I am thrilled to announce that I have recently been introduced onto the website review team for brill entertainment and interview podcast 60 Minutes With. My debut review – of remastered and soon-to-be-re-released 70s rat horror Willard – went live today. Click THIS LINK to take a read of my thoughts, feelings and opinions and look out for future reviews from yours truly (as well as the rest of the 60MW team) coming soon!
15 – 75mins – 1935 – B&W
THE MONSTER’S MATE
“Be fruitful and multiply!”
Despite some flagrant concessions to lazy sequel syndrome (both ‘dead’ leads from 1931’s adapted predecessor conveniently survived apparent deaths; the same ‘man thrown from precipice’ climax is recycled) and yet more awkward tonal shifts from Universal Studio’s go-to director, James The Invisible Man Whale (from inhumane horror to hysterical humour in the space of a poorly-delivered line), this universe-broadening follow-up is otherwise an all-together superior and more refined monster.
A remarkably post-modern framing device sets the quality bar sky-high from the off, with Bride introduced by Frankenstein author Mary Wollstonecraft Shelley (Elsa Lanchester) ‘herself’, niftily recanting the original tale and teasing her lofty literary circle of Lord Byron (Gavin Gordon) and Percy Bysshe Shelley (Douglas Walton) that more is to come…
“The monster lived right through the fire…”
By bringing back both human catalyst Henry Frankenstein (Colin Clive) and his lumbering creation (Boris The Mummy Karloff), and by using the controversial scientist’s flamboyant Peter Cushing-esque mentor, Doctor Pretorius (Ernest Thesiger), to coerce a “supreme collaboration” in the unholy quest to make life in God’s own image, you could accuse screenwriter William Hurlbut of orchestrating a carbon rehash of the urtext’s plot. The third time you hear the iconic catchphrase, you might feel things are being played far too safe.
However, some truly gobsmacking FX (for its day) in bringing Pretorius’ “mini monarchs” to life, and some gravitas-delivering character development for Karloff’s shamed outcast-in-hiding truly elevates this envelope-pushing production. The scene is cribbed from the hiding in a shed subplot described in Shelley’s original text (“Alone, bad. Friend, good”), but such emotional depth was largely absent from the first film, much to its detriment.
Elsa Lanchester has an electrifying effect in the second of her dual roles. Despite a scandalous lack of screen time (all of 5 climatic minutes), her twitchy and erratic portrayal of the titular mate-order Bride is an iconic revelation, delivering a cruel and crushing judgement to the hopeful-yet-ignorant Monster which makes for a bravely downbeat last-gasp dénouement: “We belong dead.”