Son of Frankenstein (1939) 1080p YIFY Movie

Son of Frankenstein (1939) 1080p

Son of Frankenstein is a movie starring Boris Karloff, Basil Rathbone, and Bela Lugosi. One of the sons of Frankenstein finds his father's monster in a coma and revives him, only to find out he is controlled by Ygor who is bent on...

IMDB: 7.25 Likes

  • Genre: Drama | Horror
  • Quality: 1080p
  • Size: 1.89G
  • Resolution: / fps
  • Language: English
  • Run Time: 99
  • IMDB Rating: 7.2/10 
  • MPR: Normal
  • Peers/Seeds: 4 / 4

The Synopsis for Son of Frankenstein (1939) 1080p

Wolf von Frankenstein returns to the Baronial manor from the United States with his wife Elsa and son Peter. He not made welcome by the locals who are still terrified of his father's works and the monster he created. The local Burgomaster gives him a sealed briefcase left by his father and inside, Wolf finds his father's scientific notes. At the manor house he meets his father's assistant Igor who has a surprise for him: the monster his father created is still alive, though in some sort of coma. Wolf's initial attempts to re-animate the creature seem to fail but when Peter says he saw a giant in the woods, it appears he's met success. When people are mysteriously killed in the village there is little doubt that the monster is responsible.

The Director and Players for Son of Frankenstein (1939) 1080p

[Director]Rowland V. Lee
[Role:]Lionel Atwill
[Role:]Basil Rathbone
[Role:]Boris Karloff
[Role:]Bela Lugosi

The Reviews for Son of Frankenstein (1939) 1080p

The son is even better than the father!Reviewed byJohnHowardReidVote: 10/10

Son of Frankenstein ushered in Universal's Second Golden Age of Horror. Inspired by the turnaway business generated by a double bill revival of the original Dracula and Frankenstein, the new Universal management decided to revive the monster for the third time. Once again, Karloff played the monster (for the last time in the movies) and here he was brilliantly supported by the finest horror cast ever assembled: Bela Lugosi (who for once has a decent-sized role?built up by director/producer Lee?which he plays with admirable intensity); Basil Rathbone (supremely jittery as the misguided baron, Rathbone plays the heir with a clipped, compelling authority that is both convincing yet sympathetic); and Lionel Atwill (probably his most memorable part as the punctilious police inspector who uses his wooden arm as a grotesque prop).

Although the monster doesn't enter for some time, the atmospheric build-up is absolutely terrific. This is achieved not only by clever scripting, skilled acting and a tingling, eerily tense music score (entirely composed and scored in a frantic fortnight, Lionel Newman tells us, in order to meet the pre-set Hollywood premiere on 13 January 1939), but by the amazingly effective use of expressionist sets (superbly lensed by ace cinematographer George Robinson, a specialist in film noirish lighting). Often Lee cleverly keeps the sets right in the foreground, while the players are grouped at the back.

Naturally, as soon as the sets started to receive widespread favorable critical comment, supervising art director Jack Otterson (who had not initially been all that enthusiastic) started to claim credit for the whole idea. Heavily influenced yet quite distinct from Caligari, these "psychological sets", as Jack Otterson called them, represent a remarkable arrangement of oddly angled and slanting lines intersected by heavy masses and shadows. All told, an extraordinary achievement that, although wholly successful, was never again attempted in a Hollywood movie.

On all fronts?screenplay, acting, direction, cinematography, sets and atmosphere?Son of Frankenstein is an absolute winner. Not only the best in the series, it's one of the all-time greats. Its only flaw?and it's a small one?is the occasionally too-stilted performance delivered by young Donnie Dunagan (whom Lee had used in a featured role in 1938's Mother Carey's Chickens and was to use again in a very small part in his 1939 Tower of London starring Rathbone and Karloff).

"His mother was lightning."Reviewed byutgard14Vote: 9/10

Wolf von Frankenstein (Basil Rathbone), the son of Henry Frankenstein from the first two films, has returned to Europe from America to inherit his father's castle. He brings along his wife and young son. They are greeted coldly by the local villagers, who are suspicious of anyone bearing the Frankenstein name. Their suspicions are soon justified when Frankenstein meets Ygor (Bela Lugosi), a graverobber who has a deformed neck due to a botched hanging. Ygor takes Wolf to the comatose body of the monster (Boris Karloff) his father created and the son decides to follow in his father's footsteps by reviving the creature.

The third film in Universal's Frankenstein series and the first without James Whale. It's a terrific movie that adds a lot to the Frankenstein mythos, particularly Ygor. It doesn't get as much respect as the first two Frankenstein films but it really should. It's just as creative and influential. The plots of the Frankenstein sequels that followed would owe more to this film than its predecessors. It would also be the primary source for the Mel Brooks parody movie Young Frankenstein. Rowland V. Lee's direction is impressive and he more than proves himself worthy to follow in the footsteps of Whale. The music by Frank Skinner is wonderful. I love the Expressionistic sets.

The cast is one of the finest Universal ever assembled. Horror legends Bela Lugosi and Lionel Atwill both have roles here that are career highlights. Lugosi's Ygor is often touted as his best acting performance, something that is very hard to argue against. Atwill's wooden-armed Inspector Krogh is undeniably memorable and might be his finest role as well. For his part, Basil Rathbone plays the part of Wolf brilliantly but he doesn't get much respect from critics, who call him hammy. To me, he's never over the top or distracting in his performance. If he's hammy, it's with a precision that many actors could learn from. This was Boris Karloff's final turn as the monster in the Frankenstein series. While he's given less to work with than the last film, he still manages to create a sympathetic and human monster. The subsequent actors taking on the role would pretty much play the monster as a mindless, hulking creature with little personality. When it comes to actors portraying Frankenstein's monster, there's Boris Karloff and then there's everybody else far down the list. The only oddity in the cast is Donnie Dunagan, the little boy playing Frankenstein's son. He was from the (American) South so he has this noticeable accent that stands out, as well as being a pretty poor little actor. He flubs several lines. Still, for avid fans like myself there's a certain charm to his quirky casting. Perhaps it's because so many of the Universal horrors took place in a blended 19th/20th century fictional world with actors of various nationalities all playing countrymen.

Son of Frankenstein serves as a perfect finish to the series. Yes, there are more sequels but those films, while very entertaining, are not on the level of the original three masterpieces. The trilogy of Frankenstein, Bride, and Son are among the finest, most creative films Universal put out, regardless of genre. There is genuine artistry on display in these three films. While the first two get an appropriate amount of respect and praise, I can't help but feel this one gets the short end of the stick. It's really a fantastic movie and one of my favorites of the entire Universal horror catalogue.

A necrophilic family reunion; "We're all dead here."Reviewed byGulyJimsonVote: 10/10

With the runaway success of the re-issue on a double bill of both "Dracula" and "Frankenstein" in the late nineteen thirties, Universal Studios decided it was time to resurrect their most lucrative property, the Frankenstein Monster, if the studio was to have any chance of surviving the fiscal year. True to form they originally intended to produce nothing more than a quick cheapie to cash in on the public's renewed interest in horror films. Director Rowland V. Lee had other ideas. He envisioned the film as a modern fairy tale with Frankenstein's Monster as the traditional giant ogre stalking a primordial landscape, and to be sure it is in this film that he first enters the realm of myth. To help achieve this goal he set Jack Otterson to create the most expressionistic sets of any horror film since "The Cabinet of Dr. Caligari". The universe of "Son" is a world of perpetual night and fog; rain swept castles and blasted heaths; terrifying flashes of lightening; shadowy corridors where giants lurk; hidden passage ways leading to underground crypts, where time, dust and the worm aren't the only things that move among the dead. "Son of Frankenstein" is the most visually impressive of all of Universal's horror films and George Robinson's gorgeous black and white cinematography captures every shadow, every out-sized distortion beautifully.

This would also be the last time a Frankenstein film would have a script worthy of the subject. Willis Cooper fashioned a contemporary Grimm's fairy tale in which the journey of the film's "outsiders", Wolf, Elsa, and Peter will become progressively more nightmarish the deeper they descend; where even breakfast in the morning will be overseen by a pair of monstrous gargoyles. They're journeying by train to inherit the Frankenstein estate, unknown to them a house literally at the edge of Hell, and these opening shots are the most "normal" in the entire film. They think of themselves as "explorers" and "exploring something so foreign we can't even imagine what its like." They speak of the castle being "haunted", while outside the window we see through the wind and the rain a gray expanse of desolation and dead trees. "What a strange country!" Elsa exclaims. Their passage into the subterranean netherworld of mad doctors, murderous hunchbacks and monsters has begun and will climax in a necrophilic family reunion, ("We're all dead here.") in the Frankenstein crypt, in which both grandfather and father are dead, but the step-brother, the monster and family black sheep is very much alive. "Do you mean to imply that is my brother?" Wolf asks. Igor, the true Frankenstein family retainer replies, "Only his mother was the lightening." And it is Wolf's voyage from arrogance and ignorance, ("Why should we fear anything!") to humility and wisdom, ("Never in my life have I known cold fear until that moment I felt his hand on my shoulder!") which is central to the film.

While the film is a follow up to "Bride of Frankenstein", it very much stands on its own. Gone are any references to the Bride and Dr, Praetorious, both presumably "blown to atoms" at the climax of that film. Also the monster doesn't speak. All traces of speech, at Karloff's insistence were eliminated. The portrait of Colin Clive as Henry Frankenstein dominates the castle's study, and recalls the earlier films. In the scenes on the train Wolf refers to the, "Blunder of a stupid assistant who gave his father's creation the brain of a killer instead of a normal one." This is of course, a direct reference to the first film. Karloff's return to his greatest role completes the linking of the three films. And consistent with the impressive visuals, the Monster is given his most striking look. Gone is the distinctly twentieth century black garb so beloved of the Universal Frankenstein films. Instead the Monster is clothed in a crude sheepskin jersey, with heavy shirt and trousers stitched together with strips of leather. Indeed, his whole appearance has become that of a giant, an ogre out of Grimm or Perrault. He even gets the traditional giant's club in the form of Krogh's wooden arm at the film's climax. As if to underscore this, Peter gives the Monster a present-a storybook of fairy tales!

The film may have the greatest horror film cast ever. There is Karloff dominating as the Monster. Given less screen time than in the previous film, his scenes are still among his most powerful. To cite just two examples, the scene where he rises like Lucifer out of the pit is like an image from Dante's Inferno while his primal howl of grief upon discovering the dead Igor is one of the Monster's greatest moments from any of the Frankenstein films. Bela Lugosi easily has his best role after Dracula as the broken neck, hunchback, Igor. Creepy, roguish, even pitiable, one is reminded of what a fine actor he could be with a role worthy of his talent. Lionel Atwill with his beautifully clipped vocal delivery and sardonic sense of humor has his definitive screen role as the one arm Inspector Krogh; he doesn't miss any opportunity for scene stealing bits of business with that wooden arm. And there is Basil Rathbone as Wolf. He doesn't have Karloff's make-up or Lugosi's broken neck or Atwill's wooden arm, but he gives a full-blooded commanding performance that refuses to get lost in this who's who of cinematic ghouls. William K. Everson once said that only a truly great actor can get away with a little deliberate ham now and then, and if Rathbone is a little over the top, it is ham well seasoned and served and adds enormously to the enjoyment of the film. Finally Frank Skinner's incredible film score would set the standard for Universal's horror films for the next decade.

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