Quotations On Thinking

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“The unexamined life is not worth living.”

                                                                             Socrates

 

 

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“Imagination is more important than knowledge.”

                                                                              Albert Einstein

 

 

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‚ÄúThought is subversive and revolutionary, destructive and terrible; thought is merciless to privilege; thought is anarchic and lawless, indifferent to authority, careless of well-tried wisdom of the ages. Thought looks into the pit of hell and is not afraid. It sees man, a feeble speck, surrounded by unfathomable depths of silence; yet it bears itself proudly, as unmoved as if it were lord of the universe. Thought is great and swift and free, the light of the world, and the chief glory of man‚ÄĚ

                           (Russell, Bertrand. Why Men Fight 178-9).

 

 

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“All good writing is inherently subversive.”

                                                                               Charles French

Favorite Horror Films of the 1930s: The Bride of Frankenstein

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Brideoffrankenstein

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It is interesting that the sequel The Bride of Frankenstein (1935) to Universal Studio’s Frankenstein¬† (1931) is a far better film and more faithful adaptation to Mary Shelley’s classic Gothic novel than was the original movie. James Whale directed and Carl Laemmle Jr. produced this film.

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(Richard Rothwell, 1840)

(https://en.wikipedia.org)

The movie opens with a sequence in which Lord Byron, Percy Shelley and Mary Shelley appear, which is a nod to the summer of 1816 in which the three writers shared time together and decided to writer ghost stories.¬† Mary Shelley’s contribution was a short story about a young doctor who reanimated a corpse, and which she later expanded into the famous and deeply important novel. In this scene, Mary explains¬† that the story did not end, as shown in the first movie, with the death of the creature in the burning windmill.

Whale imbues this film with both highly religious symbolism, as when the creature is captured and tied to what looks like a crucifix and to references to important sections from the book.  The creature famously finds a friend in the blind man, who is able to befriend the creature because he cannot see his deformities.  This is a clear reference to stereotyping and bigotry.

In the novel, the Creature demands that Frankenstein create a mate for him, so that his loneliness can be alleviated. In this film, Elsa Lancaster, who also plays Mary Shelley in¬† the opening scene, plays the bride.¬† But as would be expected, it does not go well when she rejects the Creature’s advances, and he says the powerful line, “We belong dead.”

Jack Pierce again did the famous makeups, and Boris Karloff starred again as the Creature.

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This movie was successful financially and critically. It is, in my opinion, a cinematic masterpiece!

 

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Favorite Horror Movies of the 1930s: Frankenstein

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The movie that I will discuss in this installment is Frankenstein.  This 1931 film was directed by James Whale and produced by Carl Laemelle, Jr. Universal Studios was following up its huge success with Dracula earlier in the year, so this film seemed like a natural choice to make.

While the title and characters come from the 1818 Mary Shelley novel, it is a loose adaptation of the text.  Interestingly, the sequel, The Bride of Frankenstein, is a much more faithful treatment of the novel than this first film. This movie, one of the most important in horror film history, introduces Boris Karloff as the Creature. Karloff gives an impressive performance as the lost and lonely being who is unsure of who he is and his place in the world.  This sounds like so many teenagers and young people, and while frightening, Karloff also gathered empathy from viewers in his nuanced performance.

Bela Lugosi had been offered the part of the creature but apparently turned it down because of its lack of speaking lines.¬† Lugosi made a terrible career choice, because Karloff would supplant him after this film’s success as the top box office star and would continue to dominate Lugosi’s subsequent film career.

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The movie is powerful and atmospheric and is highly influenced by the artistic movement German Expressionism that had a stylistic impact on cinema especially in the 1920s and 1930s. Whale used large Gothic structures in the set and deep slashing shadows in creating the atmosphere of the film.

Jack Pierce designed the Creature’s distinctive makeup, which was an ordeal to apply and remove from Boris Karloff each day before and after filming. It is a work of design masterpiece, but it is completely different from the Creature’s appearance in the novel.

For those familiar with the novel, it is significant that not only the Creature’s appearance but also his personality and level of intelligence are vastly different from that of the character from the book. In Mary Shelley’s work, the creature is one of the narrators and is both intelligent and self-educated.¬† Both of those characteristics are missing from the inarticulate and not very bright film Creature. This kind of vastly different portrayal of characters and themes is something that is, unfortunately, typical of many horror films, or should I say, many film adaptations of books. That, however, should be the topic of another post.

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The film was very successful financially for Universal Studios.  It is also considered by many cinema historians and critics to be one of the most important films made. It spawned numerous sequels and parodies, not limited to movies.  From Abbott and Costello Meet Frankenstein to the character of Herman Munster in The Munsters to Young Frankenstein, the story of Victor Frankenstein and his creation have been fertile ground for satire and spoofing.

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In  the next installment of this series, I will discuss The Bride of Frankenstein.