Produced and distributed by Universal Pictures, the film was a commercial success upon release, and was generally well received by both critics and audiences. It spawned a number ofsequels and spin-offs, and has had a significant impact on popular culture: the imagery of a maniacal "mad" scientist with a subservient hunchbacked assistant and the film's depiction of Frankenstein's monster have since become iconic. In 1991, the United States Library of Congress selected Frankenstein for preservation in the National Film Registry as being "culturally, historically, or aesthetically significant".[4][5]
In a village of the Bavarian Alps, Henry Frankenstein and his assistant Fritz, a hunchback, piece together a human body. Some of the parts are from freshly buried bodies, and some from the bodies of recently hanged criminals. In a laboratory he's built inside a watchtower, Henry desires to create a human, giving this body life through electrical devices. He still needs a brain for his creation. At a nearby school, Henry's former teacher Dr. Waldman shows his class the brain of an average human being and the corrupted brain of a criminal for comparison. Henry sends Fritz to steal the healthy brain from Waldman's class. Fritz accidentally damages it, and so brings Henry the corrupt brain.
Henry's fiancée Elizabeth speaks with their friend Victor about the scientist's peculiar actions and his seclusion. Elizabeth and Victor ask Waldman for help understanding Henry's behavior, and Waldman reveals he is aware Henry wishes to create life. Concerned for Henry, they arrive at the lab just as he makes his final preparations, the lifeless body on an operating table. As a storm rages, Henry invites Elizabeth and the others to watch. Henry and Fritz raise the operating table toward an opening at the top of the tower. The creature and Henry's equipment are exposed to the lightning storm and empowered, bringing the creature to life.
Frankenstein's Monster, despite its grotesque form, seems to be an innocent, childlike creation. Henry welcomes it into his laboratory and asks it to sit, which it does. He opens up the roof, causing the Monster to reach out towards the sunlight. Fritz enters with a flaming torch, which frightens the Monster. Its fright is mistaken by Henry and Waldman for an attempt to attack them, and it is chained in the dungeon, where Fritz antagonizes it with a torch. Hearing Fritz screaming in the dungeon, Henry and Waldman run down, finding that the Monster has forcefully hanged Fritz. The Monster lunges at the two but they lock the Monster inside. Realizing the Monster must be destroyed, Henry prepares an injection of a powerful drug and the two conspire to release the Monster and inject it as it attacks. When the door is unlocked the Monster lunges at Henry as Waldman injects the drug into the Monster's back. The Monster falls to the floor unconscious.
Henry collapses from exhaustion, and Elizabeth and Henry's father take him home. Henry is worried about the Monster, but Waldman reassures him that he will destroy it. While Henry is at home, recovered and preparing for his wedding, Waldman examines the Monster. As he prepares to vivisect it, the Monster strangles him. It escapes from the tower and wanders through the landscape, encountering a farmer's young daughter, Maria. She asks him to play a game with her in which they toss flowers onto a lake. The Monster enjoys the game, but when he runs out of flowers, he throws Maria into the lake, inadvertently drowning her.
With preparations for the wedding completed, Henry is happy with Elizabeth. They are to marry as soon as Waldman arrives. Victor rushes in, saying that Waldman has been found strangled. Henry suspects the Monster. The Monster enters Elizabeth's room, causing her to scream. When the searchers arrive, they find Elizabeth in shock, then unconscious. The Monster has escaped.
Maria's father arrives, carrying his drowned daughter's body. He says she was murdered, and the villagers form a lynch mob to capture the Monster. During the search, Henry is attacked by the Monster. The Monster knocks Henry unconscious and carries him to an old windmill. The peasants hear the creature carrying Henry and find it climbing to the top, dragging Henry with it. The Monster hurls the scientist to the ground. His fall is broken by the wooden blades of the windmill, saving his life. Some of the villagers bring him home while the rest of the mob set the windmill ablaze, with the Monster trapped inside with nowhere to escape.
At Castle Frankenstein, Henry's father celebrates the wedding of his recovered son with a toast to a future grandchild.
1951 re-release lobby card1931 original Bela Lugosi casting announcement.
In 1930, Universal Studios had lost $2.2million in revenues. Within 48 hours of its opening at New York's Roxy Theatre on February 12, 1931, Dracula starring Bela Lugosi had sold 50,000 tickets, building a momentum that culminated in a $700,000 profit, the largest of Universal's 1931 releases. As a result, the head of production, Carl Laemmle Jr., announced immediate plans for more horror films.[7] It purchased the film rights to John L. Balderston's planned stage adaptation of Peggy Webling's British stage adaptation of Mary Wollstonecraft Shelley's original novel.[8]
Immediately following his success in Dracula, Lugosi had hoped to play Henry Frankenstein in Universal's original film concept. However, the actor was expected by producer Carl Laemmle Jr. to play the Monster[9] (a common move for a contract player in a film studio at the time) to keep his famous name on the bill.[10]
Frankenstein was also inspired by The Golem, a surreal novel based on Jewish folklore, and its film adaptation,[11] a silent horror film where the Golem is a literal being rather than the ambiguous existence it was in the novel.
Although this is often regarded as one of the worst decisions in any actor's career, in actuality, the part that Lugosi was offered was not the same character that Karloff eventually played. The initial director was Robert Florey, who had re-characterized the Monster as a simple killing machine, without a touch of human interest or pathos, unlike in the original Shelley novel. This reportedly caused Lugosi to complain, "I was a star in my country[12] and I will not be a scarecrow over here!"[13] Florey later wrote that "the Hungarian actor didn't show himself very enthusiastic for the role and didn't want to play it". However, the decision may not have been Lugosi's in any case, since recent evidence suggests that he was kicked off the project, along with director Robert Florey, when the newly arrived James Whale asked for the property and later cast Karloff, who resembled Whale.[14][citation needed]
Actors who worked on the project either were, or shortly became familiar to the fans of the Universal horror films. These included Frederick Kerr as the old Baron Frankenstein, Henry's father; Lionel Belmore as Herr Vogel, the Bürgermeister; Marilyn Harris as Little Maria, the girl the Monster accidentally kills; Dwight Frye as Frankenstein's hunchbacked assistant, Fritz; and Michael Mark as Ludwig, Maria's father.
Kenneth Strickfaden designed the electrical effects that were used in the "creation scene". They were so successful that such effects came to be considered an essential part of every subsequent Universal film involving Frankenstein's Monster. Accordingly, the equipment used to produce them has come to be referred to in fan circles as "Strickfadens". It appears that Strickfaden managed to secure the use of at least one Tesla Coil built by the inventor Nikola Tesla himself.[15]
The film opened in New York City at the Mayfair Theatre on December 4, 1931, and grossed $53,000 in one week.[13]
Florey and Lugosi were given the Murders in the Rue Morgue film, as a consolation. Lugosi would later go on to play Frankenstein's Monster in Frankenstein Meets the Wolf Man a decade later, when his career was in decline (in the original shooting script the Monster spoke, cancelling Lugosi's initial objection to the part, but his filmed dialogue sequences were cut prior to release, along with the premise that the Monster was blind, which was the way Lugosi had played it).[16]
Pre-Code era scenes and censorship history
Colin Clive and Karloff in colorized photograph from Frankenstein (1931).
The scene in which the Monster throws Maria, the little girl into the lake and accidentally drowns her has long been controversial. Upon its original 1931 release, the second part of this scene was cut by state censorship boards in Massachusetts, Pennsylvania, and New York.[13] Those states also objected to a line they considered blasphemous that occurred during Frankenstein's exuberance when he first learns that his creature is alive. The original relevant passage was:
VICTOR: "Henry, in the name of God!" HENRY: "In the name of God? Now I know what it feels like to BE God!"[13]
Kansas requested the cutting of 32 scenes, which, if they had been removed, would have cut half of the film.[17] Jason Joy of the Studio Relations Committee sent censor representative Joseph Breen to urge them to reconsider. Eventually, an edited version was released in Kansas.[13]
As with many Pre-Code films that were reissued after strict enforcement of the Production Code in 1934, Universal made cuts from the original camera negative,[18] and thus most of the excised footage is often lost. However, the scene of the girl being thrown into the lake was rediscovered during the early 1980s in the collection of the British National Film Archive, and it has been restored to modern prints of the film.[19]
In the Irish Free State, the film was banned on February 5, 1932, for being demoralizing and unsuitable for children or "nervous people" – age-restricted certificates were not introduced in the country until 1965. The decision was overturned by the Appeal Board on March 8, and the film was passed uncut on March 9.[20] The film was successfully banned in Northern Ireland, Quebec, Sweden, Italy, and Czechoslovakia.[8]
Reception
Theatrical teaser poster by 1930s Universal art director Karoly Grosz: "Warning! The Monster Is Loose!"
The New York Times film critic Mordaunt Hall gave Frankenstein a very positive review. He said that the film "aroused so much excitement at the Mayfair yesterday that many in the audience laughed to cover their true feelings. [T]here is no denying that it is far and away the most effective thing of its kind. Beside it Dracula is tame and, incidentally, Dracula was produced by the same firm".[22]
Film Daily also lauded the picture, calling it a "gruesome, chill-producing and exciting drama" that was "produced intelligently and lavishly and with a grade of photography that is superb".[23]
Variety reported that it "looks like a Dracula plus, touching a new peak in horror plays", and described Karloff's performance as "a fascinating acting bit of mesmerism". Its review also singled out the look of the film as uniquely praiseworthy, calling the photography "splendid" and the lighting "the last word in ingenuity, since much of the footage calls for dim or night effect and the manipulation of shadows to intensify the ghostly atmosphere".[24]
John Mosher of The New Yorker was less enthused, calling the film only a "moderate success" and writing that "the makeup department has a triumph to its credit in the monster and there lie the thrills of the picture, but the general fantasy lacks the vitality which that little Mrs. P.B. Shelley was able to give her book".[25]
The film was banned in China due to falling under the category of "superstitious films" as a result of its "strangeness" and unscientific elements.[26]
Frankenstein has continued to receive acclaim from critics and is widely regarded as one of the best films of 1931,[27][28][29][30] as well as one of the greatest movies of all time.[31][32]On the review aggregator website Rotten Tomatoes, 94% of 95 critics' reviews are positive, with an average rating of 8.8/10.The website's consensus reads: "Still unnerving to this day, Frankenstein adroitly explores the fine line between genius and madness, and features Boris Karloff's legendary, frightening performance as the monster."[33]Metacritic, which uses a weighted average, assigned the film a score of 91 out of 100, based on 15 critics, indicating "universal acclaim".[34]
In 1991, the film was selected for preservation in the United States National Film Registry as being deemed "culturally, historically or aesthetically significant".[35][36] In 2004, The New York Times placed the film on its Best 1000 Movies Ever list.[37]
The film was a commercial success. In June 1932, the film had earned reported rentals of $1.4million. In 1943, Universal reported it had earned a profit of $708,871. By 1953, all the Frankenstein re-releases earned an estimated profit of $12million.[45]
Home media
In 1986, MCA Home Video released Frankenstein on LaserDisc. This release restored all the cut footage, as well as most of Frankenstein's "In the name of God!" line.[46][47] In the 1990s, MCA/Universal Home Video released the film on VHS as part of the "Universal Monsters Classic Collection", a series of releases of Universal Classic Monsters films.[48]
In 1999, Universal released Frankenstein on VHS and DVD as part of the "Classic Monster Collection"; this release restored the rest of the censored material.[49][50][51] In April 2004, Universal released Frankenstein: The Legacy Collection on DVD as part of the "Universal Legacy Collection".[52][53] This two-disc release includes Frankenstein, Bride of Frankenstein, Son of Frankenstein, The Ghost of Frankenstein and The House of Frankenstein.[52][53] In September 2006, Universal released Frankenstein on DVD as a two-disc "75th Anniversary Edition", as part of the "Universal Legacy Series".[54][55]
In 2012, Frankenstein was released on Blu-ray as part of the Universal Classic Monsters: The Essential Collection box set, which also includes a total of nine films from the Universal Classic Monsters series.[56][57] In September 2013, Frankenstein received a standalone Blu-ray release.[58] That same year, Frankenstein was included as part of the six-film Blu-ray set Universal Classic Monsters Collection, which also includes Dracula, The Mummy, The Invisible Man, Bride of Frankenstein, and The Wolf Man.[59] The next year, Universal released Frankenstein: Complete Legacy Collection on DVD.[60] This set contains eight films: Frankenstein, Bride of Frankenstein, Son of Frankenstein, Ghost of Frankenstein, Frankenstein Meets the Wolf Man, The House of Frankenstein, House of Dracula, and Abbott and Costello Meet Frankenstein.[60] In 2015, the six-film Universal Classic Monsters Collection was released on DVD.[61] In 2016, Frankenstein received a Walmart-exclusive Blu-ray release featuring a glow-in-the-dark cover.[62] That same year, the Complete Legacy Collection was released on Blu-ray.[63][64] In September 2017, the film received a Best Buy-exclusive steelbook Blu-ray release with cover artwork by Alex Ross.[65]
Frankenstein and its sequels were included in the Universal Classic Monsters: Complete 30-Film Collection Blu-ray box set in August 2018.[66][67] This box set also received a DVD release.[68] Later in October, Frankenstein was included as part of a limited edition Best Buy-exclusive Blu-ray set titled Universal Classic Monsters: The Essential Collection, which features artwork by Alex Ross.[69]Universal Pictures Home Entertainment released the film on 4KUltra HD Blu-ray on October 5, 2021.[70]
Frankenstein was followed by a string of sequels, beginning with Bride of Frankenstein (1935), in which Elsa Lanchester plays the Monster's bride.
The next sequel, Son of Frankenstein (1939), was made, like all those that followed, without Whale or Clive (the latter of whom had died in 1937). This film featured Karloff's last full film performance as the Monster. Son of Frankenstein presented Basil Rathbone as Baron Wolf von Frankenstein, Bela Lugosi as bearded hunchback Ygor, and Lionel Atwill as Inspector Krogh.
The Ghost of Frankenstein was released in 1942. The film features Lon Chaney Jr. as the Monster, taking over from Boris Karloff, who played the role in the first three films of the series, and Bela Lugosi in his second appearance as the demented Ygor.
In the follow-up, House of Frankenstein (1944), Karloff returned to the series, but not to reprise his role as the monster, but as the Mad Doctor; the monster was this time portrayed by Glenn Strange. Chaney Jr. returned as the Wolf Man. Dracula was also featured in the film, played by John Carradine.
Its sequel, House of Dracula (1945), featured the same three monsters, Dracula, Frankenstein's monster and the Wolf Man with the same cast in their portrayals.
Many of the subsequent films which featured Frankenstein's monster demote the creature to a robotic henchman in someone else's plots, such as in its final Universal film appearance in the deliberately farcicalAbbott and Costello Meet Frankenstein (1948) as well as the aforementioned House of Frankenstein and House of Dracula.
Karloff would return to the wearing of the makeup and to the role of the monster one last time in a 1962 episode of the television show Route 66.
The popular 1960s television sitcom, The Munsters, depicts the family's father Herman as Frankenstein's monster, who married Count Dracula's daughter. The makeup for Herman is based on the makeup of Boris Karloff.
A live-action parody short film, Frankenweenie (1984), depicting Victor Frankenstein as a modern American boy and his deceased pet dog as the monster, was made by Tim Burton in 1984. Burton remade it as a full-length animated film in 2012.
Frankenstein's assistant
Although Frankenstein's hunchbacked assistant is often referred to as "Igor" in descriptions of the films, he is not so called in the earliest films. In both Frankenstein and Bride of Frankenstein, Frankenstein has an assistant, who is played both times by Dwight Frye, who is disabled. In the original 1931 film the character is named "Fritz"; he is hunchbacked and walks with the aid of a small cane. Fritz did not originate from the Frankenstein novel, and instead originated from the earliest recorded play adaptation, Presumption; or, the Fate of Frankenstein, where he was played by Robert Keeley.[71][72]
In Bride of Frankenstein, Frye plays "Karl", a murderer who stands upright but has a lumbering metal brace on both legs that can be heard clicking loudly with every step. Both characters would be killed by Karloff's monster in their respective films. Frye also appears in later films in the series, such as in Frankenstein Meets the Wolf Man (1943).
The genesis of the scene in which Frankenstein's assistant Fritz drops a jar labeled "normal brain" and replaces it with a brain in a jar labeled "abnormal brain" is believed to be based on the fate of Walt Whitman's brain at the American Anthropometric Society. Whitman had donated his brain after his death to the society for analysis to correlate intelligence with brain size.[73] A 1907 paper by Edward Anthony Spitzka on the society's brain collection caused a minor sensation when it revealed that Whitman's brain had been accidentally destroyed when a "careless assistant" dropped the jar it was stored in.[74] This story element was not present in the original 1818 Mary Shelley novel.[73]
It was not until Son of Frankenstein (1939) that a character called "Ygor" first appears, here played by Bela Lugosi and revived by Lugosi in The Ghost of Frankenstein (1942) after his apparent murder in the earlier film. This character – a deranged blacksmith whose neck was broken and twisted due to a botched hanging – befriends the monster and later helps Dr. Wolf Frankenstein, leading to the "hunchbacked assistant" called "Igor" commonly associated with Frankenstein in popular culture. Regarding Son of Frankenstein, the film's director Rowland V. Lee said his crew let Lugosi "work on the characterization; the interpretation he gave us was imaginative and totally unexpected ... when we finished shooting, there was no doubt in anyone's mind that he stole the show. Karloff's monster was weak by comparison".[75]
Reboot
In June 2017, producer/director Alex Kurtzman revealed that Universal Studios was developing a new version of Frankenstein as an installment in its shared universe of classic movie monsters, to be known as the "Dark Universe".[76]Javier Bardem was cast to portray the titular character.[77] Although the idea of a shared universe was later shelved, following the failure of 2017's The Mummy at the box-office, Universal continued to move forward with reboots of its classic horror films. By November 2019, James Wan was announced to serve as producer on a reboot of the Frankenstein film series.[78] Jason Blum expressed interest in joining the production in a producing role.[79] In March 2020, Robbie Thompson was hired to serve as screenwriter, with the plot revolving around a group of teenagers who discover that a neighbor is creating a monster in their basement. The project will be a joint production between Universal Pictures and Wan's Atomic Monster.[80]
Béla Ferenc Dezső Blaskó, known professionally as Bela Lugosi, was a Hungarian–American actor, best remembered for portraying Count Dracula in the 1931 horror classic Dracula, Ygor in Son of Frankenstein (1939) and his roles in many other horror films from 1931 through 1956.
William Henry Pratt, known professionally as Boris Karloff and occasionally billed as Karloff the Uncanny, was an English actor. His portrayal of Frankenstein's monster in the horror film Frankenstein (1931) established him as a horror icon, and he reprised the role for the sequels Bride of Frankenstein (1935) and Son of Frankenstein (1939). He also appeared as Imhotep in The Mummy (1932), and voiced the Grinch in, as well as narrating, the animated television special of Dr. Seuss' How the Grinch Stole Christmas! (1966), which won him a Grammy Award.
Abbott and Costello Meet Frankenstein is a 1948 American horror comedy film directed by Charles Barton. The film features Count Dracula who has become partners with Dr. Sandra Mornay, as Dracula requires a "simple, pliable" brain to reactivate Frankenstein's monster. Dracula discovers that the "ideal" brain belongs to Wilbur Grey who is wooed by Mornay to the operating table, despite the warnings of Lawrence Talbot.
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.
The Mummy is a 1932 American pre-Code supernatural horror film directed by Karl Freund. The screenplay by John L. Balderston was adapted from a treatment written by Nina Wilcox Putnam and Richard Schayer. Released by Universal Studios as a part of the Universal Classic Monsters franchise, the film stars Boris Karloff, Zita Johann, David Manners, Edward Van Sloan and Arthur Byron.
Young Frankenstein is a 1974 American comedy horror film directed by Mel Brooks. The screenplay was co-written by Brooks and Gene Wilder. Wilder also starred in the lead role as the title character, a descendant of the infamous Dr. Victor Frankenstein. Peter Boyle portrayed the monster. The film co-stars Teri Garr, Cloris Leachman, Marty Feldman, Madeline Kahn, Kenneth Mars, Richard Haydn, and Gene Hackman.
Frankenstein's monster or Frankenstein's creature, and commonly but erroneously known as Frankenstein, is a fictional character who first appeared in Mary Shelley's 1818 novel Frankenstein; or, The Modern Prometheus as the main antagonist. Shelley's title thus compares the monster's creator, Victor Frankenstein, to the mythological character Prometheus, who fashioned humans out of clay and gave them fire.
The Wolf Man is a 1941 American gothic horror film written by Curt Siodmak and produced and directed by George Waggner. The film stars Lon Chaney Jr. in the title role. Claude Rains, Warren William, Ralph Bellamy, Patric Knowles, Bela Lugosi, Evelyn Ankers, and Maria Ouspenskaya star in supporting roles. The title character has had a great deal of influence on Hollywood's depictions of the legend of the werewolf. The film is the second Universal Pictures werewolf film, preceded six years earlier by the less commercially successful Werewolf of London (1935). This film is part of the Universal Monsters movies and is of great cinematic acclaim for its production.
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.
Jack Pierce was a Hollywood make-up artist best remembered for creating the iconic makeup worn by Boris Karloff in Frankenstein (1931), along with various other classic monster make-ups for Universal Studios.
The Invisible Man is a 1933 American science fiction horror film directed by James Whale based on H. G. Wells' 1897 novel, The Invisible Man, produced by Universal Pictures, and starring Gloria Stuart, Claude Rains and William Harrigan. The film involves a Dr. Jack Griffin (Rains) who is covered in bandages and has his eyes obscured by dark glasses, the result of a secret experiment that makes him invisible, taking lodging in the village of Iping. Never leaving his quarters, the stranger demands that the staff leave him completely alone until his landlady and the villagers discover he is invisible. Griffin goes to the house of his colleague, Dr. Kemp and tells him of his plans to create a reign of terror. His fiancée Flora Cranley, the daughter of his employer Dr. Cranley, soon learn that Griffin's discovery has driven him insane, leading him to prove his superiority over other people by performing harmless pranks at first and eventually turning to murder.
The Black Cat is a 1934 American pre-Code horror film directed by Edgar G. Ulmer and starring Boris Karloff and Béla Lugosi. It was Universal Pictures' biggest box office hit of the year, and was the first of eight films to feature both Karloff and Lugosi. In 1941, Lugosi appeared in a comedy horror mystery film with the same title, which was also named after and ostensibly "suggested by" Edgar Allan Poe's short story.
Son of Frankenstein is a 1939 American horror film directed by Rowland V. Lee and starring Basil Rathbone, Boris Karloff and Bela Lugosi. The film is the third in Universal Pictures' Frankenstein series and is the follow-up to the 1935 film Bride of Frankenstein. Son of Frankenstein stars Rathbone as Baron Wolf von Frankenstein who, with his wife Elsa and son Peter, returns to his late father's estate. Near the castle lives Ygor, a crazed blacksmith whose neck was broken in an unsuccessful hanging attempt. Among the castle's remains, Frankenstein discovers the remains of the Monster and decides to try to save his family name by resurrecting the creature to prove his father was correct. He finds, however, the Monster only responds to Ygor's commands.
The Ghost of Frankenstein is a 1942 American horror film directed by Erle C. Kenton and starring Cedric Hardwicke, Lon Chaney Jr. and Bela Lugosi. It is the fourth film in the Frankenstein series by Universal Pictures, and the follow-up to Son of Frankenstein (1939). The film's plot follows the previous film's: Frankenstein's Monster and his companion Ygor are chased out of town. They go to another small town to encourage the younger son of Henry Frankenstein to continue his father's experiments, so that Ygor can have revenge against his enemies and his brain transplanted into the Monster's skull.
House of Frankenstein is a 1944 American horror film starring Boris Karloff, Lon Chaney Jr. and John Carradine. Based on a story by Curt Siodmak, it was directed by Erle C. Kenton and produced by Universal Pictures. The film is about Dr. Gustav Niemann, who escapes from prison and promises to create a new body for his assistant Daniel. Over the course of the film, they encounter Count Dracula, Larry Talbot, the Wolf Man, and Frankenstein's Monster.
House of Dracula is a 1945 American horror film released and distributed by Universal Pictures. Directed by Erle C. Kenton, the film features several Universal Horror properties meeting as they had done in the 1944 film House of Frankenstein. The film is set at the castle home of Dr. Franz Edelmann, who is visited first by Count Dracula and later by Larry Talbot, the Wolf Man, who are trying to cure their vampirism and lycanthropy, respectively. Talbot is eventually cured, which leads him to discover the body of Frankenstein's monster in a cave below the base of the castle. Edelemann takes the monster's body back to his laboratory but finds Count Dracula has awakened and by attacking his assistants, he captures Edelmann and forces a reverse blood transfusion, which gives Edelmann a split personality and makes him a killer.
Universal Classic Monsters is a home video line based on a series of horror films primarily produced by Universal Pictures from the 1930s to the 1950s. Although not initially conceived as a franchise, the enduring popularity and legacy of the films and the characters featured in them has led the studio to market them under the collective brand name of Universal Studios Monsters. Steve Jones of USA Today described Universal's most famous monsters as "pop culture icons", specifically Dracula, Frankenstein, the Mummy, and the Wolf Man.
Murders in the Rue Morgue is a 1932 American horror film directed by Robert Florey, based on Edgar Allan Poe's 1841 short story "The Murders in the Rue Morgue". The plot is about Doctor Mirakle, a carnival sideshow entertainer and scientist who kidnaps Parisian women to mix their blood with that of his gorilla, Erik. As his experiments fail because of the quality of his victims' blood, Mirakle meets with Camille L'Espanye, and has her kidnapped and her mother murdered, leading to suspicion falling on Camille's fiance, Pierre Dupin, a medical student who has already become interested in the earlier murders.
Rebekah Isabelle Laemmle, known professionally as Carla Laemmle, was an American actress and dancer, and the niece of Universal Pictures studio founder Carl Laemmle. As an actress/dancer, she is known primarily for her roles in The Phantom of the Opera (1925) and Dracula (1931). At the time of her death, she was one of the last surviving actors of the silent film era, with her career spanning nearly 90 years, also with one of the longest gaps.
Frankenstein is a film series of horror films from Universal Pictures based on the play version by Peggy Webling and the 1818 novel Frankenstein; or, The Modern Prometheus by Mary Shelley. The series follow the story of a monster created by Henry Frankenstein who is made from body parts of corpses and brought back to life. The rest of the series generally follows the monster continuously being revived and eventually focuses on a series of cross overs with other Universal horror film characters such as The Wolf Man. The series consists of the following films: Frankenstein (1931), Bride of Frankenstein (1935), Son of Frankenstein (1939), The Ghost of Frankenstein (1942), Frankenstein Meets the Wolf Man (1943), House of Frankenstein (1944), House of Dracula (1945) and Abbott and Costello Meet Frankenstein (1948).
↑ Harty, John P. (2016). The CInematic Challenge: Filming Colonial American (Volume 1) (Paperback ed.). Minneapolis, MN: Langdon Street Press. p. 262. ISBN 1635051460.
1 2 "Frankenstein". catalog.afi.com. Archived from the original on December 3, 2021. Retrieved December 3, 2021.
↑ Gregory William Mank. 1981. It's Alive! The Classic Cinema Saga of Frankenstein. San Diego: A. S. Barnes.
↑ ""Frankenstein" Cast Chosen". The New York Times. August 30, 1931. The Universal production of Mary Shelley's "Frankenstein" is taking shape under the knowing guidance of James Whale. Boris Karloff and not Bela Lugosi is the final choice to play the Monster.
↑ Behrendt, Stephen C. (2012). "A Hideous Bit of Morbidity": An Anthology of Horror Criticism from the Enlightenment to World War I. McFarland. p.97. ISBN978-0786469093. Mary Shelley's Frankenstein was adapted for the stage many times, and the first of these interpretations was Richard Brinsley Peake's Presumption; or, the Fate of Frankenstein (1823), which dramatized key scenes from the novel and added Frankenstein's assistant, Fritz, to the mix.
Doherty, Thomas Patrick. Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema 1930–1934. New York: Columbia University Press 1999. ISBN0-231-11094-4
Frankenstein essay by Daniel Eagan in America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, A&C Black, 2010 ISBN0826429777, pages 187-188
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
