The 30s brought us some great Frankenstein films. The decade brought us great Universal films, period. Just incredible sets, vast, spacious, looming large, the distance shots filling the whole screen. While the lab castle was exploded into rubble, the family namesake left behind a castle homestead rejected with disdain, disgust, and hate by the Burgomeister, village council, and locals. Cursed is the name and house of Frankenstein.
Lugosi capped a decade of quite the rogue's gallery. Ygor, survivor of the hanging for stealing bodies...so they said... seemingly died...so they said...is clever, manipulative, sinister, capable of savagery but far more sly at using the Monster to do his vengeful bidding. It was just a delight to see Lugosi sink his teeth into the part, an animal in appearance and voice while scheming, crafty, and observant. One of his career's crowning achievements.
That Ygor could tantalize Baron Wolf's curiosity, nudge him into investigating The Monster's condition, "get him well", and take advantage of the scientist's desire to bring honor to his father's ruined reputation; Lugosi's expressions are studied by the camera and editing in bravura fashion.
And that's just one piece of great acting. Atwill takes what could of been just another Inspector brooding about and gives him one of those characters that says a lot while implying a lot more. There's marvelous scenes where Atwill and Rathbone talk about Henry and the Monster, with unsaid feelings and thoughts intensified by careful dialogue that paints around edges instead of just drawing the full picture. Rathbone telling his son that Atwill is more than a general, he's an inspector, endowing him with respect, and Atwill commenting on the experience of having an arm torn from the roots are other memorable exchanges.
Murdered councilman who sent Ygor to his "death" with burst hearts and head injuries, with Atwill pursuing answers Rathbone hopes to keep concealed. And the interesting choice of Karloff returning to the Monster of the first Frankenstein film, using his face, physical performance, and grunts, except in a fur coat wanting not to be ugly, appealing to Rathbone in a solid moment in front of a mirror.
I often forget the portrait of Colin Clive, his Henry Frankenstein above the fireplace, tall and long, aristocratic and esteemed. May he rest in peace. His likeness would be left in the 30s, though, for future Universal Frankenstein films leave Clive behind. As would Karloff, leaving behind the Monster...and a lasting legacy. 5/5
From October 2006...
Stunning sequel to "Bride of Frankenstein" has the son of Baron returning to the castle and being met by villagers with less than welcome salutations. The village nearby is so traumatized by the monster's rampaging violent past that even the name of Frankenstein gives them the willies..
Bela Lugosi stars as broke-necked Ygor who has a secret he bestows upon Baron Wolf Frankenstein(Basil Rathbone, who is nothing short of outstanding)..the monster that was said to be dead is in fact alive and intact in a secret location only they know about. Wolf sees this as an opportunity to make this creature humane while studying what makes it tick through careful research, assisted by butler, Benson(Edgar Norton). Lionel Atwill stars as Herr Inspector Krogh, a policeman who knows first-hand what power the monster has since his own arm was pulled from the torso thanks to Baron's creation. He now has a fake one attached with limited mobility to offer.
The conflict within the film is provided by Lugosi's sinister Ygor who has formed a bond of friendship with the monster and when Wolf is able to resurrect the creature from a comatose state, the creature is able to kill certain members behind the hanging of the broke-necked fiend(his sentence was for grave-robbing;in an inspired scene Ygor is being questioned by his peers in regards to what Wolf is up to in his laboratory where the broke-necked fiend pokes fun at them for not finishing what they started). Despite good intentions from Wolf, Ygor has complete control over the monster and soon the violence that erupts will bring the village down on him. He becomes a bundle of bad nerves as Krogh is often probing him not to mention Ygor's murderous activities. Josephine Hutchinson is given a thankless role as Wolf's worried wife who wishes to leave because of this unsettled fear and seeing her husband behaving out of sorts doesn't help..she is quite good and makes the most of the role. But, ultimately, you return to Karloff who just understands how the monster ticks bringing human traits and life to the monster. I feel that the other "Frankenstein monsters" pale in comparison because he is played merely as an emotionless beast killing and maiming. Karloff makes him human and shows pain and angst in his face(the best scene, in my opinion, is when the monster sees his reflection in the mirror and is terrified at the sight). I think those who question Lugosi's skill need to see this film especially. I think "Son of Frankenstein" gives Lugosi a chance, much like his primitive Sayer-of-the-Law in "Island of Lost Souls", to express himself. Lugosi provides us with an evil, sly creature who knows how to manipulate those around him in various ways, often using his rough exterior to an advantage. It's easy to see others deeming themselves superior to someone who looks so ragged and nasty like Ygor, but he has cunning and knows how to control situations just because he is frowned upon as inferior.
The film has amazing massive sets, some fascinating moments such as the "interrogations" between Krogh and Wolf, and the cast really bring this up to a high level. Not to mention, the film explores the innards of the monster and how his simplemindedness can be used against him, case in point being how Ygor has gained his trust and how he can use the monster to do evil deeds for him.
Probably the most underrated of all the Frankenstein films..and perhaps, the best
Comments
Post a Comment