(Corona-) Summer of Terror: Creature from the Black Lagoon

    The story of this film begins with, of all things, Citizen Kane. William Alland, a good friend of Orson Welles, played the role of the reporter investigating Kane in the film, making him the point of view character. At a party celebrating that film, he met Mexican cinematographer Gabriel Figueroa, who had worked with filmmakers like Howard Hawks and John Huston. Figueroa told the story of a fishman in the Amazon who would come to villages once a year, steal women, and vanish. The idea stuck with Alland as he became a major producer of science fiction films in the 50's, including It Came from Outer Space, with a script from Harry Essex (based on a story treatment by Ray Bradbury) and directed by actor-turned-director Jack Arnold. Alland eventually wrote down the idea, which was expanded into a treatment and later script by Maurice Zimm, Essex and Arthur Ross. The story mostly took its cues from Beauty and the Beast as well as King Kong. The creature's legendary costume was designed by Milicent Patrick, who had been one of the first female animators at Disney before coming to Universal as part of their special effects and make-up department. Unfortunately, her assistant Bud Westmore became jealous, and overshadowed her contributions to the Gil-Man design, obscuring her role for decades. Released in 1954, it is something of a staple for the science fiction horror genre. Guillermo del Toro released his riff on the film with The Shape of Water in 2017, earning the Academy Award in the process. 

      After an intro describing evolution, basically, the film opens with the discovery of a strange fossil in the Amazon. A large claw fossil to be exact. (They could resurrect it at Pewter City if they wanted.) The discoverer, Dr. Carl Maia (Antonio Moreno) soon brings in marine biologist Dr. David Reed (Richard Carlson), and persuades his boss, Mark Williams (Richard Denning) to tag along. Sure enough, a real fish creature is swimming around nearby, and takes a particular liking to David's girlfriend Kay Lawrence (Julie Adams), who is tagging along. 

      The "Gill-Man" has an excellent, very monstrous look to it, thanks to Patrick's design. It helps sell the creature as a real creature and not just a guy in a costume (which it still does appear to be). Ben Chapman also does very well conveying the physicality of the creature as a fish who learned how to walk upright, basically. The sets, especially the caves and parts of the jungle is very well done, and I did like that they did attempt (however tenuous) to tie this to the idea of evolution. I did like that they took the main emotional core of King Kong (the "Beauty and the Beast" aspect) and spun it around in a different setting

      Like many of these films, after a good first act and a great third act, it has a really slow second act. It just sort of builds a lot of tension and we don't see a lot of Gill-Man. I drifted during this part. Luckily, as I said, it manages to pick up during the third act and does its iconic scene , which still holds up. 

     The biggest film that hangs over this one is The Shape of Water. Del Toro discusssed how that film was inspired by his sympathy towards the monster in this film. Honestly, I do see it. The creature is ultimately sympathetic, like Frankenstein, but is besieged by colonial forces beyond its control. There's a certain tragedy to its death at the very end. For that alone, I recommend this film. That, and it's still a pretty fun film. 

     Alright, after three months and many cancellations, we're finally at the end of this with an unorthodox choice (and not technically originally a Universal film, but bare with me): Psycho.

(Corona-) Summer of Terror- The Wolfman

    (So,  my anxiety got particularly bad since writing the last one, I was unable to write the planned entries I had intended, or see the films. It's been hard and its almost October. Thus, I've decided to just skip to the last three major films in this franchise to finish off. I may get to the sequels and spin-offs in later entries. With that...)

    This film was based on the experiences of its screenwriter Curt Siodmak. A minor writer and filmmaker in Germany, he was forced to flee when the Nazis came to power due to his Jewish heritage. He channeled the shock of this sudden chaos into a story about a relatively normal man who becomes a werewolf. Siodmak invented many werewolf myths for the film, including the poem cited in the film and was the first to depict a relatively uncommon myth about the werewolf being affected by a silver bullet. Directing the film was actor-turned-director George Waggner. The role of the werewolf (with make-up once again by Jack P. Pierce, reusing the unused make-up from Werewolf of London) was considered for stars Bela Lugosi (who ultimately appears in the film as "Bela", which must've been hard for him to remember) and Boris Karloff before going to Lon Chaney, Jr. Born Creighton Chaney, he was the son of Lon Chaney, Universal's silent era star, who, both directly and indirectly helped pave the way for the Universal Monsters. Chaney resented the name change, forced on him by Universal, commenting that he was proud of the name "Lon Chaney", but not "Lon Chaney, Jr." Chaney would have difficulties in the production of this film, corraling with lead actress Evelyn Ankers and suffering through a long make-up sequence. However, with the major success of the film (one of the biggest films of 1941), Chaney would go on to portray the character six more times, the only actor to portray the same character in all his appearances.

    Larry Talbot (Lon Chaney, Jr.) returns to his father John's (Claude Rains)  estate after the death of his brother. Talbot, an engineer, soon becomes acquainted with Gwen (Evelyn Ankers), owner of an antiques shop. Gwen tells Talbot of a very interesting poem about the werewolf: "Even a man who is pure in heart, and says his prayers by night; May become a wolf when the wolfbane blooms and the autumn moon is bright". Sure enough, when Larry, Gwen, and Gwen's friend Jenny (Fay Helm) go for a forest jaunt, they find an old Gypsy woman (Maria Ouspenskaya) and her son Bela (Bela... Lugosi), and are attacked by a strange wolf creature. Larry is bitten attempting to save Jenny (who is killed). When the police investigate, the gypsy woman suddenly claims that the Wolf was in fact Bela, and that Larry might have... urges. 

     The make-up in the film is better than the last film. Definitely looks like a human-wolf hybrid, and there is a certain menace to the character. Lon Chaney, Jr. doesn't necessarily do well when he has to be Larry Talbot, but when he's the wolfman, his physicality and viciousness help sell that particular character. The mysticism and tension in the film helps keep the film at least somewhat interesting throughout. Overall, the kills are better done, especially with the ambiguity of it. 

    As said before, Lon Chaney, Jr. doesn't really do well when in human form. He has this forced normal affectation to him that's a bit distracting and he looks like an extra and not the lead of the film. Perhaps his other appearances fix this, but he struggles in this role. The second act tends to drag and despite being 70 minutes, it does feel very long. 

     I enjoyed this more than London. Definitely worth a watch for the tensions and the origins of many current werewolf myths and legends, and just for the fun of seeing effectively a Code-era slasher film (so, no blood). It's not my favorite, but it was definitely a lot of fun. 

    So, yeah, I'm just going to skip forward into the last technical Universal Monster with Creature from the Black Lagoon.  

(Cororna)- Summer of Terror- The Universal Monsters: Werewolf of London

    Werewolves were a major part of European folklore dating back to the time of the ancient Greeks. Myths around lycanthropy vary across regions, but the prevalence of wolves in Europe prior to mass hunting (and possibly medical conditions like porphyria and hypertrichosis) lead to myths of humans becoming wolves becoming a common motif. The specifics were refined from other incidents (such as the 18th century cryptid Beast of Gévaudan, killed by a silver bullet). With the colonization of the Americas by both the Norse and later the rest of Europe, lycanthropy would even spread to some native American cultures, with the most notable being the skin-walker of Navajo myth, who were witches who could change shape into various animals, including wolves. The first werewolf film, The Werewolf from 1913, (now lost) was about a Navajo skin-walker. There was no literary books on werewolves until 1933, when Guy Endore's The Werewolf of Paris explored a man inflicted with lycanthropy as he stumbles through the Franco-Prussian War and the Paris Commune. This film is, in fact, not an adaptation of that book. It's instead an original story by Robert Harris, going through several screenwriters. Not much on the inspiration or impetus for the film, though some sources cite this as a response to Paramount's Dr. Jekyll and Mr. Hyde. Many of the modern werewolf myths (biting to spread lycanthropy and turning under a full moon), come from this film. Jack Pierece's initial make-up was rejected when star Henry Hull noted that the characters should be able to recognize the protagonist as the werewolf. It has had a mixed reception, both then and now. 

    Botanist Dr. Wildfried Glendon (Henry Hull) is in Tibet (where they apparently speak a lot of Cantonese), searching for a rare mariphasa flower He has a brief encounter with Dr. Yogami (Warner Oland, in yellowface)  When he sees the flowers, a mysterious creature bites him. Glendon takes the plant back to merry old England, where he lives and cultivates the plant in the home he shares with wife Lisa (Valerie Hobson). Yogami warns that the plant is a potential cure if you're bitten by a werewolf. Glendon is incredulous, until he starts becoming more violent. 

    The make-up is very well done, with a very intimidating look to it. It feels like a real animalistic creature is on screen. Henry Hull does well in his performance, giving the creature some degree of menace and terror. I liked the shadows. The climax and transformation sequences are very well done. 

    Yeah, the fact that the Van Helsing role is played by an actor in yellowface is very distracting. The fact that it's Warner Oland, who also did Fu Manchu makes it equally uncomfortable. It's easily the biggest part of the film that has dated it significantly. Also not helping is the story just sort of grands until the climax of the film. Not a lot happens during it, and it's a bit dull. 

     As a historical document, it's probably worth watching as effectively the originator of the modern werewolf movie. As a film, it's mostly just okay. I feel it may be notable as just a trial run for the first very big werewolf film, which we will cover soon enough. 

    Well, hopefully I can expediate the end of this, so tune in next time for an overview of some of the other Universal monster movies released during the 1930's.

(Corona-) Summer of Terror- The Bride of Frankenstein

    The 1931 Frankenstein film was very different from Mary Shelley's novel, removing, among other changes, a subplot where the monster forces Dr. Frankenstein to make him a mate, which the latter complies with, until he doesn't. This would form the basis for the sequel to the film, which was conceived during the previews of the first film. Indeed, the ending was changed to have Dr. Frankenstein live specifically so that he could return for a sequel. Initially, however, James Whale didn't want to do a sequel, having had a falling out with Boris Karloff during the production of the film The Old Dark House and feeling that he had done all he could with the concept. Ultimately, he agreed to make the film in exchange for Universal backing his project One More River. Whale was dissatisfied by the scripts offered, including a treatment by Robert Florey, and gave the script to John L. Balderston. Balderston was the one who centered the film on the subplot, making it about the "Bride of Frankenstein" and even wrote a prologue with Mary Shelley herself. Whale, still dissatisfied, pushed the script to William J. Hurlbut and Edmund Pearson, who polished the final script. Karloff and Colin Clive returned, with Valerie Hobson replacing Mae Clarke in the role of Elizabeth Frankenstein. Whale's old friend Ernest Thesiger plays the villain Dr. Pretorius. In the titular role of the Bride was Elsa Lancaster. Born to a bohemian artistic family in London, Lancaster studied dance in Paris under Isadora Duncan, before returning to England and starting a number of venues to pursue theatre and cabaret. Eventually, she started appearing in small scale productions in Britain with her husband Charles Laughton, eventually accompanying him to Hollywood. Laughton managed to carve out a niche for himself, including in The Old Dark House. She had returned to London when Whale offered her the role. She based her signature hiss on swans in Regent's Park, London. Jack P. Pierce and Kenneth Strickfadden return in their roles, with Pierce's original make-up modified slightly to allow the monster to speak (an element Karloff was vehemently against).  Pierce also designed the Bride with Whale, basing it off the Egyptian queen Nefertiti. A very young Billy Barty was prominently featured before his scenes were cut. Released on April 20th, 1935, the film would garner critical acclaim, and is widely regarded as one of the greatest sequels ever made. 

    The film begins with a prologue featuring Lord Byron (Gavin Gordon), Percy Shelley (Douglas Walton), and Mary Wollstonecraft Shelley (Elsa Lancaster) stuck in Byron's villa in Switzerland during a thunderstorm in 1815. Byron and Shelley praise Mary's tale of Frankenstein, and ask that she continue with the story. She agrees, and begins the story: shortly after the events of the first film, Frankenstein (Boris Karloff) emerges from the wreckage of the windmill burned in the original and begins to wander. Meanwhile, Dr. Frankenstein (Colin Clive) recovers back in the village with his bride Elizabeth (Valerie Dobson) by his side. They're approached by Frankenstein's old teacher Dr. Pretorius (Ernest Thesiger), who really wants Frankenstein to help him with his own life creation experiments. Eventually, as Frankenstein tries to survive paranoid villagers (including befriending a hermit (OP Heggie)), Pretorius' begins his grandiose scheme: To create a bride. For the Monster. 

    Again, the highlight of the film is Karloff's performance. There's a lot more instances of his physicality and his innocence, conveyed well by Karloff's own movement. For all his opposition to the monster talking, he manages to do the voice well, making that aspect of the character as iconic as it is. Elsa Lancaster does well in her brief appearances as both Mary Shelley and the Bride. Her performance at the end is really good, especially at showing the fear that the creation has at the world around her. Her hissing is very precise, and she makes an impression even though she only appears in the last ten minutes. Dr. Pretorius is very fun in his giddiness, the way Claude Rains was in Invisible Man. I like that the film continues to show the monster as sympathetic, continually despised and misunderstood despite only making mistakes. It really makes the film tragic, as the monster is rejected by all aspects of society, including his creator, the villagers, and even the bride crafted specifically for him. There's been speculation of a queer subtext, given the director and some of the actors and the camp factor of the film. Personally, I think if there is such a subtext, it's in the Creature being besieged by a society that mistrusts and hates him, finding solace only in the relationship he forges with the Blind Hermit. 

    The opening is a little slow, and a bit confusing, especially when Dr. Pretorius arrives and shows the homunculi he created. While the make-up in this film is iconic, I kind of prefer the ones from the original. It looked a lot more natural and this makes Karloff's face look bloated. It doesn't feel right. 

     As with the first one, this is something of a quintessential American horror movie or even quintessential American film. Beyond the horror genre, this has been homaged or referenced so many times, that it's hard to not to at least know of its existence. Even Mel Brook's Young Frankenstein utilizes the imagery and menace that this film had pioneered. In that sense, it's almost required viewing for that reason. Helps that it is really, really good in its own right. 

    I feared this would happen. Yes, unfortunately, I have to take this into September. Like everyone else, it's just been a hard year for me, and writing these tends to be a more intensive form because of the research. Hopefully, I will be able to finish by mid-September. Anyway, next time, we will look at Werewolf of London. 

Summer of Terror-The Universal Monsters: The Invsible Man

     HG Wells' The Invisible Man was inspired in part by references to invisible men in a WS Gilbert poem and Plato's Republic. It, along with War of the Worlds and The Time Machine, would be seen as one of the classics from Wells. The film version began production as early as 1931, but ran into a number of production problems. The film had multiple treatments with wildly different takes on the story, including one set on Mars. RC Sheriff (who wrote Journey's End, which director James Whale had produced on stage in 1928) eventually found the original novel in a secondhand bookstore, and wrote the script around that. Even that had issues, as the script was helped by then-famed science fiction writer Phillip Wylie (later known for proto-superhero work Gladiator and When Worlds Collide, who integrated elements of his novel The Murderer Invisible into the script) and future Oscar winner Preston Sturges, who were then taken off the project. Director Cyril Gardner was replaced by the reliable James Whale. Originally, Boris Karloff and Colin Clive were considered for the role of the Invisible Man. However, Whale had a small falling out with Karloff and Clive declined, so the role went to a newcomer to film named Claude Rains. Rains, a British World War I veteran, had been a rising star on the London stage (thanks, in part, to him modifying his Cockney accent into a trans-Atlantic accent) , and had been an instructor in the Royal Academy of Dramatic Arts, where John Gieglud and Laurence Olivier were his students. He had appeared in a silent film in 1920, but largely remained a theater actor and came to Broadway in 1928. In 1931, he was offered a screen test for an RKO picture called A Bill of Divorcement. While the screen test failed, James Whale happened to overhear it, and impressed by Rains' voice, hired him as the Invisible Man. Even still, production remained troubled, with a fire breaking out at one point, shutting down production. The Invisible Man effect was well-regarded in its time. Wires on set were used to display the invisible man running around, but the actual effect when Rains took off his mask was achieved through a special velvet black suit Rains wore against a velvet black background, which was combined with a location shot through a matte. Released in 1933, the film was Universal's biggest success after Frankenstein , and would launch Claude Rains into an incredibly illustrious film career. Wells himself would have mixed feelings on the film, commenting that while he enjoyed it, he didn't like that the scientist had gone insane from the process.

    A bandaged man (Claude Rains) walks into a hotel and asks for a room. It's revealed that this bandaged stranger is in fact, Dr. Jack Griffin, a scientist working for Dr. Cranley (Henry Travers, aka "Clarence" from It's a Wonderful Life), and engaged to Cranley's daughter Flora (Gloria Stuart). They, and Dr. Kemp (Willaim Harrigan) have concerns for Griffin, especially when they come across a dangerous formula in his collection. Sure enough, when the innskeeper (Forrester Harvey) tries to kick him out, Griffin dispatches him, and grandly reveals that he has gained the ability to become invisible. 

    So, the special effects hold up really well. The invisibility effect is extremely well-done in close up, and I was shocked when I read up on how it was done (hence why I noted it in the intro.) It also helps that the other invisibility effects are also well-done, making the character feel present even if you can't see him. Claude Rains does well in his de facto film debut, delivering the grand villainous monologues with energy and gusto that makes him very appealing to watch. Helps that he also has legitimate malice and menace to him that makes him a very real threat. I also liked that the film had some good intentional humor that was legitimately funny, but also felt more like fun than the relatively dour films prior to it. It also has a conclusion that feels like an actual conclusion, rather than feeling like something was cut out.

    Some parts, like the opening and some of the middle, were a bit confusing and hard to follow. I only learned from looking at the synopsis what a discovery in the middle of the film actually meant, and some of the extensive middle part felt confusing. Also, the way he's dispatched at the end was a bit anti-climatic, especially with his grandiose gesturing throughout the film.

    Pretty entertaining film overall, and an interesting companion piece to the very recent remake (if you managed to see it in theaters before... everything.) I'd say I prefer the new one a little more, but this is definitely worth a watch, if only for the insane monologues Claude Rains delivers and the incredible special effects. 

    Next up, the very  first sequel in the Universal Monsters franchise with The Bride of Frankenstein.

Summer of Terror- The Universal Monsters: The Mummy

           Mummification in ancient Egyptian culture is believed to started in the years prior to the rule of the pharaoahs, and became an integral part of their funeral practices , as detailed in the funerary texts collectively called the "Egyptian Book of the Dead." It was believed that proper mummification (with the preservation of skin and removal of organs) would allow the ka or lifeforce of a person to travel to the afterlife. The Egyptians would have different funeral practices for different classes, with the pharoahs having the most elaborate and ornate. Egyptian mummies would become something of a craze during the early 19th Century, after Napoleon's invasion of Egypt, with mummies becoming something of a collector's item, and the luxuries of the tombs plundered for European consumption, shown at parties, cut up, and examined by the curious. As a result, mummies and the idea of their resurrection would become a fictional theme. Writers like Edgar Allan Poe, H. Rider Haggard, Arthur Conan Doyle and even Louise May Alcott would explore the idea in a more romantic or satirical way. The allure of the mummy faded as the tombs were excavated and the appeal wore off. That is until 1922, when British archaeologist Howard Carter uncovered the untouched tomb of minor pharaoh Tutankhamun, still with its riches, which revived the Ancient Egypt craze. Among those inspired by the find (and the subsequent overhyped "curse" associated with it) was Universal producer Carl Laemmle, Jr. who wanted to make a mummy the next monster to scare audiences. With that in mind, he sent Richard Schayer to find a good mummy book to make into a film. When he couldn't find one, he and cartoonist Nina Wilcox Putnam instead wrote a treatment based on 18th century Italian occultist  Alessandro Cagliostro.  Impressed, Laemmle had John L. Balderston write a script. Balderston had a fascination with Egypt, and had in fact covered the story of Tutankhamun's tomb as a journalist, so he modified the script, renaming the lead Imohotep (after an historical architect and cult figure) and setting the action in Egypt. Karl Freund, the de facto director of Dracula, directed this as his first American feature, and Boris Karloff, now a superstar thanks to Frankenstein, assumed the lead of Imhotep. Jack P. Pierce once again does Karloff's make-up as the resurrected mummy (though the iconic make-up only appears in the opening), and Karloff found it extremely difficult to deal with. Freund and romantic lead Zita Johann didn't get along during the feature. Much like the other films prior, the film was cut up, especially a long historical segment.  Released on December 22nd, 1932, The Mummy would become another critical and financial hit, prompting more sequel. 

      In 1921, British archaeologists Joseph Whemple (Arthur Byron) , Dr. Muller (Edward Van Sloan), and Ralph Norton  (Bramwell Fletcher) uncover the tomb of Imhotep (Boris Karloff) in an Egyptian dig. They note some irregularities with the mummy, indicating he was buried alive. Sure enough, Norton is late one night to find Imhotep very alive in his bandages, scarring him. 10 years later, Whemple's son Frank (David Manners) and Professor Pearson (Leonard Mudie) met a mysterious man named Ardeth Bey in Egypt, who gives them mysterious instructions about the tomb of Princess Anck-su-namun....

    First, the best thing about this film is still Boris Karloff. Unlike the very emotionally charged Frankenstein, he manages to exude quiet menace and presence in the film. The way he walks, speaks, and acts manages to be terrifying with every step. His performance is definitely the strongest, and he really sells the villain. The set design (especially the recreation of ancient Egyptian tombs) is very well done, and Jack P. Pierce's make-up is exquisite.

     The story is a little thin. Seemingly starting as just the fact that this maleviolent ancient Egyptian is back, the film just sort of becomes about said Egyptian trying to resurrect his long lost love. It's not even the focus, it's just the lack of attention given to it. Again, this film isn't very long, but the way the relatively thin story is stretched out makes it feel longer. Not helped is very clear edits, and cuts, which makes the pacing even more disjointed. This also makes the film more than a little dull at times. 

    Overall, much weaker than the previous films. Still, Karloff's performance and the great effects are enough to give this a relatively high recommendation. Probably not one I'd revisit though (except for the sequels most likely. 

    Next up, a film which had a pretty good remake this year, The Invisible Man.

Summer of Terror- The Universal Monsters: Frankenstein

     Mary Shelley's 1818 novel Frankenstein; or the Modern Prometheus needs no introduction. Not its origins in the electric experiments conducted by Luigi Galvani, showing that electricity can induce movement in dead limbs, nor the real Castle Frankenstein, where alchemist  Johann Conrad Dippel did experiments on human bodies. Not how Shelley conceived it while stuck in a Swiss cabin with future husband Percy and poet Lord Byron. Nor its place as the first work of modern science fiction and horror. I suppose let's begin with adaptations. Frankenstein started being adapted into plays during Shelley's lifetime, with 1823's Presumption; or, the Fate of Frankenstein being the first, followed by The Man and the Monster! in 1826 and Frankenstein; Or The Model Man in 1849. In 1887, a musical adaptation, Frankenstein, or The Vampire's Victim was made. As film came into prominence, film adaptations also followed. In 1910, J. Searle Dawley wrote and directed the first, a short adaptation for Thomas Edison and his film studio. Life without Soul in 1915 and Italian adaptation The Monster of Frankenstein  (both lost) followed. The story of this film begins in 1924, with another stage adaptation by British playwright Peggy Webling, commissioned by Hamilton Deane, who made the stage adaptation of Dracula made into the 1931 film. Notably, the monster (unnamed in the Shelley novel) was named Frankenstein after its creator. With Dracula's towering success, Universal purchased the rights to John L. Balderston's (who also produced the successful Broadway version of Deane's Dracula) unproduced Broadway version of Webling's play. (Ultimately, said version never made it to stage). Bela Lugosi originally wanted to be Victor Frankenstein, but was relegated to being the monster. In the original version with director Robert Florey at the helm, Lugosi's monster would be simple killing machine, a charaterization Lugosi resented and eventually led to his and Florey's ouster. In their place was  James Whale  a successful British stage director, who had recently made the transition to film as director and an unknown minor character actor named Boris Karloff as the monster. Boris Karloff, despite the name, was not in fact another Eastern European refugee. In fact, he was an Englishman, born William Henry Pratt, from a diplomatic family (his maternal great aunt was Anna Leonowens, most famous for being the subject of The King and I). Pratt would change his name to Boris Karloff when he became an actor to avoid embarrassing his family (Accounts vary on where he got the name). After years in Canadian and American acting troupes, he would eventually make his way to Hollywood, where his relatively darker skin complexion (owing to some Indian ancestry) would cast him in minor ethnic roles throughout the silent era. Whale purportedly cast Karloff because of his intimidating size. The supporting cast was rounded out: Colin Clive (who had appeared in Whale's production of the play as Journey's End and it's 1930 adaptation) as Henry (not Victor) Frankenstein, Mae Clarke (who appeared opposite James Cagney in The Public Enemy earlier that year) as Henry's love interest Elizabeth Lavenza, and Dracula's Edward van Sloan and Dwight Frye as Dr. Frankenstein's mentor Dr. Waldman and his hunchback assistant Fritz respectively. Set designer Kenneth Strickfaden would design the iconic set describing the creature's creation (including a Tesla coil from none other than Nikola Tesla himself), which was used in later films. The iconic make-up of the creature was done by Jack P. Pierce, and was so evocative that Universal trademarked it (which it still holds) and has been associated with the character since. Released on November 21st, 1931, Frankenstein would be a commercial and critical success, and is now regarded as an iconic piece of American cinema. 

    In some nondescript place in Central Europe in some nondescript time, Henry Frankenstein (Colin Clive) and his assistant Fritz (Dwight Frye) dig up recently buried corpses for a project to create a living being from the parts of dead bodies, but needs a brain. He sends Fritz to steal a healthy brain from his teacher Dr. Waldman (Edward van Sloan), but Fritz screws up and brings a criminal brain meant for comparison. Henry's fiancee Elizabeth (Mae Clarke) and friend Victor Mortiz (John Boles), along with Dr. Waldman, find Henry about to perform his act: using lightning to bring his Creature (Boris Karloff) to life...

    The best thing about the film definitely is Karloff as the creature. The performance is incredible. He manages to have unique mannerisms, the way he moves his arms, his expressions, his grunts, the way he moves, all helps create a very convincing portrayal of the monster as very sympathetic and misunderstood. He can be intimidating, but the film shows very well how the monster is constantly besieged and misunderstood by people. Karloff's performance as the Monster really makes the film work in the way it intend, and is really the main thing that is most memorable, especially the iconic scene  with the little girl. Not to say the rest of the film is very well done. Strickfaden's sets are very meticulous, with a German impressionist look to the architecture and a very haunting look to the electrical equipment in Dr. Frankenstein's office. The cinematography is also very well done, with some very well done long shots and overviews which increase the drama of each scene. I liked that the film took full advantage of its relatively short running time and  told the story it intended to tell well, and with very few interruptions. 

     That said, there were some scenes towards the end celebrating Frankenstein and Elizabeth's wedding, that felt a bit like padding. Or was the studio trying to do big celebration scenes like in The Hunchback of Notre Dame. It ultimately felt superfluous except to establish the crowd which later hunts down Frankenstein. The short length probably makes this worse. And like Dracula, the film just sort of stops rather than have a proper conclusion, though this at least feels like the film should've ended at this point. 

     One might call this the quitessential American horror film. Every horror film that followed either followed at least parts of the precedents it set or rejected it. Even early New Horror film Targets relied on the intimidating power of Boris Karloff's performance. So, I think it's worth a watch on that ground. It's also really quite good and affecting in its own right, with the stand out being Karloff's performance and the large scope of the story. So, it's definitely worth a watch. 

    Next comes the first original property with The Mummy.