Oh,the many tellings and variations of this classic story.This,without question,is the best presentation of the classic story by Mary Shelley. The film was presented in such a way that makes you feel as though you are watching a stage play rather than a film.A creature is given the complicated thing called life.His large,overpowering human form,coupled with the limited capacity to grow,and learn,turn out to be very deadly indeed.He is,basically,a very large baby,who does not understand the world around him.He wreaks havoc on those who he feels are out to hurt him.I have seen the completed version of this film,complete with the disturbing sequence involving the little girl with the flowers,which was cut out of the film for many years.It is indeed shocking,and once you see it,you will understand why this was done.While you are shocked at this,at the same time you are sympathetic with the creature,knowing that he does not understand what he is doing,and meant no harm.Most movie monsters,particularly of this era,are just evil beings that make us cheer with delight at the sight of their destruction.When it comes to Frankenstein,we are almost sad to see this creature,who did not ask for life to begin with,meet his end.Classic horror,classic film.
Frankenstein (1931) 1080p YIFY Movie
Frankenstein (1931) 1080p
Frankenstein is a movie starring Colin Clive, Mae Clarke, and Boris Karloff. An obsessed scientist assembles a living being from parts of exhumed corpses.
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The Synopsis for Frankenstein (1931) 1080p
Henry Frankenstein is a doctor who is trying to discover a way to make the dead walk. He succeeds and creates a monster that has to deal with living again.
The Director and Players for Frankenstein (1931) 1080p
The Reviews for Frankenstein (1931) 1080p
The best ever telling of this classic story.Reviewed bySmileysWorldVote: 8/10
I see that there are several who see this movie and say it "sucks". They are obviously looking at this either to be a faithful representation of Shelley's book or have complaints about the fact that it's black and white or some other disdain about the technical prowess of the movie.
In 1931 special effects were still in a very infantile state. Effects artists did not have the "squibs" used today to simulate gunshots. Instead they used sharp shooters who actually shot towards the actors to get the effect needed.
Jack Pierce's makeup is a marvel for its time. Even today the full method of the makeup Karloff wore is unknown. This is the monster that people see when they think of the name Frankenstein. All others are mere "melted" faces.
But while the makeup is fabulous, it wouldn't have meant anything without the talent of Karloff behind it. This is great acting because of the limitations put upon the character. Karloff could only emote with grunts, facial expressions and body language. Yet he showed the anger, the happiness, the innocence and the tragedy that the Creature needed to show the audience. If you are one of those who saw this picture and did not like it, watch it again and REALLY watch Karloff's performance.
I don't see this as a horror movie, although there are horrific elements. Interestingly enough, I don't see horror so much in the Creature as I do in the actions of Fritz, Frankenstein's malformed assistance. Fritz, a troll of a man only finds solace in tormenting the Creature with a torch and pays for his actions with his death.
It is supsenseful when the search is on for the Creature, when Henry and company search through the house looking for the creature. Where is it? What does he want? What will he do? The creature's motives are made clear with the terrorization of Elizabeth.
And while Elizabeth doesn't die as she does in the book, you can see Karloff's portrayal anger as he looks upon her. You can see that the Creature hates Henry so much he hates the bride of Henry.
Indeed, this is a movie that has great pathos, drama, and suspense for those who would look for them. Truly, one of the greatest movies ever made.
Thomas Edison made the first Frankenstein movie and there were other silent versions before James Whale's version. But they were forgotten in the masterpiece that was given to use nearly 70 years ago.
As I'm sure fans of this movie are aware, 2006 marks the 75th anniversary of the release of this timeless classic. I'm not sure of the exact release date (I'm pretty sure it was sometime in November 1931), but it's a testament to the film's quality that it's still held in such high regard seven and a half decades after its initial release. I wasn't born until 1979 and didn't see the movie until 1997, but it still blew me away. I've seen it dozens of times since, and I never get bored with it.
What makes this film so good? It's not particularly scary to a modern audience, but it still possesses a charm that belies its age, and while many regard Bride of Frankenstein as superior, you can't have a sequel without the original, can you? The thing about Frankenstein is that, unlike the 1931 Dracula, which is rather static and stagy, both technically and in terms of acting (I'm surprised that Universal were able to reuse so many of the sets in later productions, given that Bela Lugosi, Edward Van Sloan and Dwight Frye all seem intent on not just chewing the scenery, but devouring it), Frankenstein possesses remarkable depth and subtlety.
Volumes have been written about Boris Karloff's performance as the monster, and it is truly mesmerising, but credit must also go to the remarkable supporting cast, and foremost among these is Colin Clive (who was actually the star of the film, and not the then-unknown Karloff). Clive gives a superb performance as Henry Frankenstein, illustrating the character's obsessive side without ever losing touch with his essential humanity. Clive was sadly a real-life Jekyll and Hyde (he was an alcoholic) and in Frankenstein he reconciles the two conflicting aspects of the doctor's personality perfectly.
Dwight Frye as Frankenstein's assistant Fritz is also excellent, portraying the odd little hunchback with just the right sinister touch. Frye had played another oddity, Renfield, in Dracula, and he once again balances the differing sides of his character well, going from fear of the monster to tormenting him sadistically (which costs him dear eventually).
Edward Van Sloan's Doctor Waldman may not be as entertaining as Ernest Thesiger's wonderfully camp Doctor Praetorius in Bride, but he leads the proceedings an air of authority, his rational approach providing a good counterbalance to Frankenstein's madness. John Boles and Mae Clarke as Victor Moritz and Elizabeth are not as showy, and Boles is rather bland (note that the character did not reappear in Bride) but they are fairly likable and inoffensive. Frederick Kerr gives a wonderfully blustering performance as Henry's father and Lionel Belmore is good as the burgomaster (his argument with Kerr is quite amusing), but the real highlight is of course Karloff as the monster.
Whereas later Frankenstein monsters had a tendency to be somewhat robotic (which is why Karloff stop playing the character after Son of Frankenstein), Karloff's performance is remarkable for the humanity he invests in the character, something that never disappears under Jack Pierce's iconic makeup job. The important point is that Karloff plays the creature as an innocent, more sinned against than sinning. Although the monster does kill and kidnap, he does so not out of a sense of malice, but rather because he lacks the intelligence to do any better (his brain is after all a criminal one). Nowhere is this better illustrated than in the scene with Marilyn Harris' Little Maria; the way Karloff plays the monster's changing moods, from happy innocent to horrified when he realises the girl does not float like the flowers, is unforgettable.
Frankenstein is memorable not only for its acting, but also its technical and visual aspects. The set design is superb, from the spooky tower where Frankenstein conducts his experiments with its Kenneth Strickfaden-designed machines, full of sound and fury, to the burning windmill at the end, but the real credit has to go to director James Whale, who took over a project rejected by Bela Lugosi and featuring a mediocre script and turned it into one of the greatest movies of all time. The original script had the monster as nothing more than a savage beast (which is why Lugosi turned it down), but under Whale it was extensively reworked, with the pathos and humanity that have made it a classic added.
Although Frankenstein was not the first Universal horror movie, without it there wouldn't be the term Universal Horror, just a stagy vampire movie starring a rather hammy Hungarian. Because Frankenstein confirmed that audiences had a taste for this type of movie, it opened the floodgates for virtually every other scary movie made since 1931. While this may be a mixed blessing, at least we have this brilliant movie and that makes up for all the dross in the world.