You know a film is a classic when 88 years after its release people are still finding new things to say about it, and James Whales’ Bride of Frankenstein (1935) is about as classic as a film gets. All of Universal’s Monster Movies are held in high regard, but only one features the Monster’s Mate (played by the effervescent Elsa Lancaster).
Bride of Frankenstein isn’t author, Emma Westwood’s, first book (she’s also written a book on the 80’s remake of The Fly and co-written a book on John Frankenheimer’s Seconds), but it does take a different format than the others. In her introduction, Westwood talks about initially planning to write the book solo. In the end, though, Bride of Frankenstein collects twelve essays from twelve different writers (with Westwood acting as editor and writing one of the essays herself)
Right off the bat, the look of this book? Gorgeous. Very easy on the eyes. We’re talking a hardcover book where, when you take the dust jacket off, the cover art (by Neil Snowden) is actually printed on the book. The title isn’t on the spine, which is a little strange, so without the jacket it won’t be as identifiable on a bookshelf, but the best part is opening the book and realizing the endpaper is a (color!) poster for Bride of Frankenstein. Very unexpected and worth using color ink.
Boris Karloff’s daughter, Sarah Karloff, wrote the introduction, and you couldn’t ask for a better person to kick things off. It’s a short but sweet piece, where Karloff reflects on how crazy it must have been for her father to have a breakout role so deep into his career (Frankenstein was his 81st film).
Westwood’s essay provides a good overview, to jog readers’ memories if it’s been a while since they’ve seen the film, while also offering some production history and teasing some of the other essays in the book (this is also a good place to mention that I appreciate that the book went with footnotes instead of endnotes – they’re so much more convenient).
Jez Connolly’s essay speaks to the commonalities that can be found in being specific when he shares his memories of watching the film for the first time and how viewing conditions played into the experience (staying up late to watch a grainy print, versus the accessibility and quality of prints today).
Jon Towlson looks at censorship, script changes, where certain ideas originated (in which treatment), and cuts that were made (many in order to appease the Production Code Administration).
Sally Christie considers how Bride of Frankenstein falls into “The Female Gothic,” from the film being told from Mary Shelley’s point of view to the themes of birth and repression (especially in regards to the characters having a voice – The Monster was much more loquacious in Shelley’s novel).
Bloom’s essay is about Lancaster and the actress’ autobiography (which Bloom played a role in getting back into print).
Dr. Dan Golding focuses on composer, Franz Waxman. I especially appreciated learning more about Waxman’s use of leitmotifs, because I don’t think I picked up on them the first time I watched the film and it’s one reason (this book provides many) I need to revisit Bride of Frankenstein.
Next is Dr. Eloise Ross’ essay on the film’s sound design.
Scott Essman’s essay is full of quotes from interviews he conducted with various make-up artists on how Jack Pierce’s make-up on Bride of Frankenstein influenced them. Contributors include Oscar winner and Glow Up judge, Ve Niell, and practical effects artist, Shane Mahan (who points out how The Terminator paid homage to Bride of Frankenstein).
Stephen A. Russell’s essay has the best title and zones in on the stop, ellipsis, question mark that follows “The Monster’s Mate” credit during the opening titles before going into the film’s queer subtext.
Lee Gambin compares Bride of Frankenstein with the 1936 version of Show Boat that Whale directed, focusing on how much horror films and musicals have in common (despite being different genres) and the role comedy plays (or doesn’t play) in both films.
Dr. Andrew Nette looks at how the Bride character factors into other movies, like The Brain that Wouldn’t Die and Frankenstein Created Woman.
Last, but not least, Cerise Howard draws parallels between Bride of Frankenstein and Happy End – a Czech film Howard knows many readers probably won’t have seen, but the tone of her writing is so assured that it doesn’t matter.
Bride of Frankenstein (Midnight Movie Monographs) is available now from Electric Dreamhouse.
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