The early days of sound cinema include some timeless movies, but there was also a certain degree of trial-and-error needed before all the edges were smooth.
Tod Browning, an old hand at silents, developed
'Dracula' for Universal in 1931; after
Lon Chaneys death from lung cancer the previous year, and despite the studios stance against him, the role eventually went to
Bela Lugosi, who turned in one of the most famous performances in cinema. The movie was a big hit for the studio, and effectively kicked off the Universal Horror franchise that would pump out movies steadily for the next couple of decades.
However the cream of the crop is not 'Dracula', nor was its finest director Tod Browning. 'Dracula' was based on a stage version of the novel, and many of the later dialogue scenes are rather dull and stagy (the silent scenes are simply filmed like silent scenes, by the great photographer
Karl Freud, and retain their power). After that movies success their next choice for adaptation was
Mary Shelleys classic gothic novel, the plan being to have Lugosi star in a film written and directed by
Robert Florey. First Lugosi was demoted from Frankenstein to his monster, and then, depending on who you listen to, either left or was dropped, along with Florey. They were replaced by
James Whale, an English director known for his stage work, and
Boris Karloff, whom Whale had spotted one day in the Universal canteen. Resident make-up artist/genius
Jack Pierce was brought in to do the make-up, and did what may be the most famous make-up job in movie history. The flat head, heavy eye-lids (suggested by Karloff), the electricity terminals (later misconstrued as bolts) and lumbering gait are simply what one thinks of when picturing Frankensteins monster.
In this and its brilliant sequel,
'Bride Of Frankenstein' (1935), Karloffs monster is notable not just for scaring audiences, but for also gaining their sympathy. Perhaps Karloff and Whale, both unusual Englishmen working in Hollywood, could identify with the creature as an outsider. The role of the scientist (here named Henry) went to
Colin Clive, whose mania influenced hordes of later mad scientists, and who keeps the movie alive when Karloff is off-screen. When he does the Its alive! scene, the words are so familiar that it should invoke a 'Rocky Horror'-type response, but he speaks them with such passion that the scene is still involving. I think one of the reasons the movie continues to work so well is, while 'Bride' has the benefit of humour and irony (and even a weird kind of sexiness, with
Elsa Lanchesters iconic scene), is the sparseness of music. Like 'Dracula', it only has a score over its credits, existing as it did somewhat between the days of music for silents and the later, more nuanced scores.
Phillip Glass has provided a score for 'Dracula' more recently, but I think the silence of passages of 'Frankenstein' most notably the moment we first see the creature is essential, and keeps these scenes fresh.
There are other great moments, and images. The drowned girl, followed by the heartbreaking shot of her father, carrying her through the towns celebrations. Frankenstein and his creation staring each other down in the windmill.
Mae Clarke being stalked around the drawing room (Karloff was always lumbering after women in drawing rooms). Its influence can be felt on virtually every version of the story told since, from the design of the monster to the use of lightning to give it life. Universal had a firm hold on the American horror market of the 30s but other studios, partly spurred by their success, made some interesting movies too. As well as the other Universal classics (
'The Mummy', 'Son of Frankenstein', 'The Black Cat', 'The Raven', 'The Invisible Man', 'The Old Dark House') Paramount made perhaps the most famous versions of both
'Dr. Jekyll and Mr. Hyde' in 1931, and
'The Island Of Dr. Moreau' in 1933 (re-titled 'Island of Lost Souls', the movie stars
Charles Laughton and Lugosi and was banned in the UK for years). In 1932, Tod Browning went to MGM to make his most notorious movie,
'Freaks' (also banned in the UK for years). But the studio was dominant, and Karloffs monster, along with Bela Lugosis Dracula and Lon Chaney Jrs
'The Wolf Man', took its place in history. CHECK BACK TOMORROW as Val Lewton's RKO dominates the 1940's. Previously:
1910 (Cabinet of Dr. Caligari),
1920 (Nosferatu)