Karloff Double Bill: Frankenstein & The Mummy reviews
Review by on 22 Sep 2008
These early horrors share not only Boris Karloff but obsessive projects and the recreation of life in the light of contemporary discoveries: one by science, the other magic. Or is electricity also a mystic force? Karloff rightly became the star of Frankenstein, his non speaking but expressive face lit with delight at the girl’s friendship, and look of lonely terror as he’s set to be enveloped in flames. He is a master of slow movements and unsettling expressions in both films.
The stylistics of early films make comparisons and evaluations hard with modern offerings. I didn’t miss the greater horror, corny gags and bravado action of the more recent Mummy, but the horror or the black magic, execution and menace behind the story remains.
Frankenstein changes much from the book – we lose its telescopic narrative which allows the Creature to speak. Although I’ve read that this film is true to the book’s spirit, I felt that the issues which make the story worthy of a classic are not dwelt upon sufficiently. There is a small speech from Frankenstein about wanting to go beyond what is discovered and accepted, to see eternity – and did that make him crazy? But the nature of what makes us human is not really raised. The Monster becomes one because of his rejection and loneliness in the book, whereas the camp and predictable stealing of the wrong – criminal – brain is supposedly sufficient in the film. Or is the point: are we our brains?
Elspeth Rushbrook, Festival Daily
These early horrors share not only Boris Karloff but obsessive projects and the recreation of life in the light of contemporary discoveries: one by science, the other magic. Or is electricity also a mystic force? Karloff rightly became the star of Frankenstein, his non speaking but expressive face lit with delight at the girl’s friendship, and look of lonely terror as he’s set to be enveloped in flames. He is a master of slow movements and unsettling expressions in both films.The stylistics of early films make comparisons and evaluations hard with modern offerings. I didn’t miss the greater horror, corny gags and bravado action of the more recent Mummy, but the horror or the black magic, execution and menace behind the story remains.
Frankenstein changes much from the book – we lose its telescopic narrative which allows the Creature to speak. Although I’ve read that this film is true to the book’s spirit, I felt that the issues which make the story worthy of a classic are not dwelt upon sufficiently. There is a small speech from Frankenstein about wanting to go beyond what is discovered and accepted, to see eternity – and did that make him crazy? But the nature of what makes us human is not really raised. The Monster becomes one because of his rejection and loneliness in the book, whereas the camp and predictable stealing of the wrong – criminal – brain is supposedly sufficient in the film. Or is the point: are we our brains?
Elspeth Rushbrook, Festival Daily
Film details
Karloff Double Bill: Frankenstein & The Mummy
BORIS KARLOFF: THE UNIVERSAL FACE OF HORROR
Actor: Boris Karloff
Director: James Whale
Actor: Colin Clive
Actor: Mae Clarke
Actor: Dwight Frye
Director: Karl Freund
Actor: Zita Johann
Actor: David Manners
Actor: Edward Von Sloan
Director: James Whale
Actor: Colin Clive
Actor: Mae Clarke
Actor: Dwight Frye
Director: Karl Freund
Actor: Zita Johann
Actor: David Manners
Actor: Edward Von Sloan
USA, 1931.
144 mins. English.
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