Frankenstein
The Monster's make-up design by Jack P. Pierce is under copyright to Universal through the year 2026 and licensed by Universal Studios Licensing, Inc.,According to DVD commentary for this film, director James Whale intended this film to take place in an "alternate universe" and therefore freely mixed 19th Century and 1930s technology, hair fashions, etc.,Henry Frankenstein: Look! It's moving. It's alive. It's alive... It's alive, it's moving, it's alive, it's alive, it's alive, it's alive, IT'S ALIVE!
Victor Moritz: Henry - In the name of God!
Henry Frankenstein: Oh, in the name of God! Now I know what it feels like to be God!,In the opening credits: The Monster - ?,SPOILERS: The picture was scripted and filmed with Dr. Frankenstein seeming to die in the mill with his creation, but was instead released with a hastily re-shot happy ending, wherein Henry survives to marry Elizabeth (see "Trivia"). However, the sequel, The Bride of Frankenstein (1935) literally followed the first scenario, and consequently just before "Bride" opened this film was reissued with the original finale restored. This movie was seen this way in all subsequent theatrical releases of the old Hollywood era, but when the entire package of classic Universal horror films was made available to television in the 1950s, the prints of the original movie carried the happy ending, and the incompatibility with the opening scene of "Bride..." confused new viewers.,Edited into Boo! (1932),Grand Appassionato
(uncredited)
Music by Giuseppe Becce
[End title & end cast music],Though not as spectacular as one would expect of such a classic, this loose interpretation of Mary Shelley's oft-told tale delivers. The familiar story focuses on Dr. Victor Frankenstein, the reclusive, stereotypical mad scientist obsessed with creating new life from stitched-together corpses. But something goes terribly wrong when the brain he uses turns out to be that of a criminal. The film starts out slow but redeems itself with time, particularly the windmill climax scene that by 1931 standards is nothing short of stellar. In one of filmdom's all-time great performances, Boris Karloff plays the monster as a sort of tragic figure unable to comprehend right from wrong, and the audience is left feeling more sympathetic than frightened by him.,