Film Reviews

“Frankenstein"—1931
James Whale's classic about a man-made monster is certainly less frightening than when it was first released (there is even an introductory warning for sensitive viewers in the beginning), but it still works as a superb tragedy. Boris Karloff makes a remarkably expressive monster, and he says everything he needs to with his eyes and facial expressions. The under appreciated Colin Clive is also outstanding as the maniacal mad doctor (Who could forget his "It's alive!!" rant?) One of the most disturbing scenes, involving the drowning of a blind girl, were initially cut then restored in 1987. This differs markedly from the novel. It dumbs down the monster, and adds a biological explanation for his misbehavior (he has a criminal’s brain). But it’s still the definitive version, and the template for all later monster/mad doctor films. The set designs reflect the twisted psychology of some of the characters, and they show the influence of German expressionism. Still, it pales next to the sequel, the magnificent, “Bride of Frankenstein.” This film also served inspiration for a great but obscure Spanish art film called “Spirit of the Beehive “
——Vittorio Carli is a faculty member at Moraine Valley Community College and Richard J. Daley College. His film reviews can be seen at www.reelmoviecritic.com and in The Star Newspapers.

"The Bride of Frankenstein,"—1935
This film improves on the original 1931 “Frankenstein“ by adding some black comedy romantic intrigue, and into the mix. Boris Karloff's expands his range as the Frankenstein monster, who has learned how to speak. Karloff’s monster is the most tragic figure in horror history, and his characterization adds immeasurably to the film. The monster survives his apparent demise and tries to threaten his maker into creating a mate for him (this ends up causing different results than the attempt in the Mary Shelley novel.) In some ways, the effeminate Dr. Pretorious functions as a mate for the doctor, and gives the film a clever gay subtext. "Gods and Monsters," the Oscar nominated biopic about the film's director, sheds some light on the making of this film. Elsa Lanchester doubles as both Mary Shelley and the title character. An early scene depicting Shelley’s conversation with Lord Byron and her husband is delightfully hammy and over the top. This is the quintessential Universal studios horror film and one of the finest monster films ever made.
——Vittorio Carli is a faculty member at Moraine Valley Community College and Richard J. Daley College. His film reviews can be seen at www.reelmoviecritic.com and in The Star Newspapers.

“Young Frankenstein”—1974
Mel Brooks’s hilarious and slightly bawdy comedy brilliantly parodies the classic Universal monster trilogy: “Frankenstein, “Bride of Frankenstein,” and Son of Frankenstein.” Gene Wilder is hysterical playing, an ancestor of the original Dr. Frankenstein. Marty Feldman is inspired as Iggor, the doctor’s hunchbacked assistant (poking fun at Bela Lugosi’s Igor from “Son of Frankenstein.”) The film features many classic comedy bits including a scene involving the monster’s encounter with the blind hermit (played by Gene Hackman of all people), and a delightfully different musical rendition of “Putt”in on the Ritz.” Brooks later parodied the Dracula films in “Dracula: Dead and Loving It” but that wasn’t nearly as inspired or effective. Peter Boyle who is fine as the monster later achieved greater fame with his roles in “Taxi Driver” and the "Everybody Loves Raymond” sitcom.
——Vittorio Carli is a faculty member at Moraine Valley Community College and Richard J. Daley College. His film reviews can be seen at www.reelmoviecritic.com and in The Star Newspapers.

“Mary Shelley’s Frankenstein”—1994
This Hollywood version has a big budget, lavish sets and an all-star cast. It is by far the most faithful big screen version of Mary Shelley’s classic but it still takes some liberties with the story--particularly with the outcome of the creation of the bride subplot. The great Shakespearean actor, Kenneth Branagh, directs and stars as Dr. Frankenstein. He captures the doctor’s intellectual inquisitiveness very well. Robert De Niro gives an interesting performance as the monster. He gives the character a different spin on the character than Karloff or Christopher Lee. DeNiro’s monster is more of a rebellious teen while Karloff’s monster was an uncomprehending neglected child. Helena Bonham Carter is competent as the doctor’s fiancee/sister surrogate, Elizabeth. John (“Monty Python’s Flying Circus”) Cleese. Aidan Quinn, Ian Holm, and Tom (Amadeus) Hulce do well in small roles. The setup works better than the long, loud, showy climax and resolution, but the film should still prove  worthwhile for students of the novel.
——Vittorio Carli is a faculty member at Moraine Valley Community College and Richard J. Daley College. His film reviews can be seen at www.reelmoviecritic.com and in The Star Newspapers.

Abbot and Costello Meet Frankenstein—1948
Beloved horror spoof features several well known horror actors recreating their roles as Universal Pictures' major monsters. They interact with one of the most popular comedy teams: Abbott (who's on first?) and Costello. Dracula revives the monster and schemes to replace his brain with Costello's. Glenn Strange is a nearly mindless Frankenstein monster, Bela Lugosi is fine as Dracula, and Lon Chaney Jr. is the sympathetic wolfman, who is actually on the side of the heroes. Lenore Aulbert and Jane Randolph are also fascinating as Costello's apparent love interests who are following secret agendas. This film inspired many imitations with the same basic formula such as Abbott and Costello Meet the Invisible Man (1951), Abbott and Costello Meets Dr. Jekyll and Mr. Hyde (1953), and Abbott and Costello Meets the Mummy (1955), but 
this was by far the best of the series. This signaled the end of Universal's horror films because no one took the monsters seriously anymore.
——Vittorio Carli is a faculty member at Moraine Valley Community College and Richard J. Daley College. His film reviews can be seen at www.reelmoviecritic.com and in The Star Newspapers.