#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Henry Frankenstein is a doctor who is trying to discover a way to make the dead walk. He succeeds and creates a monster that has to deal with living again.
Plot: Dr. Henry Frankenstein attempts to create life by assembling a creature from body parts of the deceased. Aided by his loyal misshapen assistant, Fritz, Frankenstein succeeds in animating his monster, but, confused and traumatized, it escapes into the countryside and begins to wreak havoc. Frankenstein searches for the elusive being, and eventually must confront his tormented creation.
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|7.8/10 Votes: 65,564|
|7.5 Votes: 944 Popularity: 12.941|
Not a totally faithful adaptation of the Mary Shelley book, still extremely important for not just horror movies, but movies as a whole. I thought about coming at this review from the perspective of what 1931’s _Frankenstein_ meant for the future of cinema, and how it was still essentially in its infancy and doing anything even close to what _Frankenstein_ did, changing the culture forever and remaining in the zeitgeist even now, almost a hundred years later, is a monumental achievement and should be viewed as such. But that’s never really been my jam. _Frankenstein_ might have been great for the time, I don’t know, I wasn’t there, but I personally only ever found it to be okay. Re-watching it this Halloween was, I think the fourth time I’ve given it a go, and it’s really not as enthralling as people seem to give it credit for. My roommate fell asleep. It’s not that it’s black and white either, it just doesn’t have as clear a philosophical intention as the book, nor as gripping an output as more modern offerings.
_Final rating:★★½ – Not quite for me, but I definitely get the appeal._
Oh, in the name of God! Now I know what it feels like to be God!
We will always see debates about which of the original wave of Universal Monster movies is the most important. With Dracula being released just under a year before Frankenstein, that tends to give the vampire crowd a sense of justifiable cause for a trumpet fanfare. Perhaps the more pertinent question is which is the better movie? Surely the most hardened of Dracula fans have to bow their heads in acknowledgement that Frankenstein quite simply is superior on every level – even if it itself is not as good as its sequel…
Narrative doesn’t quite follow Mary Shelley’s original source material (what a brain that lady had!), but the core essence of a tragic tale holds tight. Directing was one James Whale, who here was in his directorial infancy, he himself up for debate about greatest horror genre directors, but his masterful sense of theatrical staging, and that of the terror incarnate for the era, is sublime to the point that come 100 years after its release this will still be held up as a timeless horror classic.
The thematics of the story pulse with brilliance, the advent of berserker science, the alienation and confusion flow of the creature grips and stings the heart equally. The later camp of Whale’s horror ventures is mostly absent here, instead we have a dark almost miserably bleak tone, which exists right up to the end title card which brings closure after the brilliant and iconic finale has made its mark. Jack Pierce’s marvelous make-up and the birth of Karloff as a genre legend seals the deal on what is without doubt one of the genre’s most important films. 9/10
Though not as spectacular as one would expect of such a classic, this loose interpretation of Mary Shelley’s oft-told tale delivers. The familiar story focuses on Dr. Victor Frankenstein, the reclusive, stereotypical mad scientist obsessed with creating new life from stitched-together corpses. But something goes terribly wrong when the brain he uses turns out to be that of a criminal. The film starts out slow but redeems itself with time, particularly the windmill climax scene that by 1931 standards is nothing short of stellar. In one of filmdom’s all-time great performances, Boris Karloff plays the monster as a sort of tragic figure unable to comprehend right from wrong, and the audience is left feeling more sympathetic than frightened by him.
Happy 75th, Frankie!
As I’m sure fans of this movie are aware, 2006 marks the 75th anniversary of the release of this timeless classic. I’m not sure of the exact release date (I’m pretty sure it was sometime in November 1931), but it’s a testament to the film’s quality that it’s still held in such high regard seven and a half decades after its initial release. I wasn’t born until 1979 and didn’t see the movie until 1997, but it still blew me away. I’ve seen it dozens of times since, and I never get bored with it.
What makes this film so good? It’s not particularly scary to a modern audience, but it still possesses a charm that belies its age, and while many regard Bride of Frankenstein as superior, you can’t have a sequel without the original, can you? The thing about Frankenstein is that, unlike the 1931 Dracula, which is rather static and stagy, both technically and in terms of acting (I’m surprised that Universal were able to reuse so many of the sets in later productions, given that Bela Lugosi, Edward Van Sloan and Dwight Frye all seem intent on not just chewing the scenery, but devouring it), Frankenstein possesses remarkable depth and subtlety.
Volumes have been written about Boris Karloff’s performance as the monster, and it is truly mesmerising, but credit must also go to the remarkable supporting cast, and foremost among these is Colin Clive (who was actually the star of the film, and not the then-unknown Karloff). Clive gives a superb performance as Henry Frankenstein, illustrating the character’s obsessive side without ever losing touch with his essential humanity. Clive was sadly a real-life Jekyll and Hyde (he was an alcoholic) and in Frankenstein he reconciles the two conflicting aspects of the doctor’s personality perfectly.
Dwight Frye as Frankenstein’s assistant Fritz is also excellent, portraying the odd little hunchback with just the right sinister touch. Frye had played another oddity, Renfield, in Dracula, and he once again balances the differing sides of his character well, going from fear of the monster to tormenting him sadistically (which costs him dear eventually).
Edward Van Sloan’s Doctor Waldman may not be as entertaining as Ernest Thesiger’s wonderfully camp Doctor Praetorius in Bride, but he leads the proceedings an air of authority, his rational approach providing a good counterbalance to Frankenstein’s madness. John Boles and Mae Clarke as Victor Moritz and Elizabeth are not as showy, and Boles is rather bland (note that the character did not reappear in Bride) but they are fairly likable and inoffensive. Frederick Kerr gives a wonderfully blustering performance as Henry’s father and Lionel Belmore is good as the burgomaster (his argument with Kerr is quite amusing), but the real highlight is of course Karloff as the monster.
Whereas later Frankenstein monsters had a tendency to be somewhat robotic (which is why Karloff stop playing the character after Son of Frankenstein), Karloff’s performance is remarkable for the humanity he invests in the character, something that never disappears under Jack Pierce’s iconic makeup job. The important point is that Karloff plays the creature as an innocent, more sinned against than sinning. Although the monster does kill and kidnap, he does so not out of a sense of malice, but rather because he lacks the intelligence to do any better (his brain is after all a criminal one). Nowhere is this better illustrated than in the scene with Marilyn Harris’ Little Maria; the way Karloff plays the monster’s changing moods, from happy innocent to horrified when he realises the girl does not float like the flowers, is unforgettable.
Frankenstein is memorable not only for its acting, but also its technical and visual aspects. The set design is superb, from the spooky tower where Frankenstein conducts his experiments with its Kenneth Strickfaden-designed machines, full of sound and fury, to the burning windmill at the end, but the real credit has to go to director James Whale, who took over a project rejected by Bela Lugosi and featuring a mediocre script and turned it into one of the greatest movies of all time. The original script had the monster as nothing more than a savage beast (which is why Lugosi turned it down), but under Whale it was extensively reworked, with the pathos and humanity that have made it a classic added.
Although Frankenstein was not the first Universal horror movie, without it there wouldn’t be the term Universal Horror, just a stagy vampire movie starring a rather hammy Hungarian. Because Frankenstein confirmed that audiences had a taste for this type of movie, it opened the floodgates for virtually every other scary movie made since 1931. While this may be a mixed blessing, at least we have this brilliant movie and that makes up for all the dross in the world.
Original Language en
Runtime 1 hr 10 min (70 min)
Genre Drama, Horror, Sci-Fi, Thriller
Director James Whale
Writer John L. Balderston (based upon the composition by), Mary Shelley (from the novel by), Peggy Webling (adapted from the play by), Garrett Fort (screen play), Francis Edward Faragoh (screen play), Richard Schayer (scenario editor)
Actors Colin Clive, Mae Clarke, John Boles, Boris Karloff
Awards 4 wins & 3 nominations.
Production Company Universal Pictures
Sound Mix Mono (Western Electric Sound System)
Aspect Ratio 1.20 : 1
Camera Mitchell Standard
Laboratory Universal Studios Laboratory, USA
Film Length 1,830 m (8 reels) (UK)
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm