Frankenstein lives as one of the greatest monstrosities in film history
The movie you're about to see "may shock you -- it may even horrify you," opens the narrator; a man in a tuxedo. These “words of friendly warning” seem as a joke to the modern viewer who is used to blood and gore, chilling music and axe murderers. But in 1931, theatres were littered with fainted women when James Whale finished his version of Frankenstein. In this version of Mary Shelley’s book, James Whale and his actors, set designers, cinematographers and makeup artists, had the ingenuity, patience and sheer guts (if you excuse the pun) to make this picture a success.
The film opens in a graveyard, deeply shadowed, where self-deifying scientist Dr. Frankenstein (Colin Clive) and his assistant, Fritz (Dwight Frye), gather body parts to “experiment on,” creating life and all the responsibilities that lie therein. The monster (Boris Karloff) is treated badly by his creator and vows to make him pay. As the monster becomes more murderous, interrupting Dr. Frankenstein and fiancée, Elizabeth (Mae Clark)’s wedding, the doctor descends deeper and deeper into madness; until the line is blurred as to who the monster is: created or creator.
Many factors determined this film’s success, including the cinematography, which was revolutionary for the time. The lighting is harsh oftentimes mostly dark, making most of the characters look rather ghoulish. The use of German Expressionist angles (particularly while shooting the creation scene) intensifies the drama, bringing the audience in awestruck. James Whale was meticulous, sure that the contrast and composition were dead on both practically and artistically.
The setting was also done with a significant amount of drama. The opening scene, as well as several others is very obviously a sound stage, as you can see the painted sky in the background. The sound stage and high contrast shadows, combined with the unnatural movements of many of the characters provide a vastly surreal landscape. The outside of the lab shows Dr. Frankenstein behind bars, like a princess locked in the highest tower, waiting for salvation. Technical looking ray gun equipment, vials, and test tubes are littered in the mad doctor’s lab. The stones inside the lab circle the ceiling, (which has a pantheon-like hole) and during the creation scene, the lightning flashing in the ceiling’s hole creates a halo effect around the not-yet-vivacious monster. Contrast these dark scenes to Dr. Frankenstein’s ornate mansion and the friendly village, and the impact becomes all the more emphatic.
And who could forget the startling face of the monster himself? Makeup artist Jack B. Pierce’s work is astounding. The makeup was done to allow full facial movement so Karloff could display a complete range of emotions. Again, the Monster does not appear to be realistically dead, but the bizarre face further conveys the meaning of the story. It is no coincidence that the Monster and Dr. Frankenstein are both cast as strikingly pale men. This accentuates the monstrous aspects of both characters, making it easier to realize their relationship.
The acting in this movie is a tad melodramatic, as is common in many old movies, but, like the set and makeup, it fits into the movie, which is not realistic, but tells a profound story. Colin Clive does an excellent job as the doctor that plays God only to be driven mad by the repercussions: an ugly monster that cannot easily blend into society. Clive’s traditional 1930s melodrama adequately portrayed him as the tragic hero; a brilliant man obsessed with an idea. But Karloff is the real star, subtly showing his sad eyes, giving the speechless, nameless monster a soul. We see how he is misunderstood, mistreated; chained in the basement, beaten by Fritz, and we begin to understand. Whale focuses on Karloff’s hands, shaking in uncertainty and pain, and we begin to know the innocent monster and feel for him. In one famous and highly effective scene, the monster has escaped and finds Maria, a little peasant girl, with whom he instantly connects. You can instantly see the creature smile, and you feel a kinship with the character. The fact that the Monster drowns the girl is not an indicator of his savagery, but of his humanity; Karloff’s character simply did not realize that all beautiful things do not float.
Though classic, poignant and composed, Frankenstein was not without its problems, although most of them were not problems at the time of release. A modern viewer will see through the at-the-time revolutionary special effects and laugh at the cheesiness. The modern viewer will also agree that most of the scenery and costuming of the movie is quite cliché; one must keep in mind that James Whale and his crew invented these prescriptions for a horror film. One might also tire of the extra silence; there is very little music; this could be useful in some of the suspenseful and touching scenes.
A reader of Mary Shelley’s classic novel, Frankenstein (or, The Modern Prometheus) might argue that the many inconsistencies between the book and the movie are a problem. Many of these inconsistencies are cleared up in Whale’s sequel, the Bride of Frankenstein, where the essence of the latter half is redeemed; still, one might note a few more deviations. For one; the book is told from the point of views of Robert Walton (a sailor that picks up Dr. Frankenstein) the Creature, Dr. Victor Frankenstein (as opposed to Harry), as well as several other letters. The book seems to be as stitched together as the Monster, a little bit from quite a few. Another discrepancy between the book and movie is that Mary Shelley’s monster is quite vocal; telling us about his story quite eloquently. Shelley’s Creature is compassionate, saving a peasant from drowning, and still regarded with disgust. Whale’s monster does not talk, but Karloff does an extraordinary (perhaps more heart wrenching) job conveying the same misunderstanding.
Frankenstein incorporates revolutionary acting, directing and visuals to make a historical epic of a film. One of a select few artistic horror films, James Whale directs a stunningly original creative phenomenon. We will never forget the traditional mad scientist lab, or the stiff monster with neck bolts. The line “It’s ALIVE!” will be quoted dozens of times by innocent passersby. This movie has created so many conventions that it is equally important for study as for entertainment. Combined with amazing set design and Pierce’s mind engraving makeup art, Frankenstein will be forever remembered as a film that shaped a genre.