“How do you do? Mr. Carl Laemmle feels it would be a little unkind to present this picture without just a word of friendly warning: We are about to unfold the story of Frankenstein, a man of science who sought to create a man after his own image without reckoning upon God. It is one of the strangest tales ever told. It deals with the two great mysteries of creation; life and death. I think it will thrill you. It may shock you. It might even horrify you. So, if any of you feel that you do not care to subject your nerves to such a strain, now’s your chance to uh, well,––we warned you.”
Edward Van Sloan spoke these words as a ‘curtain speech’ prologue, presented at the beginning of James Whale’s FRANKENSTEIN (1931)
It seems fitting that we should study FRANKENSTEIN (1931) following DRACULA (1931), starting with this prologue. On the heels of DRACULA’s immense success, FRANKENSTEIN was selected as Universal’s next gothic horror to follow. Based on Peggy Webley’s 1927 play, which was based on Mary Shelley’s 1818 novel, “Frankenstein” (or, “The Modern Prometheus.”) Webling’s play was adapted by John L Balderston (who you may recall from DRACULA), with the screenplay written by Francis Edward Faraough and Garrett Fort (also from DRACULA).
We will recognize not just familiar writer names from DRACULA, but familiar faces taking on roles in FRANKENSTEIN, as well. (Dwight Frye and Edward Van Sloan return.) Initially, Bela Lugosi was to portray the creature at the center of this tragic tale, with Robert Florey to direct. In addition to a few backdrop scenes, Florey also filmed 20 minutes of screen test film (which was later lost) with Lugosi dressed in makeup and costume that resembled the monster from 1920 German horror silent, GOLEM. At some point, with essentially no dialogue and a violent, rampaging monster heavily cloaked in a boxy costuming in an unsympathetic role, Lugosi had serious doubts. He walked away and Florey followed.
James Whale was brought in to direct. Only 2 weeks prior to the start of film production and the role of the monster was yet to be found. As Whale sat in the studio commissary one day, he saw Boris Karloff with his dark eyes, striking bone structure, and tall physique. He knew immediately he found his creature. (Karloff recalled being initially insulted because he was wearing his best suit that day and couldn’t imagine how he inspired a monster.)
Boris Karloff at this point had been working as a Hollywood actor for over a decade in minor roles and was nearly 44 years old. Soon he would become an ‘overnight success’ and an iconic figure for decades to come. “Boris Karloff was born William Henry Pratt on 23 November 1887, at 36 Forest Hill Road, Camberwell, Surrey (now London), England, but Pratt stated that he was born in nearby Dulwich. His parents were Edward John Pratt, Jr. and Eliza Sarah Millard. His brother, Sir John Thomas Pratt, was a British diplomat. Edward John Pratt, Jr. was an Anglo-Indian, from a British father and Indian mother, while Karloff’s mother also had some Indian ancestry, thus Karloff had a relatively dark complexion that stood out in British society at the time. His mother’s maternal aunt was Anna Leonowens, whose tales about life in the royal court of Siam (now Thailand) were the basis of the musical, “THE KING and I.” Pratt was bow-legged, had a lisp, and stuttered as a young boy. He conquered his stutter, but not his lisp, which was noticeable throughout his career in the film industry.”* Karloff discovered that his upbringing of being treated as an outsider within British upper society would prove to be a career asset.
Only months after DRACULA’s premier and success, James Whale spun his monster tale decidedly different than his predecessor Tod Browning. Still gothic with German Expressionist influences, yet Whale was more comfortable with dialogue and technologies of sound production. Cinematographer Arthur Edeson‘s camera movements are visibly more free to move about the set. Noticeable too is the increase in sophistication of the sets. In DRACULA, minus the castle and abbey scenes, the sets evoke a stage play. Whereas in FRANKENSTEIN, the sets begin to provide a more natural look and feel. While Browning clearly had a taste for macabre, Whale’s dark sense of humor begins to reveal itself. We will see more of the Whale humor on display in BRIDE of FRANKENSTEIN when Whale had even more directorial autonomy.
Like many others at the onset of the motion picture industry, cinematographer Arthur Edeson began his career in Fort Lee, NJ. He worked his way up as key photographer on noteworthy films such THE THIEF of BAGDAD (1924), ROBIN HOOD (1922), and the pioneering special effects in THE LOST WORLD (1925). He continued to master innovation in photography by experimenting with sound technology of exterior shots – he shot the first sound film outside a studio in IN OLD ARIZONA, 1929.) He utilized the latest technologies in film processing (“Fox Grandeur” was a 70 mm widescreen he engaged for John Wayne’s first starring role in THE BIG TRAIL, 1930). In his impressive career, he was nominated for an Oscar thrice: Best Cinematography, IN OLD ARIZONA, 1929; Best Cinematography, ALL QUIET ON THE WESTERN FRONT, 1930; and Best Black and White Cinematography, for CASABLANCA, 1943. And yet, he is likely most remembered for his collaboration with James Whale on the first three of their horror classics: FRANKENSTEIN (1931), THE OLD DARK HOUSE (1932), and THE INVISIBLE MAN (1933).
British-born James Whale directed a dozen films between 1931 and 1937 for Universal. Even while serving in “the great war” (WWI), where he was a POW, he dreamed of a more artistic life. He studied art in school but was drawn to the dramatic arts after the war- from acting, to set design, then finally to directing. Directing a stage play brought him to Broadway, and eventually to Hollywood. When Whale directed the sequel to ALL QUIET on the WESTERN FRONT (THE ROAD BACK, 1937), it was the beginning of the end to his successful film career. Nazi Germany’s heavy-handed censors pressured the American studio to drastically alter Whale’s film which resulted in a flop. His film career never bounced back to his former glory, although he did continue to direct stage plays and paint. James Whale suffered multiple strokes starting in 1956 and died May 29, 1957, via suicide by drowning in his pool. Whale was openly gay (at a time when many in Hollywood were not), including a long-term relationship with his partner, David Lewis.
With the creature role finally hired, filming could begin on FRANKENSTEIN. As the head makeup artist for a post Chaney Universal, Jack Pierce had worked on DRACULA (Lugosi insisted on doing his own makeup so not exactly challenging gig for Pierce), yet a bigger opportunity lay ahead. Born in Greece in 1889, Pierce came to America with aspirations to be a professional baseball player. After that failed, he drifted into the motion picture industry and grabbed whatever job was available- stuntman, camera assistant, acting… then landed in the makeup department. He created a reputation as a hard task master with a passion for creative brilliance. He wore a high-collared white smock like a medical professional and was known as a driven perfectionist.
Pierce would continue his mastery in the industry into the 30s and 40s but was let go as dept. head with changing times of studio leadership, who no longer valued his artistry. During his peak creative years, Pierce created the towering, electrified hairstyle for Elsa Lanchester in BRIDE of FRANKENSTEIN, the toothy, boney-necked Bela Lugosi in SON of FRANKENSTEIN, and the memorably morphing Lon Chaney, Jr. in THE WOLF MAN (1941), just to name a few. His last major film contribution was for Claude Rains in the updated version of PHANTOM of the OPERA (1943), which was his only monster film in color. He spent his last years working for low budget films and as head of makeup for The Mister Ed Show” (1961 – 1964) on television. He died in 1968.
James Whale envisioned the look of the creature for FRANKENSTEIN but there are debates as to how much was ultimately translated by Jack Pierce. No doubt it was Pierce who meticulously executed the look, with Karloff patiently enduring the many, many long hours, every day, in the makeup chair.
“There are six ways a surgeon can cut the skull, and I figured Dr. Frankenstein, who was not a practicing surgeon, would take the easiest. That is he would cut the top of the skull off straight across like a pot lid, hinge it, pop the brain in and clamp it tight. That’s the reason I decided to make the monster’s head square and flat like a box and dig that big scar across his forehead and have two metal clamps hold it together. The two metal studs that stick out the sides of the neck are inlets for electricity- plugs. Don’t forget, the monster is an electrical gadget and lightning is his life force.” … Jack Pierce
For discussion:
As we study FRANKENSTEIN for today’s screening, we will review the German Expressionist visual influences, the performances, the camera work, the technical/special effects, and the symbolisms and themes.
Among the symbols to consider- religion- which became an issue of contention for the censors on the point of blasphemy. Where do we see examples of Whale including religious symbolism? For example, in a 1985 with Mae Clarke shared, “I thought Boris Karloff was magnificent. That scene with the skylight! When he looked up and up and up and waved his hand at the light, it was a spiritual lesson- looking at God! It was like when we die, the Beatific Vision, which makes people understand the words: ‘Eye was not seen, nor ear heard, the glories that God has prepared for those who love Him.”
What dialogue likely ruffled the feathers of the censors and certain religious organizations? Even though this was made during the Pre-Code era, censors still cracked down occasionally. This film was banned in Kansas upon its original release on the grounds that it exhibited “cruelty and tended to debase morals.”
We will review themes throughout with ‘the outsider’ theme offered up significantly. What examples do you see of this? How does Boris Karloff’s performance elicit sympathy from the audience, if he is a monster?
What themes do we see regarding science vs nature? What is the film trying to say regarding the limitations of humankind?
Does the film make a statement on mob mentality vs. intellectual individualism?
Do we see examples of classism, as we did in DRACULA?
Whale is noted for his use of camera movement. How is the camera work differ from DRACULA, made just months prior? What other ways do we see a more advanced use of technology in this film?
Other themes to discuss: mad scientist trope, immortality, light vs dark themes, nature vs nurture… what cinematic moments thrill you?
CAST and CREW:
Directed by – James Whale
Produced by – Carl Laemmle Jr., EM Asher (associate producer)
Writing credits – John L Balderston (based upon the composition by), Mary Shelley (from the novel by), Peggy Webling (adapted from the play by), Garrett Fort & Francis Edward Faragoh (screen play), Richard Schaver (scenario editor), Robert Florey (contributor to treatment, uncredited), John Russell (contributor to screenplay construction, uncredited)
Music by – Bernhard Kaun
Cinematography by – Arthur Edeson, Paul Ivano (uncredited)
Art Direction by – Charles D Hall, Herman Rosse (set designer)
Makeup by – Jack Pierce, Pauline Eells (wigmaker, uncredited)
Special effects – John P Fulton (uncredited), Ken Strickfaden (special electrical properties- also served as stuntman for Karloff as monster when under electrical sparking equipment)
Colin Clive – Henry Frankenstein
Mae Clarke – Elizabeth
John Boles – Victor Moritz
Boris Karloff – the monster
Edward Van Sloan – Dr. Waldman
Frederick Kerr – Baron Frankenstein
Dwight Frye – Fritz
Lionel Belmore – Burgormaster
Marilyn Harris – Little Maria
(Many credited and uncredited minor roles from character actors such as Francis Ford, Jack Curtis, Soledad Jimenez, Arletta Duncan, Mary Gordon,,,,)
*Sources:
https://en.geneastar.org/genealogy/prattwillia/boris-karloff
IMDB
(This post was part of a Universal Horror Classic film course I taught in the Autumn of 2022.)