ISSUE 12 by Unknown

Author:Unknown
Format: epub

FRANKENSTE When SheUi ■enplay they had no idea that their Frankenstein would prove so popular, creating (directly and indirectly) a series that would run intermittently for the following five decades. Under the talented direction of James Whale, Universal’s film and one of their contract players, Boris KarlofT, became instant successes. The central theme of this film, as well as all the sequels that followed, was the Monster — the appearance of the Monster was what every member of the audience -waited for, nervously. Taking it from the viewpoint of the MonBter being the central character (for without it where would the film go?), the following notes will take a look at the various ways the Monster was utilised throughout its ‘career’. Whale’s Frankenstein made the Monster a most sympathetic figure, almost akin to King Kong, inducing the audience to care more for its welfare than for the rest of the cast. A strange psychology; something of an anti-hero! When, finally, the Monster is hounded and trapped in the burning windmill, your feelings are more related to its predicament than with the jeopardy of Henry Frankenstein (Colin Clive). Once it is all over, who cares about the remaining few moments showing us that Henry has just about survived? It is the Monster we feel sad about. Universal wouldn't let this success go, so in 1935 they brought our dear Monster back in Bride of Frankenstein. This is where Universal’s ace make-up man, Jack Pierce, really excelled in his field; he turned the already heartstopping visage of Karloff’s Monster burning away the lank hair from the front of the head and altering the inakeiuit a scorched-flesh appearance, .equel also featured anothe n’, the intended Bride for th< Above: Leonard Whiting and bandaged Michael Sarrazin in NBC TV's Frankenstein: The True Story. Right: Karloff's creature, from the 1935 Bride of Frankenstein. Below: Hammer's Evil of Frankenstein (1964) with Kiwi Kingston. Its apparent hostile act motivated by ignorant peasants devious scientists, turn „ constant prey. The Mor ister’s even ified when decides to blow everyc the laboratory; a form of suicide wl i

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