a lovely bride..." "Such a fine young man, the very image of his father." " Heaven forbid." " But, sir, everything is ready!" "I know that!" "Don't keep on saying so, you idiot!" "There's nothing to cry about." "Good day, Miss Elizabeth." "Good day, Herr Moritz." "Good day, Herr Vogel." "Good day, Herr Baron." "And good riddance to you." "There you are." "Huh!" "You see how it is." "The whole village is kept waiting, the bride is kept waiting, and I am kept waiting." "Henry must come home, if I have to fetch him myself." "No, no, Baron." "What about his work?" "Stuff and nonsense." "What about his wedding?" "There is another woman... and I'm going to find her." "(Dr Waldman huffs)" "Come and sit down, Doctor." "You must be patient." "Do you expect perfection at once?" "This creature of yours should be kept under guard." "Mark my words, he will prove dangerous." "Dangerous?" "Poor old Waldman." "Have you never wanted to do anything that was dangerous?" "Where should we be if nobody tried to find out what lies beyond?" "Have you never wanted to look beyond the clouds and the stars?" "Or to know what causes the trees to bud?" "And what changes the darkness into light?" "But if you talk like that..." "people call you crazy." "Well, if I could discover just one of these things - what eternity is, for example " "I wouldn't care if they did think I was crazy." "You're young, my friend." "Your success has intoxicated you." "Wake up and look facts in the face!" "Here we have a fiend whose brain..." "Whose brain must be given time to develop." "It's a perfectly good brain, Doctor." "Well, you ought to know." "It came from your own laboratory." "The brain that was stolen from my laboratory was a criminal brain." "Oh, well." "After all, it's only a piece of dead tissue." "Only evil can come of it." "Your health will be ruined if you persist in this madness." "I'm astonishingly sane, Doctor." "You have created a monster and it will destroy you." "Patience, patience." "I believe in this monster, as you call it." "And if you don't, well, you must leave me alone." "But think of Elizabeth." "Your father." "Elizabeth believes in me." "My father?" "He never believes in anyone." "I've got to experiment further." "He's only a few days old, remember." "So far, he's been kept in complete darkness." "Wait till I bring him into the light." "(footsteps)" "Here he comes." "Let's turn out the light." "Come in." "Come in." "Sit down." "Sit down!" "You see?" "It understands." "Watch." "(Waldman) Take care now, Frankenstein." "Take care." "Shut out the light." "Sit down." "Go and sit down." " It understands this time." "It's wonderful." " Frankenstein, where is it?" "!" "Aagh!" "Quiet, you fool!" "Get away with that torch." " Aagh!" " Quick!" "Fetch the rope, quick." "Stop pushing." " Get him to the cellar." " Shoot it!" "It's a monster." "(clanking chains)" "(howling)" "Quiet." "Quiet!" "Stop that!" "You'll have the whole countryside on us!" "Come away." "He has the strength of ten men!" "(monster yells)" "Here, give me that!" "Come away, Fritz." "Leave it alone." "Leave it alone." "(yelling)" "(screaming)" "Listen." "What's that?" "Who's there?" "(yelling)" "It's Fritz!" "(monster growls)" "Come on, Doctor." "Quick, hurry." "(growls)" "Get back." " (growls)" " Get out!" "Come on, quickly." "(growling)" "(banging on door)" "(banging continues)" "He hated Fritz." "Fritz always tormented him." "Come, pull yourself together." " What can we do?" " Kill it, as you would any savage animal." "We must overpower him first." "Get me a hypodermic needle." " It's murder." " It's our only chance." "In a few minutes, he'll be through that door." "Come, quick." "Hurry." "(banging on door continues)" " Got it?" " Yes, here it is." " It's very strong." "Half-grain solution." " Good." "Now then." "You stand there." "When he goes toward you, I will make the injection in his back." " Ready?" " Yes." "(growls)" "Aagh!" "Get back!" "Back!" "(knock at door)" "Dr Waldman." "Dr Waldman!" " Are you hurt?" " No, I'm all right." "It's nothing." "See who's at the door." "What's happening?" "Elizabeth and your father are coming to see you." " Keep them out." " Too late!" "They must not see that." "Here, quick, give me a hand." "Quick!" "Henry, hurry, get that blood off your face before your father and Elizabeth get here." "Well, er..." "Pretty sort of place for my son to be in, I must say." " Is that the front door?" " Yes, this is it." "Right." "I don't like it, but... here goes." "(tuts)" "There doesn't seem to be anybody in the place." "God..." "What a..." "What a forsaken place." "Are you trying to burn it down, eh?" "What's that for, eh?" "Well, what's the matter with you?" "You look as if you've been kicked by a horse." " Where's Henry?" " Why..." " Well?" " He can't be disturbed just now." "Oh, can't he?" "Huh!" "I'll soon settle that nonsense." "Victor, where is he?" "This place seems to drive everybody crazy." " (banging)" " Oh, heavens..." "What's that?" "I beg your pardon." "I am Dr Waldman." "Oh, are you?" "I'm Baron Frankenstein." "Perhaps you know what all this tommyrot's about." "I... (splutters) I'll be shot if I do!" "I advise you to take Henry away from here at once." "Well, what do you suppose I'm here for?" "Pleasure?" "Nah." "Where are you, my dear?" "Oh, there you are." "Let's see what's up the awful stairs." "I don't know how the deuce I'm going to get up 'em, but... (Baron mutters)" "Leave them alone." "No banisters or anything else..." "How much further?" "Come in." " Henry." " Elizabeth." "Henry!" "Victor!" "Dr Waldman!" "Come quickly." " My dear, what have they done to you?" " Poor Fritz..." "It's all my fault..." "Get him on the sofa." "Have you got any brandy?" "Quick, quick, quick." "Here, I'll do that." "My boy..." "Now, now..." "Now drink." "Drink this." "There." "There, that's better." "I'm going to take you home with me, Henry." "No, I can't." "My work." "What will happen to the records of my experiment?" " We will preserve them." " And..." "I will see that it is painlessly destroyed." "Yes, yes." "Leave it all to me." "Poor Fritz." "All my fault." "There, Henry." "You can't do any more now." "You must come home until you get well again." "You'll soon feel better when you get out of here." "(gags)" "(chokes)" "It's like heaven being with you again." "Heaven wasn't so far away all the time, you know." "I know." "But I didn't realise it." "My work." "Those horrible days and nights." "I couldn't think of anything else." "Henry, you're not to think of those things any more." " You promised." " All right." "Let's think about us." "When will our wedding be?" "Let's make it soon." "As soon as you like." "For three generations, these orange blossoms have been worn at our weddings." "Your great-grandfather wore this, Henry." "Looks as good as new now, hey?" "And here." "Here is one to make the best man look still better." "30 years ago, I placed this on your mother's head, Henry." "Today, you'll make me very happy by doing the same for Elizabeth." "And I hope, in 30 years' time, a youngster of yours will be carrying on the tradition." "And now, how about a little drink, eh?" "My grandfather bought this wine and laid it down." "My grandmother wouldn't let him drink it." "Bless her heart." "Here's to your very good health." "Well, are you all full?" "Yes?" "Come along." "Here's a health to a son of the House of Frankenstein." "(all) A son to the House of Frankenstein." "Here's a jolly good health to young Frankenstein." "(all) Young Frankenstein." "Give the servants some champagne." "This stuff's wasted on 'em." "Well, well, well." "(Baron) Go on, mop it up." "It'll do you good." " House of Frankenstein." " To the House of Frankenstein." "Now then." "Now be off about your business." " (merriment outside)" " Listen!" "Listen to 'em!" "The boys and girls of the village are out here." "(cheering and singing)" "It's extraordinary how friendly you can make a lot of people on a couple of bottles of beer." "Tomorrow they'll all be fighting." "No doubt!" " They're calling for you, Baron." " Hey-ho." "Well, I suppose I'd better show myself." "(cheering)" "Quiet!" "Thank you all very much indeed." "I'm very pleased to see you all, and I hope there's plenty of beer." "There's lots more where that came from." "(cheering)" "You stay here, Maria." "I'll just take a look at my traps." "Then we'll go to the village and have a grand time, huh?" " You won't be long, Daddy?" " Oh, no." "If Franz comes by, tell him I'll be back soon." "Daddy, won't you stay and play with me a little while?" "I'm too busy, darling." "You stay and play with the kitty, huh?" " Bye, Daddy." " Goodbye." "Be a good girl now." "Come on, kitty." "Who are you?" "I'm Maria." "Will you play with me?" "Would you like one of my flowers?" "You have those, and I'll have these." "I can make a boat." "See how mine float?" "Ohh!" "No, you're hurting me!" "No!" "(# Bavarian folk music)" " Henry." " Elizabeth!" "How lovely you look." "But you shouldn't be here." "I must see you for a minute." "Why?" "What's the matter?" "Could you leave us for a moment?" "Why, of course." " Why, what is it?" " I'm so glad you're safe." "Safe?" "Of course I'm safe." "But you look worried." "Is anything wrong?" "No." "No, forget my foolishness." "It was just a mood." "There's nothing the matter." "Of course there isn't!" "Henry, I'm afraid." "Terribly afraid." "Where is Dr Waldman?" "Why is he late for the wedding?" "He's always late." "He'll be here soon." "Something is going to happen." "I feel it." "I can't get it out of my mind." "You're just nervous." "All the excitement and preparation." "No." "No, it isn't that." "I've felt it all day." "Something is coming between us." "I know it." "I know it!" "Sit down and rest." "You look so tired." " If I could just save us from it." " From what, dear?" "From what?" "I don't know!" "If I could just get it out of my mind!" "I'd die if I had to lose you now, Henry." "Lose me?" "Why, I'll always be with you." "Will you, Henry?" "Are you sure?" "I love you so." "Sure." "How beautiful you look." "Henry!" "Henry!" "(knocking at door)" "What's that?" "What's that?" "!" "Henry!" "Dr Waldman!" " What about Dr Waldman?" " Henry, don't leave me!" " No, darling, you stay here." " Henry!" "Henry!" "Dr Waldman's been murdered in the tower." "The monster." "He's been seen in the hills, terrorising the mountainside." "(moaning)" "He's in the house." "He's upstairs!" "(bells ring out)" "(agitated shouting outside)" "(moaning)" "It's in the cellars." "(moans)" "(screams)" " (mimics scream) - (screams)" "(Elizabeth continues screaming)" "It's Elizabeth!" "Come on." "(clattering)" "Elizabeth!" "What is it?" " Don't let him come here." " No, no, no, darling." "It's all right." " Don't let him come here." " It's all right, darling." "It's all right." "Oh, look!" "That's Maria!" "(cheering)" "Silence!" "Silence!" "Silence!" "What is it?" "Maria." "She's drowned." "My poor man." "Why do you bring her here to me?" "But..." "But she has been murdered." "(shouting)" "Silence!" "I'll see that justice is done." "Who is it?" " How is Elizabeth now?" " I don't know." "She's still in a daze." "Just looks at me and says nothing." "It's maddening." "Easy, old man." "She'll be all right." " Our wedding day." " Steady." "Your wedding will be postponed a day at most." " A day?" "I wonder." " What do you mean?" "There can be no wedding while this horrible creation of mine is still alive." "I made him with these hands, and with these hands I will destroy him." " I must find him!" " I'll go with you." "No." "You stay here and look after Elizabeth." "I'll leave her in your care, whatever happens." "You understand?" "In your care." "(angry shouting)" "Quiet!" "Quiet!" "Quiet!" "Ludwig." "You will search the woods." "Those are your group." " We'll get him!" " Quiet!" "Herr Frankenstein." "You will take to the mountains." "Those are your people." "I..." "I will lead the third group by the lake." "And remember... remember..." "get him alive if you can, but get him!" "Quiet!" "Search every ravine, every crevasse, but the fiend must be found!" "Are you ready?" "Light your torches and go!" "Stop!" "Frankenstein, mountains!" "Ludwig!" "Lake party, this way!" "Come on, boys!" "Keep together." "You search there." "The rest, come with me." "(yells)" "Look lively!" "Come on!" "Come on!" "Herr Frankenstein!" "Herr Frankenstein!" "(moaning)" "Come on, men!" "Quick!" "This way!" "Which way did he go?" "Which way did he go?" "Tell me!" "Tell me!" "Over there." "You stay here and take care of him." "The rest, follow me." "Come on!" "Come on, quick!" "No, come back!" "This way." "Herr Frankenstein!" "Herr Frankenstein, where are you?" "I think he's up there." "Come on, follow me." "Quick!" "Hello!" "Fire." "Fire!" "Help!" "Help!" " Listen." " (Herr Frankenstein) Help!" "It's Frankenstein." "That way!" "This way!" "Come on, hurry!" "Hurry!" "Look, they're there!" "Turn the hounds loose!" "(yells)" "(yells)" "There he is!" "The murderer." "He's alive." "Frankenstein!" "Frankenstein." "Bring him down to the village and let's take him home." "Murderer!" "Burn the mill!" "Burn the mill!" "He can't get away!" "(screams)" "(continues screaming)" "Aaagh!" "(hounds howling)" "Have you got it?" "Come on, hurry." "(whispering and giggling)" "Quiet, quiet." "Well, go ahead and knock." "Well, well, well, what's all this?" "What do you want, hey?" "What's this?" "If you please, Herr Baron, we thought that Mr Henry could do with a glass of his great-grandmother's wine." "Fine old lady, my grandmother." "Very foreseeing of her to prevent my grandfather drinking this." "Mr Henry doesn't need this." "As I said before, I say again, here's to a son to the House of Frankenstein." "(all) Yes, indeed, sir." "We hope so, sir."