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Boris Karloff stars as the screen's most memorable monster in what many consider to be the greatest horror film ever made. Dr. Frankenstein (Colin Clive) dares to tamper with life and death by creating a human monster (Karloff) out of lifeless body parts. It's director James Whale's adaptation of the Mary Shelley novel blended with Karloff's compassionate portrayal of a creature groping for identity that makes Frankenstein a masterpiece not only of the genre, but for all time."It's alive! Alive!" shouts Colin Clive's triumphant Dr. Frankenstein as electricity buzzes over the hulking body of a revived corpse. "In the name of God now I know what it's like to be God!" For years unheard, this line has been restored, along with the legendary scene of the childlike monster tossing a little girl into a lake, in James Whale's
Franken! stein, one of the most famous and influential horror movies ever made. Coming off the tremendous success of
Dracula, Universal assigned sophomore director Whale to helm an adaptation of Mary Shelley's famous novel with Bela Lugosi as the monster. When Lugosi declined the role, Whale cast the largely unknown character actor Boris Karloff and together with makeup designer Jack Pierce they created the most memorable monster in movie history: a towering, lumbering creature with sunken eyes, a flat head, and a jagged scar running down his forehead. Whale and Karloff made this mute, misunderstood brute, who has the brain of a madman (the most obvious of the many liberties taken with Shelley's story), the most pitiable freak of nature to stumble across the screen. Clive's Dr. Frankenstein is intense and twitchy and Dwight Frye set the standard for mad-scientist sidekicks as the wild-eyed hunchback assistant. Whale's later films, notably the spooky spoof
The Old Dark ! House and the deliriously stylized sequel
The Bride of ! Frankens tein, display a surer cinematic hand than seen here and add a subversive twist of black comedy, but given the restraints of early sound films, Whale breaks the film free from static stillness and adorns it with striking design and expressionist flourishes.
--Sean AxmakerFeature titles include: The Bride of Frankenstein, Frankenstein, The Ghost of Frankenstein, House of Frankenstein, Son of FrankensteinBoris Karloff is the screen's most tragic and memorable monster in the Frankenstein 75th Anniversary Edition. Tampering with life and death, Dr. Frankenstein pieces together salvaged body parts to create a human monster. Director James Whale's 1931 adaptation of Mary Shelley's masterpiece novel remains a timeless classic, and this 2-disc 75th Anniversary Edition offers an all-new digitally remastered picture of the greatest horror movie of all time. Frankenstein: It's alive! Starring: Boris Karloff, Colin Clive, John Boles, Mae Clarke, Edward Van Sloan, Dwight ! Frye, Frederic Kerr Directed by: James Whale"It's alive! Alive!" shouts Colin Clive's triumphant Dr. Frankenstein as electricity buzzes over the hulking body of a revived corpse. "In the name of God now I know what it's like to be God!" For years unheard, this line has been restored, along with the legendary scene of the childlike monster tossing a little girl into a lake, in James Whale's
Frankenstein, one of the most famous and influential horror movies ever made. Coming off the tremendous success of
Dracula, Universal assigned sophomore director Whale to helm an adaptation of Mary Shelley's famous novel with Bela Lugosi as the monster. When Lugosi declined the role, Whale cast the largely unknown character actor Boris Karloff and together with makeup designer Jack Pierce they created the most memorable monster in movie history: a towering, lumbering creature with sunken eyes, a flat head, and a jagged scar running down his forehead. Whale and Karloff made t! his mute, misunderstood brute, who has the brain of a madman (! the most obvious of the many liberties taken with Shelley's story), the most pitiable freak of nature to stumble across the screen. Clive's Dr. Frankenstein is intense and twitchy and Dwight Frye set the standard for mad-scientist sidekicks as the wild-eyed hunchback assistant. Whale's later films, notably the spooky spoof
The Old Dark House and the deliriously stylized sequel
The Bride of Frankenstein, display a surer cinematic hand than seen here and add a subversive twist of black comedy, but given the restraints of early sound films, Whale breaks the film free from static stillness and adorns it with striking design and expressionist flourishes.
--Sean AxmakerFeature titles include: Dracula (1931), Dracula (1931) - Spanish Version, Dracula's Daughter, House of Dracula, Son of Dracula"It's alive! Alive!" shouts Colin Clive's triumphant Dr. Frankenstein as electricity buzzes over the hulking body of a revived corpse. "In the name of God now I know what it's l! ike to be God!" For years unheard, this line has been restored, along with the legendary scene of the childlike monster tossing a little girl into a lake, in James Whale's
Frankenstein, one of the most famous and influential horror movies ever made. Coming off the tremendous success of
Dracula, Universal assigned sophomore director Whale to helm an adaptation of Mary Shelley's famous novel with Bela Lugosi as the monster. When Lugosi declined the role, Whale cast the largely unknown character actor Boris Karloff and together with makeup designer Jack Pierce they created the most memorable monster in movie history: a towering, lumbering creature with sunken eyes, a flat head, and a jagged scar running down his forehead. Whale and Karloff made this mute, misunderstood brute, who has the brain of a madman (the most obvious of the many liberties taken with Shelley's story), the most pitiable freak of nature to stumble across the screen. Clive's Dr. Frankenstein is! intense and twitchy and Dwight Frye set the standard for mad-! scientis t sidekicks as the wild-eyed hunchback assistant. Whale's later films, notably the spooky spoof
The Old Dark House and the deliriously stylized sequel
The Bride of Frankenstein, display a surer cinematic hand than seen here and add a subversive twist of black comedy, but given the restraints of early sound films, Whale breaks the film free from static stillness and adorns it with striking design and expressionist flourishes.
--Sean AxmakerDracula (The Restored Version) Although there have been numerous screen versions of Bram Stoker's classic tale, none is more enduring than the 1931 original. The ominous portrayal of Count Dracula by Bela Lugosi, combined with horror specialist director Tod Browning, help to create the film's eerie mood. Dracula remains a masterpiece not only of the genre, but for all time. Dracula (Featuring New Music By Philip Glass) The original version of Dracula starring Bela Lugosi has been remastered to feature a specially-compos! ed musical score by world-renowned composer Philip Glass and performed by Kronos Quartet. Glass' music lends greater depth to an already timeless classic! Dracula (Original Spanish Version) Filmed simultaneously with the English language version, the Spanish version of Dracula is completely different, yet equally ominous vision of the horror classic. Utilizing the same sets and identical script, cinematographer George Robinson and a vibrant cast including Carlos Villarias and Lupita Tovar deliver this chilling and evocative tale.When Universal Pictures picked up the movie rights to a Broadway adaptation of
Dracula, they felt secure in handing the property over to the sinister team of actor Lon Chaney and director Tod Browning. But Chaney died of cancer, and Universal hired the Hungarian who had scored a success in the stage play: Béla Lugosi. The resulting film launched both Lugosi's baroque career and the horror-movie cycle of the 1930s. It gets off to an atmospher! ic start, as we meet Count Dracula in his shadowy castle in Tr! ansylvan ia, superbly captured by the great cinematographer Karl Freund. Eventually Dracula and his blood-sucking devotee (Dwight Frye, in one of the cinema's truly mad performances) meet their match in a vampire-hunter called Van Helsing (Edward Van Sloan). If the later sections of the film are undeniably stage bound and a tad creaky, Dracula nevertheless casts a spell, thanks to Lugosi's creepily lugubrious manner and the eerie silences of Browning's directing style. (After a mood-enhancing snippet of
Swan Lake under the opening titles, there is no music in the film.)
Frankenstein, which was released a few months later, confirmed the horror craze, and Universal has been making money (and countless spin-off projects) from its twin titans of terror ever since. Certainly the role left a lasting impression on the increasingly addled and drug-addicted Lugosi, who was never quite able to distance himself from the part that made him a star. He was buried, at his request, in ! his black vampire cape.
--Robert Horton"It's alive! Alive!" shouts Colin Clive's triumphant Dr. Frankenstein as electricity buzzes over the hulking body of a revived corpse. "In the name of God now I know what it's like to be God!" For years unheard, this line has been restored, along with the legendary scene of the childlike monster tossing a little girl into a lake, in James Whale's
Frankenstein, one of the most famous and influential horror movies ever made. Coming off the tremendous success of
Dracula, Universal assigned sophomore director Whale to helm an adaptation of Mary Shelley's famous novel with Bela Lugosi as the monster. When Lugosi declined the role, Whale cast the largely unknown character actor Boris Karloff and together with makeup designer Jack Pierce they created the most memorable monster in movie history: a towering, lumbering creature with sunken eyes, a flat head, and a jagged scar running down his forehead. Whale and Karloff made! this mute, misunderstood brute, who has the brain of a madman! (the mo st obvious of the many liberties taken with Shelley's story), the most pitiable freak of nature to stumble across the screen. Clive's Dr. Frankenstein is intense and twitchy and Dwight Frye set the standard for mad-scientist sidekicks as the wild-eyed hunchback assistant. Whale's later films, notably the spooky spoof
The Old Dark House and the deliriously stylized sequel
The Bride of Frankenstein, display a surer cinematic hand than seen here and add a subversive twist of black comedy, but given the restraints of early sound films, Whale breaks the film free from static stillness and adorns it with striking design and expressionist flourishes.
--Sean AxmakerIt's the face that launched the career of Boris Karloff! Universal Studios' big green monster from 1931 electrifies on the front of this hip black T-shirt in 100% cotton. Imported.
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