Based on the sci-fi novel by H.G. Wells, The Invisible Man is the story of a scientist who tries to reverse an experiment he conducted where he became invisible as he deals with his condition. Directed by James Whale and screenplay by R.C. Sheriff, with un-credited contributions from Philip Wylie and Preston Sturges, the film is about a man trying to fix his condition only to deal with the chaos of his experiments as the titular character in Jack Griffin is portrayed by Claude Rains. Also starring Gloria Stuart, William Harrigan, Dudley Digges, Una O’Connor, Henry Travers, and Forrester Harvey. The Invisible Man is a riveting and compelling film from James Whale.
The film follows a scientist who had become invisible as he hides in a hotel trying to find the formula to reverse his condition while succumbing to madness. It’s a simple premise that plays into a man’s obsession as he would use his condition to wreak havoc on a small town as its people would upset him as he’s trying to work forcing him to reach towards an old friend for help only to create more problems. The film’s screenplay by R.C. Sheriff does play into Jack Griffin’s troubled state where he arrives to this inn hoping for a room to stay and not be bothered as he’s trying to work on an antidote. Yet, he’s interrupted by the people running the inn as he gets upset while they learn who he is as he causes trouble while there are those in Griffin’s life such as his former fiancée Flora Cranley (Gloria Stuart) who is concerned about his whereabouts and state of mind. Even when her father and Griffin’s former employer Dr. Cranley (Henry Travers) reveals that Griffin might have used a substance that has contributed to his troubled behavior.
James Whale’s direction does emphasize on simplicity in terms of the compositions that he creates yet it is in the way he builds suspense and intrigue as it relates to Griffin’s condition that gives the film an edge in its approach to suspense. Shot largely at the studio lots in Universal Studios in Hollywood, Whale would create a world that is set in England where it’s set largely at a small town where there aren’t any cars except for those who are rich. Whale would use some wide shots to establish the locations but emphasizes more on medium shots and close-ups for a look into the inn that Griffin would stay in as well as some of the moments in which Griffin would reveal his condition to those who are trying to bother him. Notably in a sequence where he scares the innkeeper Mr. Hall (Forrester Harvey) while wreaking havoc in the street as he’s invisible and naked.
When a manhunt for Griffin emerges, Whale’s compositions play into the chaos as well as Griffin’s willingness to outsmart them as there is an element of humor into the film. Even as it play into the fact that there’s people trying to capture Griffin but they can’t see him and he’s playing around them as they can’t see him. The element of trickery that Whale creates with the help of his special effects team as well as scenes of Griffin shedding his clothes and bandages to unveil what he’s like as an invisible man. The film’s third act that plays into the manhunt but also Griffin’s increasingly mad behavior where he takes advantage of his condition and creates disarray in cities and small towns. Even as some welcome this element of anarchy that Griffin is bringing but it would eventually become deadly prompting action from those close to Griffin to stop him in embracing his role as the invisible man. Overall, Whale crafts a rapturous and haunting film about an invisible man trying to find an antidote for his condition.
Cinematographer Arthur Hedeson does excellent work with the film’s black-and-white cinematography as it play into usage of low-key lights and moods for the scenes set at night while being straightforward for the scenes set in the day. Editor Ted J. Kent does terrific work with the editing with its stylish usage of transition wipes as a montage as well as rhythmic cuts to play into the suspense. Art director Charles D. Hall does brilliant work with the look of the inn as well as the town exteriors and the home of Dr. Cranley and the home of one of Griffin’s friends.
The special effects work of John P. Fulton and Frank D. Williams is brilliant for the unveiling of the titular character as well as how objects move and what he’s like when he’s wearing one or two articles of clothing. The sound work of Gilbert Kurland is superb for the sound as well as the scenes that play into the chaos that Griffin creates. The film’s music by Heinz Roemheld is wonderful for its orchestral score that play into the suspense with soaring string arrangements as well as a few somber pieces for the drama.
The film’s incredible cast include some notable small roles from Dudley Digges as a chief inspector trying to outwit Griffin, John Carradine as an informer who claims to have seen Griffin, E.E. Clive as Constable Jaffers who immediately dismisses the idea of the invisible man until he sees it for himself, Forrester Harvey as the innkeeper Herbert Hall, Una O’Connor as Hall’s wife, and Henry Travers as Dr. Cranley who is concerned about Griffin’s well-being but also is aware of what Griffin used for his experiment believing it’s the cause of Griffin’s troubled behavior. William Harrigan is excellent as Griffin’s colleague and friend Dr. Arthur Kemp who reluctantly lets Griffin hide out to continue the experiments only to be troubled by Griffin’s behavior leading to Griffin to wanting to save himself.
Gloria Stuart is brilliant as Flora Cranley as Griffin’s former fiancée who is worried about him as she wants to help him get better. Finally, there’s Claude Rains in a phenomenal performance as Jack Griffin as a man trying to find an antidote for his condition while wreaking havoc when he’s completely invisible and naked as Rains spends much of the film hiding under masks and bandages while doing a lot of the talking as it is an iconic performance from Rains.
The Invisible Man is a spectacular film from James Whale that features a great performance from Claude Rains as the titular character. Along with its ensemble cast, dazzling visuals, bombastic score, and lively special effects that were primitive for its time. It’s a film that play into the idea of a man who is given powers to create mayhem as he struggles with his sanity to try and fix himself only to deal with the implications of his experiments. In the end, The Invisible Man is a sensational film from James Whale.
Related: The Invisible Man (2020 film)
James Whale: (Journey’s End) – (Hell’s Angels) – (Waterloo Bridge) – Frankenstein - (The Impatient Maiden) – (The Old Dark Horse) – (The Kiss Before the Mirror) – (By Candlelight) – (One More River) – Bride of Frankenstein - (Remember Last Night?) – (Show Boat (1936 film)) – (The Road Back) – (The Great Garrick) – (Sinners in Paradise) – (Wives Under Suspicion) – (Port of Seven Seas) – (The Man in the Iron Mask (1939 film)) – (Green Hell) – (They Dare Not Love)
© thevoid99 2018
Based on the novel Frankenstein by Mary Shelley, Bride of Frankenstein is the sequel to the 1931 film in which Dr. Henry Frankenstein who is tempted to help his creation and find a bride for his monster. Directed by James Whale and screenplay by William Hurlbut from an adapted story by Hurlbut and John L. Balderston, the film plays into Dr. Frankenstein’s attempt to make things right as well as give his monster a companion as Colin Clive reprises his role as Dr. Frankenstein and Boris Karloff reprising his role as the monster. Also starring Elsa Lanchester and Ernest Thesiger. Bride of Frankenstein is a sensational and entrancing film from James Whale.
The film has a simple story in which Dr. Henry Frankenstein is coerced by a former mentor to recreate his experiment just as the monster he created has gotten loose and is discovering humanity. This time around, Dr. Frankenstein has to find a bride for the monster as he also becomes conflicted of going back to the experiment that caused so much trouble. William Hurlbut’s screenplay starts off with a scene in which novelist Mary Shelley (Elsa Lanchester) is having a conversation with her husband Percy Shelley (Douglas Walton) and Lord Byron (Gavin Gordon) as she tells the story about Frankenstein and his bride. Then the narrative shifts into this story as Dr. Frankenstein is recovering from his encounter with the monster where he wants to spend time with his bride Elizabeth (Valerie Hobson) but the visit of his old mentor Dr. Septimus Pretorius (Ernest Thesiger) would reveal what he’s done and why he needs Dr. Frankenstein.
The narrative also has the monster trying to hide from an angry mob as he would discover some of the good aspects of humanity but also revelations about who he is. One major sequence in which the monster is given food and shelter from a blind man (O.P. Heggie) where it is a key moment that is quite touching. Notably in how the monster is humanized and learns to say a few things as he would later meet Dr. Pretorius as he learns what he will do.
James Whale’s direction is definitely mesmerizing for the way he creates the setting of the film but also play into that air of suspense and terror where a man tries to see the error of his own ways while realizing the humanity that is growing in his monster. Whale’s approach to compositions where he maintains an atmosphere in the wide and medium shots to play into some of the experiment scenes as well as some of the chilling moments where Whale definitely expresses concern for the monster who is being chased by the angry mob. Whale’s usage of close-ups do play into the growing sense of humanity into the monster but also in Dr. Frankenstein’s anguish over what he created and his attempt to live a normal life again. The film’s climax would be about the bride (Elsa Lanchester) who is something the monster wants but he too would feel some conflict as it once again play into the fallacy of resurrection and man’s attempt to be God. Overall, Whale creates a phenomenal and terrifying film about a mad scientist trying to create a bride for his monster.
Cinematographer John J. Mescall, with visual effects photography by John P. Fulton, does brilliant work with the film‘s black-and-white photography to create some unique lighting and shadows for some of the nighttime interiors at the castle where Dr. Frankenstein and Dr. Pretorius does as the work of Fulton showcases the live miniatures the latter had created. Editor Ted Kent does excellent work with the editing as it is largely straightforward with some rhythmic cuts for some of the suspense and horror. Art director Charles D. Hall does fantastic work with the look of Dr. Frankenstein‘s home as well as the lab he and Dr. Pretorius work at with all of its amazing props.
Costume designer Vera West does nice work with the look of the locals as well as Dr. Pretorius as well as the clothes of the bride. Hair stylist Irma Kusely and makeup artist Jack P. Pierce do amazing work with the look of the monster as well as the design of the bride and her hair. The sound work of Gilbert Kurland is superb for some of the sound effects that are created as well as the climatic scene of the awakening of the bride. The film’s music by Franz Waxman is wonderful for its orchestral-based score that has elements of somber music while maintaining a sense of bombast for its suspense and horror.
The film’s marvelous cast feature some notable small roles from E.E. Clive as the burgomaster, John Carradine as a hunter, Dwight Frye as Dr. Pretorius’ assistant Karl, Anne Darling as a shepherdess who meets the monster and is later saved by him, Gavin Gordon as Lord Byron, Douglas Walton as Percy Shelley, and O.P. Heggie in a superb performance as the blind hermit who would invite the monster for food, drinks, and shelter as he would be the first to bring true humanity to the monster. Una O’Connor is terrific as the Frankenstein housekeeper Minnie who is always screaming as she provides some nice humor in the film. Valerie Hobson is wonderful as Elizabeth as Dr. Frankenstein’s fiancée who tries to help him get back in good health while dealing with the presence of the monster.
Ernest Thesiger is excellent as Dr. Pretorius as Dr. Frankenstein’s former mentor who wants to expand on his protégé’s experiment for grander things as he is this great manipulator that tries to get Dr. Frankenstein to get back in the game. Elsa Lanchester is amazing in a dual role as author Mary Shelley in the film’s prologue as she would tell the story about the bride as well as being the bride herself where she doesn’t speak much but her presence alone makes it a marvel to watch. Colin Clive is brilliant as Dr. Henry Frankenstein as the monster’s conflicted creator who tries to return to a normal life as he is forced by his old mentor to recreate the experiment with new ideas as he copes with what he’s done. Finally, there’s Boris Karloff in an incredible performance as the monster as a man created from body parts of the dead who becomes humanized by his experiences in the previous film as he learns to say words and have thoughts while maintaining that great sense of physicality as it’s an iconic performance from Karloff.
Bride of Frankenstein is a phenomenal film from James Whale that features a remarkable performance from Boris Karloff as the monster. Featuring a great supporting cast, gorgeous visuals, and some amazing art direction, it’s a film that isn’t just a fascinating monster film but also a film that says a lot about cheating death and resurrection in all of its fallacies. In the end, Bride of Frankenstein is a spectacular film from James Whale.
Related: Young Frankenstein
James Whale Films: (Journey’s End (1930 film)) - (Hell’s Angels) - (Waterloo Bridge) - Frankenstein - (The Impatient Maiden) - (The Old Dark House) - The Invisible Man - (By Candlelight) - (One More River) - (Remember Last Night?) - (Show Boat (1936 film)) - (The Road Back) - (The Great Garrick) - (Sinners in Paradise) - (Wives Under Suspicion) - (Port of Seven Seas) - (The Man in the Iron Mask (1939 film)) - (Green Hell) - (They Dare Not Love)
© thevoid99 2016
Based on the novel by Mary Shelley and the play by Peggy Webling, Frankenstein is the story of a mad scientist who decides to bring a man back to life while unknowingly using an abnormal brain for his monster. Directed by James Whale and screenplay by Francis Edward Faragoh and Garrett Fort that is adapted by John L. Balderston with un-credited contributions by Robert Florey and John Russell, the film is a monster movie where a man tries to cheat death only for things to go bad. Starring Colin Clive, Mae Clarke, John Boles, and Boris Karloff as the monster. Frankenstein is a rapturous and chilling film from James Whale.
Set in a European village, the film follows a mad scientist, who is the son of a powerful baron, who decides to take his experiment of resurrection to great extremes where he creates a monster that eventually wreaks havoc. The film’s simple premise play into the fallacy of resurrection as well as what happens when obsession loses sight of reason. The film’s screenplay doesn’t just explore the madness of Dr. Henry Frankenstein (Colin Clive) and wanting to go to extremes to create humanity and give it life but also in thinking that he can become God. The monster that Frankenstein created is accidentally given an abnormal brain where there is an innocence to the monster but because of fear and misunderstanding. He would kill those either accidentally or in an act of self-defense as it definitely causes trouble where Dr. Frankenstein realizes what he has done and what he has to do.
James Whale’s direction is definitely stylish in terms of the visual language that he creates as well as finding ways to create a sense of horror through moments of action but also in off-screen moments. Shot in soundstages, the film does play into a world that seems like the old world yet the methods of Dr. Frankenstein seem in tune with the new world as he craves for greatness. Many of Whale’s compositions are quite evocative in terms of its mood as well as create some air of chill in the scenes where Dr. Frankenstein conducts his experiment. There aren’t many usage of close-ups in the film as Whale favors wide and medium shots to play into setting of the scene yet the close-ups he uses do express either the madness of Dr. Frankenstein or the curiosity of its monster.
The film’s climax would play into a duel of man vs. monster as it’s a grand climax where villagers try to find the monster yet there is an ambiguity considering that the person who is really responsible for all of the chaos is Dr. Frankenstein since he was the one that tried to play God. From a certain point of view, it is the monster that is really innocent and is a victim of misunderstanding. It’s something that is quite subversive for its time in the approach of a monster film as Whale seems to care a lot about the monster rather than the creator. Overall, Whale creates a complex yet eerie film about a man’s attempt to resurrect the dead in the form of a monster.
Cinematographer Arthur Edeson, with un-credited work by Paul Ivano, does brilliant work with the film‘s black-and-white cinematography to create some unique lighting scheme and shadows for some of the interiors set at night as well as some of the gorgeous yet naturalistic lighting for the scenes in the day. Editors Clarence Kolster and Maurice Pivar do excellent work with the editing as it has some unique rhythmic cuts to play into its suspense and horror as well as create straightforward cuts for the dramatic scenes. Art director Charles D. Hall does amazing work with the design of the castle and lab that Dr. Frankenstein works at as well as the home of his father and the village.
Makeup designer Jack P. Pierce does fantastic work with the look of the monster in every detail as it is one of the major highlights of the film. Sound recording supervisor C. Roy Hall does superb work with the sound as it has some unique sound effects to play into the film‘s suspense. The film’s music by Bernhard Kaun is wonderful for its orchestral-based score that is bombastic at times while it also has an element of chill to play into its suspense.
The film’s incredible cast feature some notable roles from Marilyn Harris as a little girl who meets the monster, Michael Marks as the girl’s father, Lionel Belmore as the local Burgomaster who presses Baron Frankenstein about his son’s wedding, and Dwight Frye in terrific role as Dr. Frankenstein’s assistant Fritz. Frederick Kerr is superb as Dr. Frankenstein’s father as a local baron who suspects his son is having an affair with another woman while Edward Van Sloan is excellent as Dr. Frankenstein’s former teacher who is concerned with the state of mind of his former pupil as well as what Dr. Frankenstein has done. John Boles is fantastic as Dr. Frankenstein’s friend Victor Moritz who watches over Dr. Frankenstein’s fiancée Elizabeth while reluctantly helping him with the experiment.
Mae Clarke is amazing as Elizabeth as Dr. Frankenstein’s fiancée who tries to get Dr. Frankenstein back to reality as well as deal with the outcome of what he had created as it’s a role that could’ve been very substandard but Clarke does wonders with her performance. Colin Clive is excellent as Dr. Henry Frankenstein as a mad scientist who is eager to create life from death as it’s a performance full of energy and terror where Clive really gets to have some scene-stealing moments. Finally, there’s Boris Karloff in a phenomenal performance as the monster as a man brought back to life with an abnormal brain where Karloff’s physicality and lack of speech would be the key to the performance that also exudes sympathy and warmth as it’s one of the definitive performances of a monster ever created.
Frankenstein is a tremendous film from James Whale that features an incredible performance from Boris Karloff as the monster. Featuring some gorgeous visuals, a superb ensemble cast, and a premise that is very complex as well as engaging. It’s a film that isn’t just an entrancing horror film but also a monster movie that brings depth to something that audiences are supposed to fear. In the end, Frankenstein is a sensational film from James Whale.
Related: Spirit of the Beehive - Young Frankenstein
James Whale Films: (Journey’s End (1930 film)) - (Hell’s Angels) - (Waterloo Bridge) - (The Impatient Maiden) - (The Old Dark House) - (The Kiss Before the Mirror) - The Invisible Man - (By Candlelight) - (One More River) - Bride of Frankenstein - (Remember Last Night?) - (Show Boat (1936 film)) - (The Road Back) - (The Great Garrick) - (Sinners in Paradise) - (Wives Under Suspicion) - (Port of Seven Seas) - (The Man in the Iron Mask (1939 film)) - (Green Hell) - (They Dare Not Love)
© thevoid99 2016
