Archive for Frankenstein

Maids and Monsters

Posted in FILM, Politics with tags , , , , , , , on April 21, 2018 by dcairns

Ernest Thesiger’s Dr. Pretorius (OS) tempts Boris Karloff’s monster with a bottle of House of Lords Scotch Whisky in THE BRIDE OF FRANKENSTEIN. I mean, why waste good gin? I guess the publicity slogan for that beverage would have to be “Gets you drunk as a lord.” Although I actually like the House of Lords this week because they’re fucking with Brexit. The Brexiteers are outraged, a lot of people belatedly noticing that we have this antiquated branch of government and it isn’t democratic. Well, I guess that’s it’s purpose, to be undemocratic, to stop democracy propelling us off cliffs. I rather doubt it’s the best way of doing this, but the paralysis it produces, as with America’s three-branch system, CAN be a cause for gratitude sometimes.

Other things noticed in BRIDE: the movie is famously disrespectful to its original, recasting Elizabeth from an American blonde to a brunette English teenager, and dropping the stupid old Baron with the unsightly thing on his neck without explanation. Actor Frederick Kerr had died in the interim from causes unconnected with his unsightly neck-thing, and Pretorius congratulates Henry on having inherited the title, but the absence goes otherwise unremarked. One of my students suggested that at the end of the first film, where he’s drinking a toast to the house of Frankenstein, and all the maids are giggling — they’ve poisoned his champagne.

 

All the pretty, giggling maids have disappeared by the sequel too — replaced by screeching harridan Una O’Connor. Looks like Elizabeth has taken over running the household already…

 

But, despite playing fast and loose with what we would call “series continuity,” the sequel has one delicious call-back I hadn’t noticed before: once the monster learns to speak, his first words to his creator are a very emphatic “SIT – DOWN!” with a downward wave of the hands. Well, in FRANKENSTEIN, the first words we hear Henry speak to his creation are “Come in,” but the second are “Sit down,” with the exact same gesture. The monster is very purposely letting Henry know that the giant tar-spreader’s shoe is on the other foot now.

Another big-screen discovery: the monster’s decision to let Henry live at the end comes out of left field, a change of character seemingly unmotivated by anything. But it was not always thus: as Henry runs off into the night with Elizabeth, he can still be seen in the exploding lab, a startling feat of bilocation ~

(Pretorius and the Bride are on the right in white, the monster is scarcely visible between the two electrical towers, but Henry is vividly pressed against a wall screen left, about to be crushed along with everyone else by the falling roof.)

Henry is one lucky fellow — reanimated after a fatal fall in the first film, re-re-animated under slightly different circumstances in the second, and then saved from exploding by a last-minute reshoot. Universal appear to have been convinced their audience wanted Frankenstein to live. I’m not sure they were right (and I’m sure the crowd would have cheered if Karloff had found time to throttle Una O’Connor). Possibly a third film was already anticipated, for which a mad scientist would be required. Sadly, Colin Clive would have passed away by the time that happened, leaving his character to die as his father had done, vanishing between films, through a crack in the continuity.

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Tea-time

Posted in FILM with tags , , , , , , , , on February 24, 2018 by dcairns

Researches for a current project led me to look for all the images I could get from Universal’s horror cycle of the thirties. And one thing I found was… lots of tea breaks.

Director James Whale was English, and insisted on proper tea breaks: elevenses, and high tea (I’m Scottish, so I don’t know what those are, but they’re some kind of tea-break). The Americans weren’t invited, noted Gloria Stuart.

  

Are Colin Clive and Valerie Hobson in character, pretending to have tea, or out of character, actually having tea?

Pretty sure THIS isn’t a scene from either FRANKENSTEIN or BRIDE.

No tea actually visible in this one, but I infer its presence close by. Una O’Connor needs her pick-me-up.

 

Yes! Ernest Thesiger was a keen painter as well as a needlepoint enthusiast.

This is the famous one —   

Legion

Posted in FILM, Mythology with tags , , , , , , , on April 3, 2017 by dcairns

I remember being struck by the fact that in Scorsese & Schrader’s THE LAST TEMPTATION OF CHRIST, Jesus (who has drawn a magic circle, like Murnau’s FAUST) is visited in the desert by Satan, who takes not just three forms ~

A snake (which explodes); a lion (which fades away in a dissolve); a column of fire (which dissipates in a gust of wind) ~

Satan also appears via a series of cinematic devices ~

Tracking shot (snake). Scorsese doesn’t shoot this as snake POV — we’re at Jesus’ eye level, not the snake’s, gliding in. But when the snake rears up to address the Messiah, the camera rises also, as if representing the POV of a much bigger, unseen snake.

Cut (lion). Before we see the (rather gentle, wise-looking big cat, voiced by PEEPING TOM scribe Leo Marks), there are two cuts taking us closer to Willem Dafoe’s Jesus, moving straight down the line at him, no angle change, kind of like the Frankenstein monster’s first appearance, or the eyeless farmer’s discovery in THE BIRDS. There’s a (rather appropriate) horror movie theme developing here…

Crane (fire). The camera swoops down majestically just before the Lynchian flame-column appears.

I have no coherent theory to offer here. Other than that Scorsese’s restless imagination and bulging repertory of cinematic tricks compels him to emphasise not the similarity of the three visits (one character, visited by another, three times) but their difference (since similarity is taken care of by the Aristotelian unities at play: time, place and action are consistent, as are theme and character).