Frankenstein (1931)

In this article, we will be looking at 2019’s book “1001 Movies to See Before You Die” and going through each film in a random order that I have chosen. We will be looking at what constitutes this film to be on the list and whether I think this film deserves to be here at all. I want to make perfectly clear that I won’t be revealing details from this book such as analyses by film reporters who have written about the film in question, so if you want the book itself you’ll have to buy it. But I will be covering the book’s suggestions on which films should be your top priority. I wouldn’t doubt for a second that everyone reading this article has probably watched many of these movies anyway. But we are just here to have a bit of fun. We’re going to not just look at whether it should be on this list but we’re also going to look at why the film has such a legacy at all. Remember, this is the 2019 version of the book and so, films like “Joker” will not be featured in this book and any film that came out in 2020 (and if we get there, in 2021). So strap in and if you have your own suggestions then don’t hesitate to email me using the address in my bio. Let’s get on with it then.

Frankenstein (1931) dir. by James Whale

Loosely based on the novel by Mary Shelley, “Frankenstein” stars Colin Clive as the mad scientist and Boris Karloff in his magnum opus role as the Monster. The film being made in 1931 was obviously therefore, Pre-Code*. And, in the nineties, it was chosen for preservation in the National Film Registry within the Library of Congress for being culturally, historically or aesthetically significant. Obviously because of the fact that it was Pre-Code meant that it was censored of a few lines that were relative to the theme of Man Playing God and Man vs. Nature.

The New York Times Film Critic in the twenties and early thirties was Mordaunt Hall and he gave it a very positive review, stating that the film: "aroused so much excitement at the Mayfair yesterday that many in the audience laughed to cover their true feelings.”

On the tenth of December, Film Daily called the picture a: "gruesome, chill-producing and exciting drama" that was "produced intelligently and lavishly and with a grade of photography that is superb.” And two days before that, the great “Variety” gave this statement:

"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.”

However, the film was banned in China.

“Frankenstein” holds a 100% score on Rotten Tomatoes and the critics’ consensus states that the film is: "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.”

The film is a personal favourite of the era of mine. It has since become one of the landmarks for not only horror, but also for Universal Pictures to live up to their name in making horror films. It was quickly released alongside the much-anticipated “Dracula” which came out in the same year though my sources vary as to whether it was before or afterwards especially in my own country. Most sources state that "Dracula" came out first. I will talk more about it soon.

“Frankenstein” was also followed up by another one of my favourite films of the era which was the incredible “Bride of Frankenstein”. Known for its shock-value make-up and costume where Elsa Lanchester portrays both Mary Wollstonecraft Shelley - the author of Frankenstein, and the Monster’s Bride. It also includes the many authors involved in Mary Shelley’s influence with Gavin Gordon portraying Lord Byron and Douglas Warton as Percy Shelley. To be honest, it was a blast.

Fun fact: Marge Simpson from “The Simpsons” is partially based on the Monster’s Bride from “Bride of Frankenstein” in her appearance. Especially when it comes to the hair.

*Pre-Code refers to the "Hayes Code" which censored films so that the 'bad character' was punished for their crimes, the film did not contain blasphemes or anything that would offend the more traditional audiences which were still around at these times in large numbers. This was usually because of the glamorisation of crime was still an issue seeing as this was the era of American Crime, John Dillinger, Bonnie and Clyde etc. It was made defunct in 1934.