In an interview with Collider, David Koepp revealed plans for the Bride of Frankenstein, a planned sequel to the 1935 American science fiction horror film. The film would have been split across two time periods, with the beginning set in the 1870s and the latter half set 150 years later. Bill Condon will direct the film, which is set to be released in February 2019. The Dark Universe, a full reboot of the studio’s classic movie monsters, is set to begin with Tom Cruise’s The Mummy reboot. The Bride of Frankenstein remake is still in development, with Stir of Echoes director David Koepp set to write the screenplay. The film will be based on a script from Koepp and is set to hit theaters on February 14, 2019. Universal has revealed plans to make several other films, including Frankenstein, Bride of Frankenstein, Dracula, Creature from the Black Lagoon, Phantom of the Opera, and Hunchback of the Baskervilles. Neil Burger confirmed that his Bride of Frankenstein remake is dead at Universal, despite being in development prior to the failed Dark Universe. Story details have finally been revealed about the Dark Universe plans for the Bride of Frankenstein, with Angelina Jolie as the titular bride.
📹 New Bride of Frankenstein Movie Still Alive at Universal
Earlier this week, we spoke with the lovely and obnoxiously talented David Koepp for an upcoming episode of our interview series …
Do I need to watch Frankenstein before Bride of Frankenstein?
Do I need to see the first Frankenstein movie before this one? They follow on but, assuming youre vaguely familiar with the story of Frankenstein, you wont be missing anything. There arent too many references to the first film, and youll pick up everything you need to know as it goes on.
Mary Shelley, R.C. Sherriff, Philip MacDonald, Robert Florey, John L. Balderston, Edmund Pearson, Lawrence G. Blochman, Tom Reed, Josef Berne, William Hurlbut, and others.
Frankensteins Monster, Victor Frankenstein, Elizabeth Lavenza, Doctor Septimus Pretorius, Mary Shelley, Frankensteins Bride, Lord Byron, Percy Bysshe Shelley, Minnie, Burgomaster, and others.
Mary Shelley reveals the main characters of her novel survived: Baron Henry Frankenstein, goaded by an even madder scientist, builds his monster a mate.
What was the dark universe?
Dark Universe logo, created by Weta Digital. The Dark Universe was a planned series of monster films that were being developed and distributed by Universal Pictures. The Dark Universe was meant to serve as rebooted versions of past monster films that take place in a shared universe.
The Dark Universe was a planned series of monster films that were being developed and distributed by Universal Pictures. The Dark Universe was meant to serve as rebooted versions of past monster films that take place in a shared universe. Plans for the shared universe were shelved following the failure of The Mummy.
- Films. Slate of Films. Dracula Untold
- The Mummy1
- The Invisible Man2
- Renfield
- The Last Voyage of the Demeter
- Lisa Frankenstein
- Abigail (upcoming)
- The Wolf Man (pre-production)
- Untitled Universal Monsters film (unreleased
- pre-production)
- The Invisible Woman (unreleased
- in development)- TBA
- Van Helsing (unreleased
- in development)- TBA
- In Development. Bride of Frankenstein1 (TBA) (unreleased
- pre-production/currently shelved)
- Dark Army3 (TBA) (unreleased
- pre-production)
- Monster Mash4 (TBA) (unreleased
- pre-production)
- Frankenstein5 (TBA) (unreleased
- in development)
- Little Monsters (TBA) (unreleased
- in development)
- Creature from the Black Lagoon (TBA) (unreleased
- in development)
- Dracula (TBA) (unreleased
- in development)
- The Phantom of the Opera (TBA) (unreleased
- in development)
- The Hunchback of Notre Dame (TBA) (unreleased
- in development)
- Invisible Man 2 (TBA) (unreleased
- in development)
- The Scorpion King (TBA) (unreleased; in development)
Is Lisa Frankenstein out?
Lisa Frankenstein was released in the United States by Focus Features on February 9, 2024. The film received mixed reviews from critics.
Plotedit. In 1989, Lisa Swallows is a lonely teenage girl still struggling to come to terms with the loss of her mother, who was killed by an axe murderer two years earlier. Her father, Dale, remarries a horrid and narcissistic woman named Janet and she gains a popular stepsister, Taffy. Lisa spends much of her time in the local Bachelors Grove Cemetery, much to the chagrin of her family.
After an unfortunate tanning bed electrocution, Lisa heads to a party with Taffy. She is accidentally drugged and almost sexually assaulted by a classmate, Doug. Disoriented and upset, Lisa returns to the cemetery and speaks to the grave of a young Victorian man who died in 1837, expressing her desire to be with him (in reality she means to be dead). The young man had been a musician who had fallen in love with a woman in his own time before she left him for another man. He was killed after being struck by lightning. A bolt of green lightning strikes the grave after Lisa leaves, and the young man (referred to as the Creature in the films credits) is brought back to life as a lovesick zombie.
Which movie is better, Frankenstein or Bride of Frankenstein?
Arguably the greatest of all the films inspired by Whales original Frankenstein, Bride of Frankenstein is a direct sequel. But Bride is actually livelier and funnier than the first film, while generating even more sympathy for its hapless monster and creating even more impressive Expressionist visuals. Bride also differs from its predecessor in that it was made after the full implementation of the Hollywood Production Code, and many of its offbeat touches can be attributed to the way Whale fenced with the censors throughout the production of the film, attempting to evade their attempts to water down the contents. Among other things, he did so by introducing a great deal of gay iconography, knowing that the censors would probably not recognize it.
As Bride of Frankenstein begins, we can immediately see that things have changed since the initial Frankenstein. Now, instead of being credited simply as “?,” Karloff is actually credited above the title of the film—though only by his last name. Then, a brief credits sequence (accompanied by Franz Waxmans dramatic title music), ends with a cast list that includes the enigmatic entry: “The Monsters Mate,” credited now to “?,” as the Monster was in the first film. Meanwhile, the music itself shifts at the end of the credits to a Romantic theme that will run throughout the film. The music then becomes dramatic again as the film cuts to a rather Gothic mountaintop castle amid a heavy thunderstorm, creating a horror-film atmosphere and producing the expectation that this is the castle of Frankenstein. It quickly becomes clear, though, that this is the castle in Switzerland where Mary Godwin supposedly conceived the idea for her story in during a stay with Lord Byron and her future husband, Percy Bysshe Shelley in 1816. This scene modifies historical reality a bit, suggesting that Mary was already Mary Shelley at this time (she and Percy were married later that year, after the suicide of his first wife), but also suggesting that the first part of the story (entailing the events of the first film) had already been written. This setup allows Byron to give a quick recap of the first film, as we then move into the events of the second. Meanwhile, the suggestion that Mary and Percy are already married might be taken as a nod to the censors, who were by the time of this film fully enforcing the dictates of the Production Code, which forbade the depiction of “immoral” behavior such as the cohabitation of Mary and Percy when he was still married to someone else. Mary herself, meanwhile, delivers a message to the censors with her explanation that, in writing her story, “my purpose was to write a moral lesson of the punishment that befell a mortal man who dared to emulate God.”
The events of Bride of Frankenstein essentially begin where the first film ended, though there is actually a bit of overlap, as Henry has not yet returned to his castle (he is now the baron, his father having somehow disappeared from the scene) when this film begins. He is quickly carted away, though, leaving the burning mill to collapse in ruin. The villagers disperse, assuming the Monster to have been killed in the fire, though Marias father (now played by Reginald Barlow, in one of several casting changes between the two films) insists on seeing the dead Monster for himself. The Monster, of course, is still alive, having taken refuge in a pool of water beneath the mill. Wounded and enraged, the Monster attacks and drowns the father, thus consigning him to the same fate as his daughter. Then, the Monster climbs out of the mill and tosses Marias mother (Mary Gordon) down into the pool, presumably killing her as well.
Will there be a Lisa in Frankenstein 2?
With Lisa being believed dead, a sequel could confirm that she and the Creature moved to another state to be together beyond the watchful eyes of Lisas kin. What will Lisa and the Creatures life look like in the aftermath of her demise? How long do the undead survive? Lisa Frankenstein 2 could answer these questions, including exactly how she was brought back to life. Diablo Cody mentioned that she would love it if Lisa Frankenstein and Jennifers Body shared the same universe. And though a sequel to Lisa Frankenstein hasnt been confirmed, anything is possible.
Another final possibility for a Lisa Frankenstein sequel is that it parallels the Bride of Frankenstein. Now that Lisa is as undead as The Creature, perhaps a sequel film will see the two starting a domesticated life as undead people. Perhaps, like a certain B-plot in Mary Shelleys original novel, Lisa and The Creature will be tempted to raise even more dead for companionship. In this way, Lisa Frankenstein would follow in the Mary Shelley tradition more than the Jennifers Body universe.
The Bride of Frankenstein was a movie that came out in 1935, based on a subplot of Mary Shelleys Frankenstein.
Throughout the film, Lisa was never listened to when it came to her pain and grief. She even says that she was diagnosed with traumatic mutism following her mothers murder. Without having anyone to really talk to, Lisa was unable to fully navigate her grief. But that changed when she met the Creature, and his presence — and inability to talk — gave Lisa an outlet to express herself in a way she couldnt before. He was a friend who was simply there to support Lisa in whatever way he could.
What happened to the bride of Frankenstein?
Mary Shelleys Frankenstein (1994 film)edit. A version of the character appears in the 1994 film Mary Shelleys Frankenstein, played by Helena Bonham Carter. In this version, Victor attempts to revive his wife Elizabeth after she is killed by the Monster by placing her head on the intact body of his hanged servant Justine. He succeeds, but the Monster interrupts their reunion claiming Elizabeth as his own Bride. The transformed and apparently amnesic Elizabeth feels drawn to the Monster and caresses his face. After realizing she has the same scars as he, she understands what Victor did to her. Victor and the Monster fight for Elizabeth, but she feels disgusted with herself. She rejects both men with guttural cries and commits suicide by setting herself on fire.
In other mediaedit. Since the original film, characters based on the Bride of Frankenstein have been featured in different media. Unlike the original, most of these later incarnations of the Bride depict her as reciprocating the Monsters affection for her:
- The Bride of Frankenstein appears as The Monsters Mate in the 1967 film Mad Monster Party? voiced by Phyllis Diller (whose likeness was used for the Brides design). She was seen with Frankensteins Monster (who she calls Fang) where they live with their creator Baron Boris von Frankenstein on the Isle of Evil.
- The Bride of Frankenstein appears in the 1972 film Mad Mad Mad Monsters (a prequel of sorts to Mad Monster Party) voiced by Rhoda Mann. This version is shown with hair over her face where her face wasnt seen until the end of the film. She was created by Baron Henry von Frankenstein to be the mate for his monster. Of course Henrys assistant Igor wants the Bride for himself at the time when Henry makes plans to have a wedding at the Transylvania Astoria Hotel on Friday the 13th.
- The Bride of Frankenstein appears in the 1973 British television film Frankenstein: The True Story portrayed by Jane Seymour. This incarnation of the Bride is created using the head of a peasant girl named Agatha and a body created by the evil Dr. Polidori while using a chemical reanimation process. Once alive, Polidori intends to puppet the bride named Prima as an instrument of political power through high society which will eventually gain him political influence. While she is welcomed and awed, Elizabeth Frankenstein discovers she is a reanimated corpse via the scarring around her neck covered by a choker necklace. Prima rejects the male creature, to which he forcefully pulls off her head, killing her.
- In the 1974 film Young Frankenstein, Elizabeth (Madeline Kahn) styles her hair in homage to the Bride at the end where she is now married to the Monster.
- The Bride of Frankenstein appears in the Looney Tunes 1988 animated short The Night of the Living Duck. She is seen in Daffy Ducks dream amongst the monsters in the nightclub that Daffy is in and accompanied by Frankensteins monster. When Daffy asks Frankensteins monster how the Mrs. is doing, the Bride hisses at Daffy.
- In the 1988 animated film Scooby-Doo! and the Reluctant Werewolf, the Bride of Frankenstein is featured where she is named Repulsa and voiced by B.J. Ward.
- In the 1990 animated series Gravedale High, the character Miss Dirge (voiced by Eileen Brennan) is based on the Bride of Frankenstein.
- The Bride of Frankenstein is one of six monsters featured in the 1998 pinball machine Monster Bash by Williams. The objective of the game is to form a band with classic Universal monsters. Every monster has their own game mode which you have to start to have them added as a band member, the Bride is the singer in the band. With this iteration of the Bride, she was created before the Monster and she has requested Dr. Frankenstein to create the perfect husband for her. In her game mode, she attacks the monster with kitchen appliances after being disappointed by the doctors work.
- The Bride of Frankenstein appears in The Grim Adventures of Billy & Mandy voiced by Jane Carr. She is shown as an inhabitant of the Home of the Ancients retirement home where she is friends with Dracula and Wolfman.
- The Bride of Frankenstein appears in 2005–06 in DC Comics Seven Soldiers: Frankenstein and in subsequent stories featuring that version of the Creature (who calls himself Frankenstein). She is an agent of the supernatural government organization S.H.A.D.E. and is separated from Frankenstein, with the Bride claiming Its nothing personal, but you were never my type. This backstory gets reworked in The New 52 title Frankenstein, Agent of S.H.A.D.E. in which they separated after their son proved to be a homicidal monster and Frankenstein was forced to kill him.
- The Bride appears in the 2010-12 Adult Swim series Mary Shelleys Frankenhole. Originally created as a companion to Victor Frankensteins cynical and alcoholic Creation, she is so disdainful of him that she went as far as to have her hair replaced with fire to keep him away. The Bride is in a relationship with a vampiric Mohandas Gandhi.
- The Bride of Frankenstein appears as Eunice in the Hotel Transylvania franchise voiced by Fran Drescher. She is portrayed as Frankensteins wife, the best friend of Wanda the Werewolf, and also as the aunt of Draculas daughter Mavis. She is a diva, dressed in a black miniskirt and fluffy pink turtleneck jumper.
- In the Showtime TV series Penny Dreadful, the Bride appears as Brona Croft (portrayed by Billie Piper), an Irish immigrant with a dark past who dies of tuberculosis at the end of Season 1. In season 2, she is brought back to life with no memory after Frankensteins monster demands a bride and given the new name Lily Frankenstein by Victor (who passes her off as his cousin). It is later revealed that she knew Victor was her creator from the very beginning which she reveals to the monster after stating that they will bring about a new age of immortals. A brief romantic involvement with the immortal Dorian Gray peters out as he had no ambition for global domination.
- The Bride of Frankenstein appears in the Vampirina episode Franken-Wedding, voiced by Anna Camp opposite of Skylar Astin as Frankenstein. The two of them hold their wedding at the Scare B&B.
- A modern take on the character was added as a purchasable cosmetic outfit in Fortnite as part of the official Universal Movie Monsters collaboration.
- A planned reboot of the classic Universal Monsters was to have them in a shared universe, to be known as the Dark Universe, and was to include a re-make of The Bride of Frankenstein, with early reports indicating Angelina Jolie under consideration for the lead. However, the first Dark Universe film The Mummy flopped at the box office, ending plans for any more such films.
Is the Bride of Frankenstein better than Frankenstein?
Arguably the greatest of all the films inspired by Whales original Frankenstein, Bride of Frankenstein is a direct sequel. But Bride is actually livelier and funnier than the first film, while generating even more sympathy for its hapless monster and creating even more impressive Expressionist visuals. Bride also differs from its predecessor in that it was made after the full implementation of the Hollywood Production Code, and many of its offbeat touches can be attributed to the way Whale fenced with the censors throughout the production of the film, attempting to evade their attempts to water down the contents. Among other things, he did so by introducing a great deal of gay iconography, knowing that the censors would probably not recognize it.
As Bride of Frankenstein begins, we can immediately see that things have changed since the initial Frankenstein. Now, instead of being credited simply as “?,” Karloff is actually credited above the title of the film—though only by his last name. Then, a brief credits sequence (accompanied by Franz Waxmans dramatic title music), ends with a cast list that includes the enigmatic entry: “The Monsters Mate,” credited now to “?,” as the Monster was in the first film. Meanwhile, the music itself shifts at the end of the credits to a Romantic theme that will run throughout the film. The music then becomes dramatic again as the film cuts to a rather Gothic mountaintop castle amid a heavy thunderstorm, creating a horror-film atmosphere and producing the expectation that this is the castle of Frankenstein. It quickly becomes clear, though, that this is the castle in Switzerland where Mary Godwin supposedly conceived the idea for her story in during a stay with Lord Byron and her future husband, Percy Bysshe Shelley in 1816. This scene modifies historical reality a bit, suggesting that Mary was already Mary Shelley at this time (she and Percy were married later that year, after the suicide of his first wife), but also suggesting that the first part of the story (entailing the events of the first film) had already been written. This setup allows Byron to give a quick recap of the first film, as we then move into the events of the second. Meanwhile, the suggestion that Mary and Percy are already married might be taken as a nod to the censors, who were by the time of this film fully enforcing the dictates of the Production Code, which forbade the depiction of “immoral” behavior such as the cohabitation of Mary and Percy when he was still married to someone else. Mary herself, meanwhile, delivers a message to the censors with her explanation that, in writing her story, “my purpose was to write a moral lesson of the punishment that befell a mortal man who dared to emulate God.”
The events of Bride of Frankenstein essentially begin where the first film ended, though there is actually a bit of overlap, as Henry has not yet returned to his castle (he is now the baron, his father having somehow disappeared from the scene) when this film begins. He is quickly carted away, though, leaving the burning mill to collapse in ruin. The villagers disperse, assuming the Monster to have been killed in the fire, though Marias father (now played by Reginald Barlow, in one of several casting changes between the two films) insists on seeing the dead Monster for himself. The Monster, of course, is still alive, having taken refuge in a pool of water beneath the mill. Wounded and enraged, the Monster attacks and drowns the father, thus consigning him to the same fate as his daughter. Then, the Monster climbs out of the mill and tosses Marias mother (Mary Gordon) down into the pool, presumably killing her as well.
Is The Bride of Frankenstein better than the original?
Bride is a sequel to Universals 1931 hit Frankenstein. The axiom that sequels are never as good as the originals generally holds true, but there are exceptions: Tarzan and His Mate, After the Thin Man, From Russia With Love, The Godfather Part II and The Empire Strikes Back, for example. It is widely conceded that Bride is one of these successes, although not everyone agrees. Even Whale and his star, Boris Karloff, preferred the original, which represented a crucial turning point in their careers. Karloff argued that it was a mistake in the sequel to have the Monster speak, that too much sympathy was built up for the Monster, and that the use of musical scoring was intrusive. (Frankenstein has often been criticized for its lack of music by modern writers who fail to consider that in 1931, background music was considered an outmoded artifact of the Silent Era.) Some lovers of horror films prefer their horrors unleavened by humor.
After the success of Frankenstein, Universal quickly announced The Return of Frankenstein for the 1932-33 season. Whale was adamant that he wanted no part of the project. The New Adventures of Frankenstein, a treatment by a Frankenstein scenarist, Robert Florey, was rejected in February of 1932 by the youthful studio chief, Carl Laemmle, Jr. In 1933, director Kurt Neumann, a Laemmle protege from Germany, was put in charge of developing the project as a vehicle for Karloff and Bela Lugosi. Scenario editor Tom Reed wrote another treatment, and Philip MacDonald, Edmund Pearson and Lawrence G. Blochman were among the distinguished authors who became involved. Playwright John L. Balderston, author of Berkeley Square and co-author of Frankenstein, created a prologue involving Mary and Percy Shelley and Lord Byron. The bulk of Balderstons treatment, in which the Bride is created from the oversized head of a circus freak and womens body parts rifled from train wrecks, was deemed too gruesome for consideration.
Meantime, numerous writers were trying unsuccessfully to deliver a satisfactory screenplay of H. G. Wells The Invisible Man. Whale persuaded Laemmle to offer the assignment to a friend of his in London, R.C. Sherriff, an Oxford don who had authored the successful play Journeys End. As planned, Whale asked to direct Sherriffs adaptation (arguably the finest fantasy script of the decade) instead of the Frankenstein project. He insisted that Junior Laemmle take the script home, and, after a good dinner, read it in its entirety. He was aware that this request would irritate Laemmle, who never worked after his evening meal. In his autobiography, No Leading Lady, Sherriff writes that Whale told him, If they score a hit with a picture, they always want to do it again. Theyve got a perfectly sound commercial reason. Frankenstein was a gold mine at the box office, and a sequel to it is bound to win, however rotten it is. Theyve had a script made for a sequel, and it stinks to heaven. In any case, I squeezed the idea dry on the original picture, and never want to work on it again.
Is there going to be a new Frankenstein movie in 2024?
In 2023, the project was revived by Netflix, who del Toro had signed a multi-year deal with to produce projects. Following the win of Guillermo del Toros Pinocchio at the 95th Academy Awards for Best Animated Feature, Variety revealed that he was set to write and direct the feature with Andrew Garfield, Oscar Isaac and Mia Goth in early talks for potential roles.15 In September, del Toro revealed that filming was scheduled to commence in February 2024, and that Christoph Waltz had been added to the cast.16 In January, Jacob Elordi replaced Garfield for the role of the monster, due to scheduling conflicts that had resulted from the SAG-AFTRA strikes.1718 Felix Kammerer, Lars Mikkelsen, David Bradley, Christian Convery, and Charles Dance joined the cast in undisclosed roles.1819 In April 2024, del Toro announced Ralph Ineson had been cast in the film in a pivotal cameo appearance.20.
Filmingedit. Principal photography began on February 12, 2024 in Toronto, and is expected to wrap in July.19.
- ^ Mike Sampson (October 26, 2007). Guillermo talks!. JoBlo.com. Archived from the original on February 3, 2014. Retrieved October 27, 2007.
- ^ Adler, Shawn (January 1, 2008). Guillermo Del Toro Ready To Unleash Frankensteins Monster. MTV Movies Blog. Archived from the original on September 18, 2015. Retrieved March 3, 2024.
- ^ Chris Hewitt (February 8, 2008). Guillermo Del Toro Talks The Hobbit. Empire. Archived from the original on November 23, 2011. Retrieved February 8, 2008.
- ^ Fleming, Michael (September 3, 2008). Guillermo Del Toro booked thru 2017. Variety. Archived from the original on October 10, 2023. Retrieved October 8, 2023.
- ^ Max Evry (October 5, 2008). Guillermo del Toro on The Hobbit and Frankenstein. ComingSoon.net. Archived from the original on October 5, 2008. Retrieved October 5, 2008.
- ^ Guillermo del Toros Frankenstein is Not The Traditional Creation Story – Film. October 6, 2008. Archived from the original on June 24, 2021. Retrieved February 3, 2024.
- ^ Josh Horowitz (October 14, 2008). Guillermo Del Toro Talks Hobbit Casting, Creatures. MTV. Archived from the original on October 17, 2008. Retrieved October 15, 2008.
- ^ Guillermo Del Toro Casts Doug Jones in Frankenstein. June 14, 2009. Archived from the original on June 16, 2009. Retrieved June 24, 2009.
- ^ Guillermo del Toro Leaves The Hobbit, So Whats Next for the Director? – MTV. MTV. Archived from the original on November 19, 2016. Retrieved November 19, 2016.
- ^ Frappier, Rob (June 24, 2009). Doug Jones Talks Frankenstein, The Hobbit, & Hellboy 3. Screen Rant. Archived from the original on June 28, 2009. Retrieved June 24, 2009.
- ^ Guillermo del Toros Frankenstein Monster Was Hauntingly Beautiful, Says Doug Jones. Collider. October 29, 2020. Archived from the original on December 2, 2021. Retrieved February 3, 2024.
- ^ Jagernauth, Kevin (July 6, 2013). Guillermo Del Toro Wants Benedict Cumberbatch For Frankenstein, Charlie Kaufman Writing Slaughterhouse-Five. IndieWire. Archived from the original on October 10, 2023. Retrieved October 8, 2023.
- ^ Chitwood, Adam (July 17, 2014). Guillermo del Toro Says Universal Wants Him to Do FRANKENSTEIN
- Would Like to See the Universal Monster Universe Done as Period Movies. Collider. Retrieved March 3, 2024.
- ^ Weintraub, Steve (July 25, 2020). Guillermo del Toro and Scott Cooper on Antlers and Filmmaking Comic-Con@Home 2020 (video). YouTube. Comic-Con International. Archived from the original on February 3, 2024. Retrieved November 2, 2023.
- ^ Shanfeld, Ethan (March 15, 2023). Guillermo del Toro Eyes Andrew Garfield, Oscar Isaac, Mia Goth for Frankenstein Movie at Netflix. Variety. Archived from the original on March 15, 2023. Retrieved March 15, 2023.
- ^ Weintraub, Steve
- Jones, Tamera (October 9, 2023). Watch Guillermo del Toro Talk Pacific Rim, Frankenstein, His Jabba the Hut Movie, and More in Hour-Long Interview Exclusive. Collider. Archived from the original on October 18, 2023. Retrieved October 10, 2023.
- ^ Kroll, Justin (January 7, 2024). Jacob Elordi To Play Frankenstein Monster In Guillermo Del Toros Adaptation For Netflix
- All Quiet On The Western Front Breakout Felix Kammerer & Sweet Tooth Star Christian Convery Also In Ensemble. Deadline Hollywood. Archived from the original on January 22, 2024. Retrieved January 25, 2024.
- ^ a b Rubin, Rebecca (January 7, 2024). Jacob Elordi to Play Frankensteins Monster in Guillermo del Toros Netflix Adaptation. Variety. Archived from the original on January 8, 2024. Retrieved January 25, 2024.; ^ a b Kantorowicz, Asymina (January 24, 2024). Guillermo Del Toro & The Cast Of The New Frankenstein Film Stopped By A Toronto Restaurant. Narcity Media. Archived from the original on January 24, 2024. Retrieved January 24, 2024.; ^ Ralph Ineson Has a Pivotal Cameo in Guillermo del Toros Frankenstein. Bloody Disgusting. April 15, 2024. Retrieved April 16, 2024.
Who is the cast of The Bride of Frankenstein 2024?
While not much has been revealed about the cast of The Bride!, a few huge Hollywood stars have already been attached to the project. First announced was Oscar winner Christian Bale (The Dark Knight), who has been tapped to play the lonely Frankensteins monster. Jessie Buckley is set to co-star with Bale as the eponymous Bride, and Peter Sarsgaard is also attached to the project along with Penélope Cruz. In early 2024, multi-time Oscar nominee Annette Bening was added to the cast as well.
The story of The Bride! has long been speculated on, but it has now been officially confirmed that the standalone remake will not exclusively follow the plot of the original movie. Instead, Gyllenhaals take on the Bride will be set in 1930s Chicago and will follow the lonely Frankensteins monster as he seeks out Dr. Euphronius to make him a mate. The revealed logline also hints at a much more complex story involving the eponymous Bride.
In Gyllenhaals new version, the bride that is resurrected is actually a murdered young woman who comes back to life with the aid of Dr. Euphronius. This will, according to the logline, cause city-wide intrigue as the Brides arrival brings about radical social changes to 1930s America. What that means will only become clear once The Bride! is released, but it already promises an entirely new vision.
Will there be a Bride of Frankenstein remake?
Original Movie Synopsis. The original movie plot involves Dr. Frankenstein recovering from injuries inflicted during a mob attack. His former mentor, Dr. Pretorius, urges him to resume experiments in creating new life. Simultaneously, the Monster is on the run, misunderstood despite good intentions. The story explores themes of control, socialization, and the consequences of playing god with life.
FAQs. Is Bride of Frankenstein connected to the Dark Universe Franchise?No, Bride of Frankenstein is confirmed to be a separate monster piece, distancing itself from the Dark Universe Franchise initiated by Tom Cruises The Mummy in 2017.
When will Bride of Frankenstein be released?While there is no specific release date, filming is set to commence in the first quarter of 2024. Delays, including developmental changes and SAG-AFTRA strikes, have impacted the production timeline.
Disclaimer Statement: This content is authored by a 3rd party. The views expressed here are that of the respective authors/ entities and do not represent the views of Economic Times (ET). ET does not guarantee, vouch for or endorse any of its contents nor is responsible for them in any manner whatsoever. Please take all steps necessary to ascertain that any information and content provided is correct, updated, and verified. ET hereby disclaims any and all warranties, express or implied, relating to the report and any content therein.
Is there a new movie Bride of Frankenstein?
The first-look images from Maggie Gyllenhaals sophomore feature, The Bridge, are here and one of the images shows actor Christian Bale transformed into Frankensteins monster. The images also feature actor Jessie Buckley as the titular bride of Frankenstein.
The first look images were shared by Gyllenhaal on Instagram.
Set in 1930s Chicago, the upcoming film puts a spin on the iconic Frankenstein lore. Buckleys murdered young woman is revived, but her new life surprises her creators as she lusts for romance and ignites a radical social movement.
📹 The Universal Frankenstein Franchise Retrospective // DC Classics
Frankenstein Bride of Frankenstein Son of Frankenstein Ghost of Frankenstein Frankenstein Meets the Wolf Man House of …
Theres a line in one of the movies (possibly Son of Frankenstein?) where they explain that the scared villagers ended up calling the creature itself Frankenstein. I know that was probably done to tie in with the public perception that this is the monster’s name, but from then on it is perfectly acceptable for people to know the monster as Frankenstein.
These old Universal monster films were my “true” babysitters every Saturday night. Our parents alway went out that night, my brother and I would have pizza and pepsi, bring down our blankets from upstairs, turn all the lights off, and watch Creature Features on WGN. Frankenstein, the Mummy, the Werewolf and Dracula, we loved them all.
That was fun to see. I still enjoy the best of the Universal early run of the classic monsters. One of my favorite scenes is when the great Karloff as the monster first feels and then see’s sunlight. His expression and need or yearning for more is powerful. Only his scene in the next movie, The BOF, crying at the compassion shown by the blind man while Ave Maria plays in the background equals the scene.
The WOLF MAN came out in 1941, not 1939… Universal was billing Chaney as their MASTER CHARACTER CREATOR, but he was often re-creating other person’s monsters- Dracula (Lugosi, and as the “Son of”), the Mummy (first done by Karloff), and Frankenstein (also Karloff). The Wolf Man, as Chaney liked to point out, was “his baby”. And he did a great job with it.
I can’t pinpoint any one scene I love because I love the entire movie, but I do know if I was going to do a crossover using Frankenstein’s creature I’d actually pit him against Lovecraft’s Herbert West. I’d also love to see Sherlock Holmes and The Phantom Of The Opera team up to take down Dracula. Both are highly intelligent, Erik knows how to build traps, Holmes can track just about anyone, they’d make a formidable vampire hunting team.
If anyone says Bride Of Frankenstein is the greatest sequel in cinema history, I won’t have a problem about it. While there will be the famous ones of The Godfather, The Terminator, Star Wars and The Raid, “Brides” easily stands amongst the finest of the all. It’s definitely the greatest sequel in Horror history that’s for damn sure.
A very good send up of the “Frankenstein” series. But you are much too harsh on “Abbott and Costello meet Frankenstein”. The monsters are presented very well and look great! The gags are funny and entertaining. After the horrors of WWII the U.S. public could not be frightened by legendary monsters. It was a perfect send off of these beloved characters.
I have loved all of these Universal horror movies since I was a child. I love them even more today over a half a century later. I’ve seen each of them countless times yet your documentaries are enlightening and eye opening. I also love the Hammer Studios films and your documentaries on them too. Thank you so much for these and please keep it up.
Excellent! Dark Corners has become my favorite YT website. Informative, entertaining, and into the same stuff I love. Brilliant analysis of a legendary franchise, sealing the deal by not neglecting to mention Young Frankenstein and Gods And Monsters. And leveling the field around Whale and Welles, well, thank you.
The Frankenstein series was my favorite. Growing up in the 60s without a TV for a period, books were my choice. I had several books on Karloff, at least 5 and a bunch on Frankenstein, including the original. One of my earliest childhood memories was the death of the monster in A&C meet F. Gave me nightmares for a long time.
I love how you discuss the deeper aspects of horror here. I think that’s why I love the classics so much, but am not as interested in the later or more ‘mass produced’ ones. I have the Universal classic monster boxed and am slowly going through them, and haven’t gotten past Bride yet (going chronologically), some of which I’ve not seen since I was a kid in the 70s and 80s so it’s a great mix of nostalgia and rediscovery. Great article!
Many thanks to Dark Corners 3, for showing this on YouTube. Now when it comes to my favorite Frankenstein films, here it goes! #1 top favorites are: Frankenstein. Bride of Frankenstein. Son of Frankenstein. #2 favorites: Ghost of Frankenstein. Frankenstein Meets the Wolfman. Then comes “House of Dracula ” before “House of Frankenstein” due my liking it slightly better. Good day now!!!!
1.Whale adapted Peggy Webling’s stage play, not Mary Shelly’s novel for his film version of Frankenstein. 2. The conclusion of Bride of Frankenstein was undoubtedly changed during filming, since careful observation reveals Dr. Frankenstein, who has just escaped with Elizabeth, still standing in the watchtower laboratory when the explosion occurs. 3. The Son of Frankenstein sets were designed for color filming, which was Universal’s original intention, but which was abandoned.
Excellent, but here’s a point to ponder and debate: actually, Abbott and Costello DID meet Frankenstein – A Frankenstein. The Monster was created by Dr. Frankenstein so that would make the Monster technically his offspring (in fact, I believe Mary Shelley named him Adam – so I guess he would be Adam Frankenstein).
My favorite Frankenstein scene would be when the monster, after making his first appearance in the first film, is drawn to the sunlight coming through the open skylight. It creates sympathy for the monster, which begets the question, who are the real monsters in the story. My close second scene would be when the monster backed out of the dungeon into the main set, and slowly turned to face the camera, followed by the unexpected jump cuts. That scene is the one which sent my father, as a child, running from the theater, followed by his angry older brother, who had paid for the movie tickets.
Many people say that Universal studios should’ve filmed a sequel to both “Dracula” & “Frankenstein”. And not only call it “Frankenstein vs Dracula” or vice-versa, but have Boris Karloff & Bela Lugosi repeat their most famous roles of course. That’s what most say!!! And if that did occur it sure as hell would have beat the hell out of that 1971 complete failure “Dracula vs Frankenstein “, even though it had 2 good actors like Lon Chaney Jr & J. Carroll Naish as a wheelchair bound Dr.Frankenstein. But Lon wasn’t either monster as he was an Ygor-type mute lab assistant.
You were doing well until you got to Frankenstein Meets the Wolfman. The film was shot with Igor speaking through the monster’s body, but it was all cut, unfortunately, as it worked well at the end of Ghost of Frankenstein. A fellow made a recreation of these scenes, and did a good job. You can find it on YouTube.
Thank you. I always appreciate classic era films being discussed. I’m not familiar with the Universal Frankenstein films after ‘Son of….’, but even though their reputation doesn’t match the first three, I’ll still search them out. I don’t know if it’s the great wealth of character actors from that period, or just that there is still some silence and space in these older movies (instead of the frantic pace and editing of modern movies), but I always find myself drawn to older films.
A&C MEET FRANKENSTEIN was the death knell for the horror films of the 30’s and 40’s. The Second World War, the Holocaust and the Atomic Bomb had made the monsters no longer scary to audiences who seen real horror up close and personal in both the bombing of cities such as London, Moscow, Berlin and Tokyo. As well as personal combat in Europe, Asia and the Pacific ; nothing could match up with 80 million dead. But still FRANKENSTEIN and BRIDE OF FRANKENSTEIN are classic films that can still teach us about humanity, fear, and hubris. Also the arts of film making, story telling, set design and acting. My fav scene ? Karloff’s monster seeing light for the first time, trying to touch it and pleading for it to come back. Only to have Fritz come in and torment the poor creature for his own sadistic pleasure.
Love the article. it clearly shows the great love and admiration you have for the Frankenstein monster. His iconic appearance will always be a part of cinema history, no matter how good or bad any individual film may be. Although the original Frankenstein film is my favorite of the series, I have also got to give Universal credit for giving us the first monster crossover battle with Frankenstein Meets The Wolf Man. That film is just 100% pure fun.
The first two installments of Universal’s Frankenstein films are with out a doubt trailblazing. James Whale was a brilliant filmmaker. I dare say along with Kane, they are two of the greatest films ever made . I make it a yearly tradition to watch them both back to back along with Universal’s other Classic Monsters around Hallloween season .
The piano playing/hypnotism scene in HOUSE OF DRACULA (glimpsed briefly in the article) is interesting on its own terms, but is even more enjoyable when you realize it’s swiped from a similar scene in REEFER MADNESS. Another fun aspect of HOD is that it references NOSFERATU in the second half, with the use of gigantic shadows.
I think I can explain Larry Talbot’s resurrection in House of Dracula with 2 possible explainations. The first being that they stated quite often in the House of Frankenstein that only a woman who loves the lycanthrope enough to understand that killing him by shooting him in the heart with a silver bullet will set him free. She fell for Talbot fast and that is lust, not love. He revived shortly afterwards offscreen because Elanka didn’t genuinely love him. The second being that Talbot rotted until the silver bullet fell out of his skeletal frame and he regenerated instantly because his curse is a supernatural one just as a vampire is revived when the stake is removed from the heart.
That was a beautiful retrospective. 😊 Even though the movies weren’t that strict about continuity to begin with, I think it makes sense to consider Abbot & Costello Meet Frankenstein to be outside of the canon, just a humorous “What If?” entry (similar to how Robert Patrick played the T-1000 in Wayne’s World ). You didn’t mention Vincent Price’s cameo at the end of the movie as the voice of the Invisible Man, which I think was particularly interesting because that was near the beginning of his tenure as a monster-movie actor. I think I finally understand the title of Bride of Frankenstein now; when Dr. Praetorius says “The Bride of Frankenstein,” he didn’t mean “Bride marrying Frankenstein” but “The Bride created by Frankenstein for the monster.” 😉
I like how you point out Paul Ivano’s involvement in the 1931 film because he was never credited for it. I do wish however, that you pointed out the magnificent set design by Kenneth Strickfaden. Without Strickfaden, there wouldn’t have been that, larger then life, mad scientist laboratory that has been a huge influence even today. Great article though!!
Well….. It’s possible that Talbot’s cure in the 4th wolfman movie was only a temporary one. That would explain things. His death in the Abbot & Costello movie in which he kills Count Dracula as the wolfman, while accidentally (or perhaps intentionally) killing himself was nothing short of spectacular! And yes, Dracula is dead. Running water, such as a rushing river, can be used to drown a vampire just as easily as a wolfman who requires air to stay alive.
As a little kid in the early 1960’s the Bud & Lou film was my first exposure to the Dracula character and vampires in general. I became amazed that such a human appearing individual could be a monster. This is still the vampire at it’s best: a very human looking total monster. Frankenstein was different. The hulking evil (the horror movie magazine covers of the 60’s were purposely misleading) monster fueled a few childhood nightmares. We kids of the 60s were not asophisticated as those today. I was actually disappointed when I saw the original horror films in the 70s. Beside finding out the monster was actually sympathetic, they just weren’t nearly as haunted house scary or even as “gothic” as l had come to expect. Lol, I can’t be the only one for whom Frankenstein works very well as the name of the classic movie monster—although completely incorrect.
Have to disagree fairly-strongly here. Frankenstein Meets the Wolfman is one of my favorite films of all monster films. It has the arguably the best wolfman transformation scenes, the wonderful resurrection scene when the graverobbers open Larry Talbot’s tomb, and a great performance from Chaney. It’s true Lugosi’s Monster doesn’t receive the treatment he should have — but most of that was well beyond his control. As for A&C Meet Frankenstein, while there was similar debate in the States for many years, most fans now seem to accept it for what it is, finding the monsters scary, and “the boys” funny, as they should be. Perhaps our differences are due to an often-found split between US/UK preferences? In any event, Lenore Aubrey’s Dr. Sandra seems to be the first female mad scientist in films, as far as I’m aware of.
“The Son of Frankenstein”, is a personnel favorite of mine. I agree with some of your opinions on it. The German Impressionistic style sets are effective and unsettling. Lugosi’s performance as Igor was probably his best. But you gave Rathbone a pass. He is a very good actor. But here he way over acts and threatens to upset the apple cart in several scenes. Atwill gives his finest performance as the one armed police inspector. He gave the character a multilayered personality. Very interesting to watch. But as the Baroness Frankenstein commented, “Wasn’t he odd!” Yes the monster was turned into Igor’s murder machine. But it enabled Karloff portray the monster as he was written in the original Mary Shelly novel. As for the examination scene of the monster. I found it fascinating. Scientific confirmation of the monsters unworldliness. An alternate opinion.
Unlike film series like Dracula and The Invisible Man, I liked how Frankenstein and the wolf man had actual continuity between the films. The stories did stray further from the original idea as they went on (name one horror franchise that hasn’t done that!) but for me that’s part of the appeal, with each film being so different from the last in terms of what the intention was. I’m able to treat them all as separate films within the same group of films, and appreciate each on it’s own merits.
good fun these film, even if they did get a little silly. House of Dracula was surprisingly good and they did kinda explain why the wolfman hadn’t died. Also The monster was created by Frankenstein and it’s not uncommon for a creation to be named after it’s creator, so makes sense for people to refer to him as a Frankenstein, it’s not like he could tell people who his name was.
I disagree with your review of Abbott and Costello meet. It had the most accurate visual portrayal of the three essential monsters. Glenn Strange looked great he was trained by Karloff for his first role as the monster. Dracula played by Bela Lugosi, Dracula himself. Lon Jr as himself the Wolf Man. The sets of the house of horrors and the castle has all the check marks of art direction of the golden age horror film. The animation in the beginning was unbelievably beautiful. The whole film is the pinnacle of all of the imagery golden age horror of say it’s a buffet of horror. Also a lot of the merit of these films is seeing them as a child. I saw all of these at the age of 7. All the continuity errors you criticize do not frighten a child any less or dive out them of the submersion of the story. So I caution that you don’t label these films as worthless for younger film goers because they are exactly who would be enthralled by these. Also Frankenstein meets the wolf man is amazing and always will be.
They actually were consistent with the ending of Ghost of Frankenstein into Frankenstein Meets the Wolfman originally; they simply cut out a key scene where a burning Monster stumbles from the building and falls into a wine cellar. There’s a few promotional stills of this, as well as a few seconds of footage. Meanwhile, all the cut footage sabotaged Lugosi’s turn as the Monster. As I’m sure you’re well aware, the debates amongst internal canon still rage on. It’s possible that Carradine’s Dracula isn’t even meant to be the same as Lugosi’s. Plus, there’s just about no way to neatly make sense of A&C Meet Frankenstein in the series.
Nice article… I know these are just movies but there are several things about the monster that have always puzzled me…. why was he made from many different people’s body parts? couldn’t he be made from a single person’s body with perhaps a tweek or two that would fix why that person died? did the monster have blood in it’s veins? if so, wouldn’t it be tough to get body parts that all had the same blood type?
Of the universal horror franchises, Frankenstein as a whole has always been my favorite. Always been a fan of the mad scientist setting in an abandoned old castle. Despite the almost insane amounts of plot holes in the sequels, each and every one of them are very entertaining and atmospheric. Boris Karloff gave the monster a soul that even by modern standards has not been surpassed. It also gave us one of Bela Lugosi’s very best roles as Ygor (i cannot for the life of me understand why Universal didn’t create a similar series for Dracula). The one sequel that kind of annoys me in the series is Son of Frankenstein; the setting is outstanding, it has Lugosi in one of his best roles, but Basil Rathbone was the wrong choice – he lacked the passion, obsession and drive needed for the part. I would have much preferred Claude Rains who was considered for the part originally. But the most serious drawback is the lack of humanity of the monster – Karloff was underwhelming.
If Universal wanted to make a horror/action series based of their monsters they could have made a direct sequel to Abbot and Costello Meet Frankenstein. They could have said the Invisible Man at the end of the movie was Frank Griffin, the Invisible Agent, who was sent in to collect the Frankenstein Monster to have it turned in to a super soldier by replacing Ygor’s brain with the brain of a soldier or something.
Loved Frankenstein when I was a kid, I also liked those Samson and Hercules movies, I would’ve loved if somehow Frankenstein went back in time to Samson and Hercules ti.e and fought them I think he could beat them, Samson and Hercules would have to team up on Frankenstein.👍💪💪🤢 I asked my uncle why was Frankenstein’s brain was abnormal, my uncle told me that Frankenstein’s brain came from a Surfer !!🏄♂️🏄♂️🏄♂️🏄♂️
While I don’t hate this article, I still disagree with a lot of it. First, with son of Frankenstein, while the monster is now mind controlled by ygor, I don’t think it’s a bad movie. The sets are great, I like the story, and I really liked basil rathbone as wolf Frankenstein. With ghost of Frankenstein, it’s definitely a weaker movie than the others but my main problem is the guy that played Ludwig is boring but I really like the ending. With Frankenstein meets the wolf man, you basically said that because the monster was now ygor, he lost all sympathy which made the movie a mess but I don’t get how that made it a mess. The reason, the wolf man is a tragic character in that movie even if the monster isn’t and Lon Chaney was great at making him feel like a tourtured soul so I feel like Lawrence talbot more than makes up for the monster being more like a zombie now but I still find it interesting to see him as ygor, and also, I’m sorry but I love that song and love Chaney’s outburst at the end of that scene and also, I felt like that film didn’t need a classy old man when the doctor kind of was the down to earth one Which is to me a good replacement for a classy old British man. Then with house of Frankenstein, i have one thing to say, how did you think the movie sided with the gypsy? I felt like she was a jerk and the hunchback was a tragic character and she died. They didn’t side with her. The hunchback is driven evil because of her treatment towards him. And with house of Dracula, I’m sorry but while it can be counted as a b movie, them having a silly plot doesn’t automatically make something a b movie.
I’ve been a fan of these movies and Hammer since I was 9 years old before I knew I was related to the Director of Frankenstein, The Bride of Frankenstein the Old Dark House and the Invisible man. I always related to the monster being an outsider, As I guess that’s pretty much what I am. I am autistic ( so is my son) I’ve never been good at making friends socialising or even relating much to the human race. I’ve always related to the Monster. James Whale because he was openly gay in a time where it could get you arrested and thrown in jail know exactly what it was like to be and outsider — hell being artistic in a mining community must have been awful. As practical as these people where they would have seen very little use for art or beauty. My Grandad was a Miner, a very quiet man ( he was also a soldier during the war) He was a talented artist in fact there are many of us in my family who are either musicians or artist poets and writers the only difference now we are allowed to express it
I think the writer of the Wolfman movie is what made the series go downhill The Wolfman has some great scenes but all in all the movies kind of a mess And the same writer of the Wolfman movie did all the crossover sequels so that’s one of the reasons why they fell apart. Originally the monster did speak in Frankenstein meets The Wolfman. But for some reason one of The Producers thought it was stupid that the monster spoke with accent even though he did at the end of the previous movie so all his lines were cut in one seeing you can see his mouth moving but no words coming out That’s why there’s no explanation for the monster walking like a blind man.
Bela Lugosi was not treated well by Universal at all,in spite of having the lead role in Dracula he was actually payed less than his co-stars and wasn’t even considered to reprise the role in other Universal Dracula films until Abbott and Costello Meet Frankenstein,and I have watched Bride Of Frankenstein several times and never thought of the monster being compared to Christ in the scene where he’s captured and dropped into the wagon,but I suppose you take it as you see it,and last but not least..the narrator here is annoying.
You misunderstand the movie incarnation. The Karloff Universal Creature was never the Monster. The Monster is the Doctor, his cruelty, his horrid abuse of all things… his ego… his failure to love. The Monster was Humanity. The Creature was a victim with no guidance and the target of abuse by the real monsters – the humans 🙁 That is why you cry for him 🙁 he is not the bad guy. And yet people still misunderstand and say he was. Mary Shelley’s was a monster, but not the Karloff Universal incarnation.
The reason why Frankenstein stands out amoung the Universal horror films is quite simple. Frankenstein is not a horror film. It certainly has horror elements in it. It also has a monster. Films like Jurrasic Park also have these elements. Jurrasic Park is considered science fiction. Frankenstein and Jurrasic Park are virtually the same story. Both stories are dealing with mankind trying to be God with bad results. Also the story as told in the original Universal picture is deeply misunderstood by most people. Victor Frankenstein who is considered the hero of the story by most, is actually the villian. The monster is simply a product of his evil doing trying to imitate God. This would have been an outrageous sin against God, in the eyes of religious people especially considering the original story by Mary Shelley was originally published in 1818. A big clue to this is the Title, Frankenstein. It was not titled the Monster. It’s the same thing in Jurrasic Park, in that the dinosaurs are not the real villian but John Hammond the CEO is, the dinosaurs are his byproduct. A real world example of this would be a nuclear war. It would be like saying the nukes are the bad guys. It’s a very childish notion. I also think The Bride Of Frankenstein is a vastly inferior film, but that’s just personal preference. One thing I do agree with is that James Whale was a very underrated director.