The Bride of Frankenstein is a 1935 American horror film directed by James Whale, a sequel to Whale’s 1931 Frankenstein. The film tells the story of Victor Frankenstein, a Swiss student of natural science who creates an artificial man from corpses and brings his creature to life. The protagonist, Elizabeth, realizes that she is still alive after her warning goes unheeded. Henry, who has renounced his creation, believes he may be destined to unlock the secret of life and immortality.
The sequel begins with the girls’ parents searching the ruins of the burned mill to ensure the Monster is dead. The father dies, and the mother clutches a hand in the burning mill. Baron Henry Frankenstein and his monster both turn out to be alive, not killed as previously believed. Frankenstein wants to get out of the evil-experiment business, but he is killed by his former university professor, Dr. Pretorius.
Boris Karloff, previously a bit player, reprises his role as the monster in the film. The plot revolves around Deucalion, the legendary monster dedicated to battling the evil that gave him life. Detectives Carson OConnor and Michael Maddison are Deucalions all-too-human partners trying to end the evil-experiment.
The original death count was 21, but it was edited down to 10 due to The Hays Code restrictions of the time. The Monster kills them both by blowing up the lab, but not before telling her “we belong dead.” The movie ends with the monster shedding a tear and pulling a lever to trigger the destruction of the laboratory and tower.
📹 “We Belong Dead” (Final Scene) | The Bride of Frankenstein
The final heartbreaking words from Frankenstein to his bride. From The Bride of Frankenstein: Frankenstein, a scientist …
Did Frankenstein have the right to destroy the bride?
Murder is never okay. But it has a good reason. His master, Victor, had just destroyed the creatures’ only chance of happiness. He destroyed the creature’s bride.
Why did Victor destroy the bride?
The Bride is a killjoy because she won’t play along. The Bride’s fear is like Sara Ahmed’s idea of a killjoy who “breaks the bond between family and reproduction.” Love and compassion keep communities together, while those who don’t feel this way or don’t take part disrupt them. In Shelley’s novel, Victor Frankenstein creates a creature that will understand and sympathize with him. Victor builds the body but then destroys it. He fears The Bride will corrupt and disrupt the world. He destroys her because she could kill joy. He also questions the ethics of creating a creature against their will. She makes people afraid and feel sorry for her. In all the adaptations discussed in this paper, The Bride doesn’t do what she’s supposed to. The Bride’s story is queer. The bonds that tie us to “normal” or “straight” are the ones that are adapted and queered by The Bride. In the adaptations discussed in this essay, she breaks the bonds between her and the male creature. The bond disrupts expectations for women and suggests other possibilities. The female monster is a monster who is refused creation because of her potential to break affective bonds, or is destroyed after snapping those bonds. This makes it complicated to discuss monstrous female feeling. I say that the Frankenstein Bride is about corruption and disruption. This essay looks at how adaptations can make things more queer. The palimpsestic process is strange. I argue that recent adaptations have given The Bride queer and disruptive possibilities. I use the word “queerness” as Pamela Demory did. Adaptation is a great way to explore queer ideas.
Who killed Frankenstein’s wife?
History. A novel. In Frankenstein, Victor Frankenstein is tempted by his monster’s proposal to create a female creature so that the monster can have a wife. “Shall each man find a wife, and each beast have its mate, and I be alone?” The monster promises that if Victor grants his request, he and his mate will vanish into the wilderness of South America. Fearing for his family, Victor agrees and goes to the Orkney Islands to make the monster’s mate. He is afraid that his work might create a monster race. Frankenstein destroys his first creation. The monster sees this and won’t let Victor put it back together. It vows to be with Victor on his wedding night. The monster kills Elizabeth, Frankenstein’s new wife.
Filmed it. In Bride of Frankenstein, Henry Frankenstein’s mentor Doctor Septimus Pretorius proposes they create a mate for his monster. Henry will create the body, and Pretorius will supply an artificially grown brain. Henry is initially against the idea, but Pretorius threatens to tell the authorities that he created the monster. Henry helps his mentor when the monster kidnaps Elizabeth. Henry goes back to his lab, and he gets excited about his work. After Pretorius and his men find Elizabeth safe, Henry puts together Elizabeth’s body from parts they’ve gathered. Pretorius has grown an artificial brain. Karl got a heart from a woman while saying he did Pretorius’s bidding. A storm rages as they prepare to bring the Bride to life. Her body is raised through the roof. Lightning strikes a kite, sending electricity through the Bride. They take off her bandages and help her stand. Pretorius calls her The Bride of Frankenstein! The Monster reaches out to his mate and says, “Friend.” The Bride screams in horror at the monster. The monster tries to touch her, and the Bride screams. The monster says, “I hate you.” Like the others. Elizabeth runs to Henry’s side. The monster finds a lever to destroy the castle. The monster tells Henry and Elizabeth to leave, but orders Pretorius and the Bride to stay. While Henry and Elizabeth run away, the monster cries as the Bride hisses. He then pulls the lever, destroying the laboratory and tower.
What does Frankenstein’s bride symbolize?
Frankenstein and Dr. Pretorius – she represents the common Freudian anxieties about the female body and sexuality due to innate fears of castration, and her sexless production by the joint efforts of the two men incites feelings of reverent awe and sheer disgust between them. *reviewed by Allison Leonard. “Alone – bad. Friend – good!” —Boris Karloff, as Frankenstein’s monster *James Whale’s 1935 classic, Bride of Frankenstein, expands upon a subplot from Mary Shelley’s original Gothic novel, in which Dr. Frankenstein reluctantly returns to the laboratory and constructs a female companion to subdue his horrific creation. The film’s title, at first glance, suggests a vital importance to the role of the eponymous Bride, and further analysis of the narrative clearly confirms this sentiment. Just as the future of the human race relied on Eve’s cooperation in Christian mythology, humanity also depends upon the Bride for survival within the film’s diegesis. The key difference is that Eve’s partnership with Adam was meant for the procreation of new lives, while the Bride’s intended union with Frankenstein’s monster was for the preservation of existing lives. The monster’s satisfaction with a mate would eliminate his motive for further chaos and destruction, and thus restore peace and harmony to civilized society. *Indeed, for all of the Bride-centered hype and fanfare generated by the film’s gradual build-up to the infamous creation scene, her brief appearance in the last five minutes of running time seems rather anti-climactic. The notorious author Neil Gaiman describes her performance perfectly – “She is revealed; she hisses, screeches, is terrified, is wonderful, and once we have seen her there is nothing left for us.”1 Although the Bride’s overall significance in this film is by no means diminished, the brevity of her on-screen existence begs a few critical questions for scholars and spectators alike – what is the Bride of Frankenstein known for, and how does her meaning contribute to the film? Since her purpose for being has already been established, it is essential to investigate additional dimensions of her identity, aside from the obvious why. Her principle relevance in a film that’s abundant with Christian symbolism, queer interpretations, and feminist themes consequently earns her the right to be perceived as a more fleshed-out character by all who would otherwise question her presence.
Is Frankenstein’s monster alive?
Like the title says. The monster is either a reanimated corpse or a combination of corpses. Not a traditional zombie, but would it be one of the Walking Dead? Edit: Golem. I agree. I hadn’t thought of that, but it’s a good point.
Why did the bride of Frankenstein hiss?
If you’ve never seen 1935’s The Bride of Frankenstein, I’ll give you a quick summary. The Bride is on screen for only a few minutes. Dr. Frankenstein brings back a dead body for his monster. When the monster wakes up, she is scared. She hisses at the monster, who cries out that she hates him and tears apart the laboratory and tower. He kills them both by blowing up the lab. He tells her, “We belong dead.” They die. That’s it. The movie doesn’t care about the Bride of Frankenstein or how she feels about becoming a bride. The source material doesn’t help her either. It’s a way for the monster to get what he wants. The Bride never gets to live again because Frankenstein changes his mind about making her live again. I get it. Universal needed to add a female character to its monster group like a college trying to be diverse, but I’ve never liked that the Bride was the choice. Marya Zaleska from Dracula’s Daughter has a whole movie and character arc. She has a heart-wrenching story about coming to terms with her sexuality. The Bride exists solely as a gift for another character and is killed for having her own autonomy.
What happens to the bride of Frankenstein?
Henry and Pretorius follow the creation of Man with the creation of Woman (Elsa Lanchester). But Woman is scared of Man and backs away. The monster is sad. He frees Henry and his wife and then blows up the castle, killing himself, his bride, and Dr. Pretorius. Not quite. In the next film, Son of Frankenstein, we learn that the Monster survived.
Is the Bride of Frankenstein better than Frankenstein?
Bride of Frankenstein is the best of all the films inspired by Whale’s Frankenstein. It is a direct sequel. Bride is more lively and funny than the first film. It also makes the monster more sympathetic and has more impressive visuals. Bride was made after the Hollywood Production Code was fully implemented. Its offbeat touches can be attributed to Whale’s attempts to evade censors. He added lots of gay images, knowing the censors wouldn’t understand them. Bride of Frankenstein starts with a new look. Karloff is now credited above the title of the film, but only by his last name. Then, a short credits sequence (with Franz Waxman’s dramatic music) ends with a cast list that includes the mysterious entry: The Monster is now credited as “?” in “The Monsters Mate.” The music changes at the end of the credits to a romantic theme that will run throughout the film. The music becomes dramatic again as the film cuts to a Gothic castle in a thunderstorm. This creates a horror atmosphere and makes us think this is the castle of Frankenstein. It’s clear that this is the castle in Switzerland where Mary Godwin wrote her story in 1816. This scene changes some facts about history. It says that Mary was already Mary Shelley at this time. It also says that the first part of the story had already been written. Byron gives a quick recap of the first film, then we move to the second. The suggestion that Mary and Percy are already married might be a nod to the censors, who were enforcing the Production Code, which forbade the depiction of immoral behavior. Mary says her story is a moral lesson about the punishment of a mortal man who tries to be like God. The events of Bride of Frankenstein start where the first film ended, but there is a bit of overlap. Henry has not returned to his castle yet. He is taken away, and the burning mill collapses. The villagers leave, thinking the Monster is dead. Maria’s father (Reginald Barlow) wants to see the dead Monster. The Monster is still alive and hiding in a pool of water under the mill. The Monster attacks and drowns the father, killing him. The Monster climbs out of the mill and throws Maria’s mother into the pool, killing her.
Is Frankenstein a dead body?
The monster is the crowd of potential paupers who could become dissectees. This is important to Marshall’s thesis. The monster is more than one person. He is an assemblage of corpses. He is therefore the crowd. Marshall uses the Foucault-influenced theory of Elias Canetti’s Crowds and Power, with help from Michel de Certeau and Bakhtin.
The rules for interpreting things have changed a lot in the past twenty years. The question is what counts as evidence. Analogies are common in Murdering to Dissect. Many readers will like them. What was once difficult is now easy. Marshall’s treatment of the hulks is a good example. These were moored, rotting ships used as prisons. In 1815, there were five hulks with about 2,500 prisoners. By 1828, there were ten hulks with about 4,500 prisoners. Marshall includes an illustration of E.W. Cooke’s painting of the hulk H.M.S. York at Portsmouth in 1818 on page 186. The hulks were overcrowded, so many people died. They provided a source of bodies for dissection. Mary Shelley doesn’t use the word “hulk” to describe the monster, but he is a bit of a hulk, so Marshall says that the figurative hulk in Frankenstein is the Creature, or the monster himself. Frankenstein creates a great hulk…. I’m old-fashioned, but I find this unlikely. The prisoners died of diseases caused by overcrowding and poor hygiene. When Frankenstein was written, people didn’t know that germs caused diseases. Vermin can mean humans or rodents. Marshall uses Canettis ideas about germs to explain Frankenstein’s fear that his monster will create a race of devils (Frankenstein 140). The monster represents the poor and working class, who are like bacteria that reproduce quickly. The Creature’s work in Frankenstein can be seen as a germ-ism scenario of the invisible enemy.
Is The Bride of Frankenstein married to the Monster?
Young Frankenstein. In this 1974 film, Dr. Frederick Frankenstein is engaged to Elizabeth but falls in love with Inga, his lab assistant. Elizabeth also falls in love with the Monster. In the end, Elizabeth is married to the Monster. He’s a stock market genius thanks to Frederick donating a portion of his brain. Elizabeth acts like the Bride from 1935 to please her husband. Madeline Kahn imitates Elsa Lanchester’s hissing and spitting. Frankenweenie. In Tim Burton’s short film, Sparky, a monster dog, meets a female poodle with a headdress like Elsa Lanchesters Bride after surviving the collapse of a burning windmill.
The Bride. In this film, Baron Charles Frankenstein creates a bride for his monster.
Why does Frankenstein destroy the female monster?
Why does Frankenstein kill the Monster’s girlfriend? Frankenstein decides to destroy the female companion he is making for the Monster. He knows the Monster isn’t evil, but he can’t be sure the female companion won’t be.
📹 She’s Alive! She’s Alive! – Bride of Frankenstein (9/10) Movie CLIP HD
CLIP DESCRIPTION: The Bride of Frankenstein (Elisa Lanchester) rises from the table and walks. She’s alive!
Great idea to show her eyes wide open – a truly shocking moment, realizing that not only was she alive but she also that she was shocked at what she was seeing/experiencing. And it would have been so cool to have seen this when it was released, because we are processing it through 75 years of schlock horror films. But in 1935 it must have been a bit jolting.
It’s interesting to see how the Bride and Henry interact with each other. Henry is the first person she approaches willingly, and even follows willingly for a time; he touches her briefly enough to guide her (and lets her jerk her arm away from him without protest). There’s even that little smile she attempts to give at 2:10 to Henry. Likewise, in the next clip, Henry is the person she looks to for assistance when she rejects the monster’s approach; he touches her just briefly enough to help her turn to and sit down on the couch (she follows him willingly, untouched by him). It’s Henry she again looks to and allows to drag her away once she rejects the monster for the final time. All in all, I’d say the Bride likes Henry better than the monster.
Rewatching “Bride of Frankenstein” for the firat time in years, it truly is amazing how Elsa Lancaster was able to totally stole the entire film as a very minor character who only appears in literally only one scene. The only other example I can think of off the top of my head of an actor/actress being able to do that is Tami Stronach’s performance as The Childlike Empress in “The Neverending Story.”
Tragically, Colin Clive died only two years after making “Bride of Frankenstein”. He was only 37, but was a horribly advanced alcoholic. In several of his last films (including this one), he was often so smashed on the set that his fellow actors literally had to hold him up in their scenes together. It’s an enormous tribute to his talent (and stamina) that he was able to do as well as he did in both “Frankenstein” and its sequel.
Studied film at USC. The prof told us we were about to see the most perfect five minutes in American cinema. He set it up perfectly (without telling us what film we were about to see): “The cynical, closed heart cannot see — or feel — it. But the open heart =can=.” And then =stunned= us with the last five and a half minutes of James Whale’s =masterpiece= of set, effects, makeup, costume, lighting, ambiance, music, script, and nuanced performance by Thesiger, Clive, Karloff and Lanchester. No one laughed. =Everyone= in the class was blown away.
One very revealing split-second occurs at 2:24, when the Bride roughly pulls her hand away from Dr. Frankenstein. In that one brief moment of apparent self-assurance, you see her potential as a fully realized character. She is her own creature — which she quickly affirms with her rejection of the mate others have chosen for her. It’s a terrible shame her life would be so short. But, then again, perhaps she would’ve been even more of a “monster” than her would-be mate. And, as others have noted, her bird-like movements are quite intentional, with Lanchester and Whale agreeing that she would base her initial movements on those of birds.
At no point in the film does Frankenstein even mention the concern which, in the novel, is what leads him to destroy the female creature right when he’s about to animate her: the fear that, if the two monsters mate, the result will be a race of monsters who may one day challenge humanity for mastery of the planet. (DAMNED impressive for a book written in 1816!) I love “Bride of Frankenstein”, but it really is a gap in the film’s logic that neither Frankenstein nor Pretorius ever looks ahead to “NOW what?”
I know a lot of people like to argue who the name Frankenstein refers to, the Doctor or the Monster. But this new character is obviously intended to be the bride of the Monster, and she’s not called the Bride of Frankenstein’s Monster, she’s the Bride of Frankenstein, indicating Frankenstein is indeed the correct name for the Monster.
Not gonna lie if you went from being reborn, from death. To automatically finding out your married to somebody you just met who looks like their in the same messed up situation that you were in, you’d probably freak out too. That’s a perfectly sane and reasonable response. Which makes me wonder if its fine that she did freak out since she for obvious reasons shouldn’t be a perfectly sane and reasonable human being.
imagine if there was another movie of this in Alvin and the chipmunks in other words imagine after the movie Alvin and the chipmunks meet Frankenstein what if the mad doctor brought back a dead female corpse like this one and it end befriended the chipettes and got scared of Frankie(Which Theodore called him after they taught Frankie about sharing and getting friends) but then fell in love with him with the help of the chipettes.that would be cool.