Frankenstein | |
---|---|
Directed by | J. Searle Dawley |
Written by | J. Searle Dawley |
Based on | Frankenstein (1818 novel) by Mary Shelley |
Produced by | Thomas Edison |
Starring | Augustus Phillips Charles Ogle Mary Fuller |
Cinematography | James White [1] |
Production company | |
Distributed by | Edison Manufacturing Company |
Release date |
|
Running time | 16 minutes [2] (1 reel, 975 feet) [3] |
Country | United States |
Language | Silent with English intertitles |
Frankenstein is a 1910 American short silent horror film produced by Edison Studios. It was directed by J. Searle Dawley, who also wrote the one-reeler's screenplay, broadly basing his "scenario" on Mary Shelley's 1818 novel Frankenstein; or, The Modern Prometheus . [4] This short motion picture is generally recognized by film historians as the first screen adaptation of Shelley's work. The small cast, who are not credited in the surviving 1910 print of the film, includes Augustus Phillips as Dr. Frankenstein, Charles Ogle as Frankenstein's monster, and Mary Fuller as the doctor's fiancée. [5]
Described as "a liberal adaptation of Mrs. Shelley's famous story", the film shows young Frankenstein (his first name in the book, Victor, is never mentioned) discovering the "mystery of life" after two years at university. He gives life to a creature built by mixing different chemicals, and the monster follows Frankenstein back to his parents' house. The conclusion, completely different from Mary Shelley's book, shows the creature disappearing after seeing its own reflection in the mirror, and without killing Victor's younger brother or his fiancée Elizabeth, as happened in the novel. [6]
The film's plot description in a 1910 issue of the studio's trade periodical Edison Kinetogram provides considerable detail about the company's screen adaptation: [7]
Frankenstein, a young student, is seen bidding his sweetheart and father goodbye, as he is leaving home to enter a college in order to study the sciences. Shortly after his arrival at college he becomes absorbed in the mysteries of life and death to the extent of forgetting practically everything else. His great ambition is to create a human being, and finally one night his dream is realized. He is convinced that he has found a way to create a most perfect human being that the world has ever seen. We see his experiment commence and the development of it. The formation of the hideous monster from the blazing chemicals of a huge cauldron in Frankenstein's laboratory is probably the most weird, mystifying and fascinating scene ever shown on a film. To Frankenstein's horror, instead of creating a marvel of physical beauty and grace, there is unfolded before his eyes and before the audience an awful, ghastly, abhorrent monster. As he realizes what he has done, Frankenstein rushes from the room, only to have the misshapen monster peer at him through the curtains of his bed. He falls fainting to the floor, where he is found by his servant, who revives him.
After a few weeks' illness, he returns home, a broken, weary man, but under the loving care of father and sweetheart he regains his health and strength and begins to take a less morbid view of life. In other words, the story of the film brings out the fact that the creation of the monster was only possible because Frankenstein had allowed his normal mind to be overcome by evil and unnatural thoughts. His marriage is soon to take place. But one evening, while sitting in his library, he chances to glance in the mirror before him and sees the reflection of the monster which has just opened the door of his room. All the terror of the past comes over him and, fearing lest his sweetheart should learn the truth, he bids the monster conceal himself behind the curtain while he hurriedly induces his sweetheart, who then comes in, to stay only a moment. Then follows a strong, dramatic scene. The monster, who is following his creator with the devotion of a dog, is insanely jealous of anyone else. He snatches from Frankenstein's coat the rose which his sweetheart has given him, and in the struggle throws Frankenstein to the floor, here the monster looks up and for the first time confronts his own reflection in the mirror. Appalled and horrified at his own image he flees in terror from the room. Not being able, however, to live apart from his creator, he again comes to the house on the wedding night and, searching for the cause of his jealousy, goes into the bride's room. Frankenstein coming into the main room hears a shriek of terror, which is followed a moment after by his bride rushing in and falling in a faint at his feet. The monster then enters and after overpowering Frankenstein's feeble efforts by a slight exercise of his gigantic strength leaves the house.
Here comes the point which we have endeavored to bring out, namely: That when Frankenstein's love for his bride shall have attained full strength and freedom from impurity it will have such an effect upon his mind that the monster cannot exist. This theory is clearly demonstrated in the next and closing scene, which has probably never been surpassed in anything shown on the moving picture screen. The monster, broken down by his unsuccessful attempts to be with his creator, enters the room, stands before a large mirror and holds out his arms entreatingly. Gradually, the real monster fades away, leaving only the image in the mirror. A moment later Frankenstein himself enters. As he stands directly before the mirror we are amazed to see the image of the monster reflected instead of Frankenstein's own. Gradually, however, under the effect of love and his better nature, the monster's image fades and Frankenstein sees himself in his young manhood in the mirror. His bride joins him, and the film ends with their embrace, Frankenstein's mind now being relieved of the awful terror and weight it has been laboring under for so long. [8]
J. Searle Dawley, working in his third year for Edison Studios, shot the film in three days at the company's Bronx facilities in New York City on January 13, 15 and 17, 1910. [1] [9] Staff writers for the Edison Kinetogram assured theatergoers in 1910 that the company's film adaptation was deliberately designed to de-emphasize the horrific aspects of Shelley's story and to focus instead on the tale's "mystic and psychological" elements: [10]
In making the film the Edison Co. has carefully tried to eliminate all actual repulsive situations and to concentrate its endeavors upon the mystic and psychological problems that are to be found in this weird tale. Whenever, therefore, the film differs from the original story it is purely with the idea of elimination of what would be repulsive to a moving picture audience. [8]
The creation of the monster scene involved the burning of a dummy while manipulating its arms and head, and then reversing the footage to show the creature taking shape from nothingness by bringing together ashes and fumes. [11]
The film was reported in the Edison Kinetogram as having a length of 975 feet, [3] giving it a runtime of approximately 16 minutes at silent film rates (16 FPS), [2] or closer to eleven minutes at modern rates (24 FPS). [3]
Newspapers and magazines of the time, such as New York newspapers The Film Index and The Moving Picture World, highlighted the monster creation scene as "the most remarkable ever committed to a film". [6] After the film's official premiere, on April 9, The Moving Picture World published a negative review signed by W. Stephen Bush, probably one of the first critics to worry about what could be shown in films:
I have the sincerest admiration for the Edison and Vitagraph studios, but it must be said, with all due deference to these distinguished producers, that such films as 'Frankenstein' and 'The Mistery of Temple Court', while delightful literature to coroners, undertakers, gravediggers, and morgue-keepers, fail to please the general public. 'Fail to please' is putting it mildly. (…) Death scenes and executions are interesting historical reading, when well described, but a portrayal of these things on a living screen may well be dispensed with.
Frankenstein was among the earliest silent films to have an associated cue sheet, providing suggested musical accompaniment. [12] From the cue sheet: [13] [14]
At opening: Andante—"You Will Remember Me"
Till Frankenstein's laboratory: Moderato—"Melody in F"
Till monster is forming: Increasing agitato
Till monster appears over bed: Dramatic music from "Der Freischütz"
Till father and girl in sitting room: Moderato
Till Frankenstein returns home: Andante—"Annie Laurie"
Till monster enters Frankenstein's sitting room: Dramatic—"Der Freischütz"
Till girl enters with teapot: Andante—"Annie Laurie"
Till monster comes from behind curtains: Dramatic—"Der Freischütz"
Till wedding guests are leaving: Bridal Chorus from "Lohengrin"
Till monster appears: Dramatic—"Der Freischütz"
Till Frankenstein enters: Agitato
Till monster appears: Dramatic—"Der Freischütz"
Till monster vanishes into mirror: Diminishing Agitato
The pieces include "You'll Remember Me" from the 1843 opera The Bohemian Girl , the 1852 "Melody in F", "dramatic music" (presumably the "Wolf's Glen" scene) from the 1821 opera Der Freischütz , the 1835 song "Annie Laurie", and the Bridal Chorus from the 1850 opera Lohengrin . [15]
The film, just as all other motion pictures released before 1929, is now in the public domain in the United States.
For many years, it was believed a lost film. In 1963, a plot description and stills (below) were discovered published from the March 15, 1910, issue of the film catalog The Edison Kinetogram. [16] For many years, these images were the only widely available visual record of the Charles Ogle version of the monster.
In the early 1950s, a print of this film was purchased by a Wisconsin film collector, Alois F. Dettlaff, from his mother-in-law, who also collected films. [17] He did not realize its rarity until many years later. Its existence was first revealed in the mid-1970s. Although somewhat deteriorated, the film was in viewable condition, complete with titles and tints as seen in 1910. Dettlaff had a 35 mm preservation copy made in the late 1970s. He also issued a DVD release of 1,000 copies. [18]
BearManor Media released the public domain film in a restored edition on March 18, 2010, alongside the novel Edison's Frankenstein, which was written by Frederick C. Wiebel, Jr. [19]
In 2016, the film society of the University of Geneva undertook their own restoration of the film, with image restoration by Julien Dumoulin and an original soundtrack by Nicolas Hafner, [20] performed on a Wurlitzer theatre organ located at College Claparède. [21] The restored version of the film was shown on 10 October 2016. [22]
On November 15, 2018, in recognition of Mary Shelly's bicentennial, the Library of Congress announced via a blog post that it had completed a full restoration of the short film, having purchased the Dettlaff collection in 2014. The restoration was made available to the general public for streaming and downloading via its YouTube channel and online National Screening Room, as well as in the blog post announcing the restoration's completion. A new soundtrack was scored and performed by Donald Sosin. [23]
In 2003 Chris Yambar and Robb Bihun published the graphic novel Edison Frankenstein 1910, directly based on the 1910 Frankenstein film adaptation. [24] [25] [26]
Bride of Frankenstein is a 1935 American science fiction horror film, and the first sequel to Universal Pictures' 1931 film Frankenstein. As with the first film, Bride of Frankenstein was directed by James Whale starring Boris Karloff as the Monster and Colin Clive as Dr. Frankenstein. The sequel features Elsa Lanchester in the dual role of Mary Shelley and the bride. Colin Clive reprises his role as Henry Frankenstein, and Ernest Thesiger plays the role of Doctor Septimus Pretorius. Oliver Peters Heggie plays the role of the old blind hermit.
Frankenstein is a 1931 American pre-Code science fiction horror film directed by James Whale, produced by Carl Laemmle Jr., and adapted from a 1927 play by Peggy Webling, which in turn was based on Mary Shelley's 1818 novel Frankenstein; or, The Modern Prometheus. The Webling play was adapted by John L. Balderston and the screenplay written by Francis Edward Faragoh and Garrett Fort, with uncredited contributions from Robert Florey and John Russell.
The Phantom of the Opera is a novel by French author Gaston Leroux. It was first published as a serial in Le Gaulois from 23 September 1909 to 8 January 1910, and was released in volume form in late March 1910 by Pierre Lafitte. The novel is partly inspired by historical events at the Paris Opera during the nineteenth century, and by an apocryphal tale concerning the use of a former ballet pupil's skeleton in Carl Maria von Weber's 1841 production of Der Freischütz. It has been successfully adapted into various stage and film adaptations, most notable of which are the 1925 film depiction featuring Lon Chaney, and Andrew Lloyd Webber's 1986 musical.
The year 1909 in film involved some significant events.
Frankenstein's monster, also referred to as Frankenstein, is a fictional character that first appeared in Mary Shelley's 1818 novel Frankenstein; or, The Modern Prometheus as its main antagonist. Shelley's title compares the monster's creator, Victor Frankenstein, to the mythological character Prometheus, who fashioned humans out of clay and gave them fire.
Dracula is a 1931 American pre-Code supernatural horror film directed and co-produced by Tod Browning from a screenplay written by Garrett Fort and starring Bela Lugosi in the title role. It is based on the 1924 stage play Dracula by Hamilton Deane and John L. Balderston, which in turn is adapted from the 1897 novel Dracula by Bram Stoker. Lugosi portrays Count Dracula, a vampire who emigrates from Transylvania to England and preys upon the blood of living victims, including a young man's fiancée.
Mary Shelley's Frankenstein is a 1994 science fiction horror film directed by Kenneth Branagh who also stars as Victor Frankenstein, with Robert De Niro portraying Frankenstein's monster, and co-stars Tom Hulce, Helena Bonham Carter, Ian Holm, John Cleese, Richard Briers and Aidan Quinn. Considered the most faithful film adaptation of Mary Shelley's 1818 novel, Frankenstein; or, The Modern Prometheus, despite several differences and additions in plot from the novel, the film follows a medical student named Victor Frankenstein who creates new life in the form of a monster composed of various corpses' body parts.
Edison Studios was an American film production organization, owned by companies controlled by inventor and entrepreneur, Thomas Edison. The studio made close to 1,200 films, as part of the Edison Manufacturing Company (1894–1911) and then Thomas A. Edison, Inc. (1911–1918), until the studio's closing in 1918. Of that number, 54 were feature length, and the remainder were shorts. All of the company's films have fallen into the public domain because they were released before 1928.
Victor Frankenstein is a fictional character who first appeared as the titular main protagonist of Mary Shelley's 1818 novel, Frankenstein; or, The Modern Prometheus. He is a Swiss scientist who, after studying chemical processes and the decay of living things, gains an insight into the creation of life and gives life to his own creature. Victor later regrets meddling with nature through his creation, as he inadvertently endangers his own life and the lives of his family and friends when the creature seeks revenge against him. He is first introduced in the novel when he is seeking to catch the monster near the North Pole and is saved from near death by Robert Walton and his crew.
Igor, or sometimes Ygor, is a stock character, a sometimes hunch-backed laboratory assistant to many types of Gothic villains or as a fiendish character who assists only himself, the latter most prominently portrayed by Bela Lugosi in Son of Frankenstein (1939) and The Ghost of Frankenstein (1942). He is familiar from many horror films and horror film parodies. He is traditionally associated with mad scientists, particularly Victor Frankenstein, although Frankenstein has neither a lab assistant nor any association with a character named Igor in the original Mary Shelley novel. The Igor of popular parlance is a composite character, based on characters created for the Universal Studios film franchise. In the first Frankenstein film (1931), Fritz served the role; in the sequels, a different physically deformed character, Ygor, is featured, though Ygor is not an assistant in those films.
Doctor Septimus Pretorius is a fictional character who appears in the Universal film Bride of Frankenstein (1935) as the main antagonist. He is played by British stage and film actor Ernest Thesiger. Some sources claim he was originally to have been played by Bela Lugosi or Claude Rains. Others indicate that the part was conceived specifically for Thesiger.
Mary Shelley's 1818 novel Frankenstein; or, The Modern Prometheus, and the famous character of Frankenstein's monster, have influenced popular culture for at least a century. The work has inspired numerous films, television programs, video games and derivative works. The character of the Monster remains one of the most recognized icons in horror fiction.
Life Without Soul (1915) is a lost horror film, directed by Joseph W. Smiley and written by Jesse J. Goldburg. This film is an adaptation of Mary Shelley's 1818 Gothic novel Frankenstein; or, The Modern Prometheus. The film is about a doctor who creates a soulless man. In the end, it turns out that a young man has dreamed the events of the film after falling asleep reading Shelley's novel.
The horror novel Frankenstein by Mary Shelley has inspired a number of films:
James Searle Dawley was an American film director, producer, screenwriter, stage actor, and playwright. Between 1907 and the mid-1920s, while working for Edison, Rex Motion Picture Company, Famous Players, Fox, and other studios, he directed more than 300 short films and 56 features, which include many of the early releases of stars such as Douglas Fairbanks, Mary Pickford, Pearl White, Marguerite Clark, Harold Lloyd, and John Barrymore. He also wrote scenarios for many of his productions, including one for his 1910 horror film Frankenstein, the earliest known screen adaptation of Mary Shelley's 1818 novel. While film direction and screenwriting comprised the bulk of Dawley's career, he also had earlier working experience in theater, performing on stage for more than a decade and managing every aspect of stagecraft. Dawley wrote at least 18 plays as well for repertory companies and for several Broadway productions.
Giuseppe Becce was an Italian-born film score composer who enriched the German cinema.
Presumption; or, the Fate of Frankenstein is an 1823 play in three acts by Richard Brinsley Peake loosely based on the 1818 novel Frankenstein; or, The Modern Prometheus by Mary Shelley. It is the first recorded theatrical adaptation of the novel and had 37 performances during its original run. It was revived at the English Opera House until at least 1850.
Elizabeth Frankenstein is a fictional character first introduced in Mary Shelley's 1818 novel Frankenstein; or, The Modern Prometheus. In both the novel and its various film adaptations, she is the fiancée of Victor Frankenstein.
Il mostro di Frankenstein is a 1921 Italian silent film directed by Eugenio Testa. The film features actor Luciano Albertini as Baron von Frankenstein and Umberto Guarracino as The Monster. Albertini was known for his strong-man films at the time, particularly the Sansone film series. The film is a lost film, with only a photo, some promotional materials, and a single published review left to give insight to what the film was.
Frankenstein is a 2015 American science fiction horror film written and directed by Bernard Rose. It is a modernised adaptation of Mary Shelley's 1818 novel Frankenstein; or, The Modern Prometheus. The film is told from the monster's point of view, as he is created, escapes into the modern world, and learns about the dark side of humanity.
The film runs 975 feet on 35 mm, or about 11 minutes at today's standardized projection speed of 24 frames a second, and tells the story of the novel in 25 individual tableaux, each of which advances the plot with dizzying speed.