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Non-Review Review: Bride of Frankenstein (1935)

The monster demands a mate!

I always feel a little strange that I don’t completely love Bride of Frankenstein. James Whale’s Universal Monster movies are all among the very finest in the subgenre, and each of the three collected in this blu ray boxset are well worth the price of admission. And I really like Bride of Frankenstein. It’s great fun. It has a tremendous energy and surreal “buzz” around it that makes the movie fly by, no matter how many times you’ve seen it.

Whale has, as with Frankenstein and The Invisible Man, managed to draw together a fantastic cast, some amazing production design, a willingness to acknowledge the hokey nature of the material and the highest technical skill in pretty much every aspect of the finished project. And yet, despite that, Bride of Frankenstein never really feels like a single unified film. Rather, it’s a bit like the eponymous monster, strange bits and pieces from all manner of sources brought together and stitched up in a way that is far more aesthetically pleasing than its direct predecessor. I just find, personally, that with Bride of Frankenstein, the sum of the parts is actually much greater than the whole.

Scream queen…

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Non-Review Review: The Mummy (1932)

The Mummy is often unfairly dismissed as an inferior attempt to emulate the success of Dracula. It’s from the same writer, John L. Balderston, and the credits are even set to the same music – the powerful Swan Lake theme that opened that other iconic horror. I’d argue that the influence of Frankenstein can also be keenly felt on the picture, and not just in its leading actor. However, I think The Mummy is often unfairly overlooked when examining the Universal Monster Movies, playing more like a creepy existential romantic epic than a conventional creature feature horror film.

He needs his beauty sleep…

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Non-Review Review: Targets

Targets still feels quite a bit ahead of its time, which is quite something for a film intended to transition between the classic horror monster movies and the more sinister and grounded modern horrors. Indeed, Boris Karloff’s last starring role seems to prefigure a shift in the type of horror movies flooding the cinemas, years ahead of the more iconic and mundane “slasher” icons who succeeded Dracula and Frankenstein as the monsters at the matinée. Targets is an intriguing and remarkable little film, charmingly understanded and perhaps appealing for the lack of pomp it attempts to generate.

The horror!

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