FRANKENSTEIN (1931)

Artwork by Joshua Taback

2022 will feature entries on films LONG OVERDUE to be highlighted on Digging Star Wars. And the best writer to do this is my longtime film buddy Phil Congleton...who was my cinema partner-in-crime on Film366 years back. Phil's first entry is a bit goth, but methinks you can handle it. Here is Phil's write-up on the classic horror film, Frankenstein (1931)...along with artwork from another film buddy of mine, Joshua Taback..

I picked Frankenstein (1931), for January, because a lot happens in this month when talking about this movie. Also, I have always felt this film can be enjoyed the most by watching it during the cold, dark January nights. The bitterness helps enhance the cold, dead mood felt throughout. Watching the lifeless body of the monster moving his cold, lifeless hands, really emphasizes the feeling of death in the air.  

Also, Mary Shelley published her original book "Frankenstein; or, The Modern Prometheus", on January 1st, 1818.

But, the main reason is about the man, who this movie really is about, Henry Frankenstein (Colin Clive), was born on January 20th, 1900.

Frankenstein (1931)

About 10 months after the release of Tod Browning's Dracula (1931), Universal Pictures would score again. With this new venture, they would launch one of the greatest and earliest film franchises, when Frankenstein (1931), with then, barely known, Boris Karloff, hits the theaters. When I was younger I had about 20 minutes of both Dracula (1931) and Frankenstein (1931), on Super-8 film. That is what we had to watch in a pre-VHS world, Super-8 movies. I was also exposed to both films a lot on late night syndication channels and Saturday afternoon Creature Feature shows, all through the 70s and early 80s. I also saw it numerous times in it's entirety on VHS and DVD since then. So, I have seen this film a lot.

Phil's Full Review of Dracula (1931), on Letterboxd

Say what you want about Boris Karloff. How the gentle giant pulled off a great Frankenstein Monster and how his likeness is now one of the most recognizable pop-cultural icons in the world, even 45 years later after his death, says a lot about his impact. Say what you want about Dwight Frye, who, for my money, did a great job as Fritz, the hunch-backed assistant in this movie, It was even better than his portrayal of Renfield in Dracula (1931). Even Edward Van Sloan, who in my opinion, was the best part about Dracula (1931), is also a key player in this film. Even Frederick Kerr, who was a scene stealer as Baron Frankenstein, broke up the somber, horrifying menace of the monster with his off the cuff, almost ad-libbed dialogue. But, it was the man who portrayed the son of the Baron, Henry Frankenstein, that stole the whole show.

Remember, this movie is about a man named Frankenstein, who builds a monster from the parts of dead victims. It is actually his movie, not the Monster's, not Karloff's, but Colin Clive's (Henry Frankenstein), movie. Clive gives a supreme performance and manages to harness the power needed for that character to thrive with perfection. His disclosure of what philosophy drives him to do what he does establishes a politically and spiritually charged tone that is quite evident throughout the entire film. Topics like playing God or is the human being truly higher than any other animal? What is really the difference between life or death?

James Whale's directing is dead on and he manages to capture the horror and frights by inserting an almost "noir" feeling in the mix. Close ups, lighting and mood, all play into an almost perfect film. It is very easy to see certain mistakes, continuity issues and primitive technical mishaps in a film that is 90 years old, but at the time, this film was a box office smash. It had the impact on a 1931 audience like the Avengers had on a 2012 audience.

This was something movie-goers had never seen before. It WAS the embodiment of state of the art technical achievement in film. The make-up, costumes, sets and special effects were the premiere version of the period and, because of that, it demands the respect that it deserves, just like the kind of respect that Henry Frankenstein was searching for. This film should be studied, because as we will see in the sequel, Bride of Frankenstein (1935), for Henry Frankenstein and Colin Clive, life will never be the same again, after Frankenstein.

PMTM Grade: 8.9 (A-) = 9 IMDB, 4 1/2 Stars Letterboxd

Phil's Full Review of Bride of Frankenstein (1935), on Letterboxd

And now, the Star Wars connections....

The most obvious relation we can draw from these two franchises, what Lucas may have tuned into, would probably revolve around Emperor Palpatine and Darth Vader. These two characters fall closely in comparison to Henry Frankenstein and the monster. Palpatine thinks he can recreate life and Vader is a big, statuesque, mostly dead, villainous monster. Palpatine is Vader's master. 

It also helps that, three huge stars from the Star Wars franchise come from a rich history of Frankenstein. That history was brought to us by Hammer Films from the 1950s to the 1970s. Of course, I'm talking about Peter Cushing (Grand Moff Tarkin), who was Dr. Frankenstein (of various different generations), David Prowse (Darth Vader - physical actor), who played the Frankenstein monster in two Hammer films in the early 70s and Christopher Lee (Count Dooku), who was the Frankenstein monster in Hammer's first color horror film, Curse of Frankenstein (1957).

Film List for January: Frankenstein (1931), on Letterboxd

About the Author

Phil Congleton is a lifelong film buff, who worked in television for 30 years and produced a few, small independent films in the 1990s. He is co-creator of Film366 with Chris Mich and curator of Phil Meets the Movies. Now retired, Phil commits his time to promoting the movies and the art of film. You can read more about.Phil's film reviews on Letterboxd.

About the Artist

Joshua Taback is a veteran Director, Animator, and Character Layout Artist. He started his career for many years on The Simpsons television show. Josh then moved on to directing shows for Disney, Dreamworks TV and more recently Netflix.

All through his career Josh has trained and mentored many people. Finding he has a passion and a knack for it he has taken on many students privately. His "technique" focuses on the individual needs of the students. Everyone learns at their own pace. Josh goes on that journey with them by following their talent. This shows him how to guide it and bolster their skills.

Josh began seriously drawing at the age of 13 taking classes at the Joe Kubert School of Cartooning and Graphic Art and went on to receive a BFA in Animation/Film from University of the Arts. His thesis film "It's a Wanderful Life" helped him kick off his animation career by winning the Academy of Television Arts & Sciences internship and 2nd place in the student Emmy awards.

To see more of Josh's artwork, visit his website.