It should be to no surprise to anyone that I decided to write about 1931's Frankenstein, after writing about Dracula the other day, as well as The Invisible Man. These are films which started it all, way back to almost one-hundred years ago. Redefining the way horror films were to be made, as well as the way in which many films should be made. A recent introduction into sound after the silent era just a few short years prior. A change in how cinematography and directing can be used to tell stories. And a new reason to expand into the technical realm as films with more unique stories required some creativity regarding the use of practical and special effects. Universal without realising had been launching a deep dive into the new era of filmmaking. And almost a century later, these films still manage to hold up in their own ways. Sometimes from the dated styles and gear, even!
I debated with myself over watching Frankenstein, though. I questioned whether it was worth watching as I had seen this in the past, and I was primarily searching for the titles within Universal's monster realm that I hadn't seen before. But I felt the title calling to me, telling me to check it out again, that it wouldn't be quite getting into the Halloween atmosphere without it. As to have left something so pivotal behind in that desperate bid for something 'new'. Frankenstein is a film that features a monster that has been hard to tackle though. As far as many are concerned, this is really the only film there is. And it's not all that strange that Hollywood simply hasn't bothered to try finding new ways to tell the story in recent years. Albeit a few massive flops that were clearly nothing but cash grabs.
Unlike the other films, Frankenstein starts off with a little word of warning. One that speaks on the potential horrors that await. On how Frankenstein is a story unlike any other. It's a strange one. Speaking on how it holds connection to the question of creation itself. The concepts of life and death. I had never really considered those two end parts regarding Frankenstein. Even though the film in many ways does might rather direct references to them. This really is a film that questions what life really is. What a person can be. And who a person really is after death itself. Particularly when various pieces of a former person are placed together to create another. It's strange to see a film have this little warning to it, of course it's done for entertainment purposes.
From a directing perspective, the film really takes advantage of slow camera movements. But also ones that really show a series of events unfolding. It's quite unique for the era in how it portrays various acts within a space. As people come and go within the frame. Coincidentally portraying the slow passing of time and surrounding of death. Frankenstein certainly does handle these concepts well. Even down to making the atmosphere of death seem like something to fear. Something that haunts the living with its presence. It doesn't appear as if the dead here are at peace, more in a state of necessity. Something to not be reckoned with. And that is something that later is displayed with the arrival of Frankenstein's monster.
An interesting concept with the film though is how it doesn't speak on the outcome of creation from death with the right 'ingredients'. Frankenstein's monster turns out violent because the scientists are roaming graveyards and scenes of death in attempt to find suitable bodies to steal from. The first brain being too damaged, the second being one stolen from a school in which it's previously stated that the brain belonged to a criminal. This sets up the future events in which the monster fails to not display acts of violence and aggression to things. A problem of the brain itself. So, that leaves the question within Frankenstein: how would thing have turned out under a different brain? A successful attempt to play God and create a gentle soul?
As is the case, and perhaps a bit too often within these films: another problem is the curious mind. One that results in pushing the boundaries of life and death. Constantly in search of something new. Fuelled by their work and ignorant of the potential outcomes. A scientist that leaves all behind to pursue their goal, to which they do, and that outcome is soon discovered. Though this is often used as the plot setup. The quick reason to explain why these things about to happen, are to happen. For their short runtimes, I don't mind this. It's straight to the point. A quick glance over the foundations of the narrative. We don't really need to know more.
Something I really like though is the world building from the set design perspective. I really love the atmospheres that are produced within these films. And Frankenstein doesn't just use its weather and environment just to amplify a setting. It uses it to connect to the story: the necessity of a strong electrical storm to power his experiments. The use of electricity in the film means that Frankenstein's lab is riddled with all kinds of strange devices and contraptions. Various transformers and odd shapes. Mixed with the little chemical bottles scattered around the lab. All within the cold stone interior where Frankenstein and his assistant reside. It removes us from the natural from the visuals alone. Again that disconnect from God and playing the role of the creator.
Though ultimately the film questions who the real monster can be sometimes. As Frankenstein's monster displays acts of fragility and kindness, he's often encouraged to lash out against others, as they rally to lock him up and destroy him. Those acts of violence being something that aren't specific to the creations of man, but man itself.