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Speaker 1: Hey, you welcome to Weird House Cinema. Rewind. This is

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Speaker 1: Rob Lamb.

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Speaker 2: And this is Joe McCormick, and today we're bringing you

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Speaker 2: an older episode of Weird House Cinema. This one originally

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Speaker 2: published October twentieth, twenty twenty three. This was our Halloween

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Speaker 2: season Weird House on the Bride of Frankenstein, directed by

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Speaker 2: James Whale.

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Speaker 1: Yeah, this is one of the all time greats. So

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Speaker 1: this is definitely one of those episodes where it's going

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Speaker 1: to be a lot of us talking about just how

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Speaker 1: truly awesome this movie is. And it is truly awesome.

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Speaker 1: If you haven't seen it, or you haven't seen it

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Speaker 1: in a while, it's the perfect time to watch or

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Speaker 1: rewatch Bride of Frankenstein.

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Speaker 2: The best of the universal monster movies.

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Speaker 1: All right, let's dive right in.

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Speaker 3: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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Speaker 1: Hey, welcome to Weird How Cinema. This is Rob Lamp.

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Speaker 2: And I am Joe McCormick. And today on Weird House Cinema,

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Speaker 2: in honor of the Halloween season, we are going to

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Speaker 2: be talking about the nineteen thirty five universal horror classic

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Speaker 2: Bride of Frankenstein. Directed by James Whale, the first sequel

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Speaker 2: to the original Universal Frankenstein, also directed by Whale, which

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Speaker 2: was released four years earlier in nineteen thirty one. So

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Speaker 2: I know we're going to talk a lot more about

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Speaker 2: the specifics of our appreciation for this movie as we

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Speaker 2: go along, but I wanted to just start off by saying,

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Speaker 2: in my opinion, Bride of Frankenstein is about as good

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Speaker 2: as it gets. It is. I think shocking how great

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Speaker 2: this movie is, how good it looks, how weird it is,

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Speaker 2: how beautiful and funny and full of genuine feeling, and

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Speaker 2: how fresh it feels. Something about it is the exact

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Speaker 2: opposite of a relic from the past. It feels so

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Speaker 2: exciting and new.

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Speaker 1: I think the word that I would use for Brida Frankenstein,

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Speaker 1: without even a hint of irony or parity or humor,

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Speaker 1: is it is just truly transcendent. It transcends its genre,

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Speaker 1: it transcends its time period. It is just a masterpiece.

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Speaker 1: And yeah, I second way you said, if you're the

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Speaker 1: type of film viewer who's like, I don't know if

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Speaker 1: I need or want to see a film from the

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Speaker 1: nineteen thirties, I mean, fair enough, watch what you want

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Speaker 1: to watch. But films like this, films like Mad Love,

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Speaker 1: which we previously discussed on the show, these really stand out.

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Speaker 2: And I love the other Universal monster movies, you know.

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Speaker 2: I love Todd Browning's Dracula, I love Wales First Frank,

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Speaker 2: I love the Invisible Man, Creature from a Black Lagoon.

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Speaker 2: I mean, really enjoy all of those core monster frolics.

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Speaker 2: But even though all of those are excellent, there are

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Speaker 2: individually things in them that kind of drag Dracula. For example,

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Speaker 2: I love Todd Browning's Dracula, but it gets markedly less

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Speaker 2: interesting when Bella Legosi has been off screen for too long.

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Speaker 2: You know, there are some there's some kind of slow

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Speaker 2: moving talkie segments with the not terribly interesting human characters, which,

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Speaker 2: to be fair, are trying to be faithful to the

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Speaker 2: plot of the novel, but in some ways I think

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Speaker 2: end up kind of holding the movie back from what

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Speaker 2: it could have been. All of the other Universal Monster

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Speaker 2: frolics have their their stuffy interludes, but for me, Bride

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Speaker 2: does not. My opinion is that it is just wall

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Speaker 2: to wall horror, profound weirdness, hilarity and powerful emotion. So

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Speaker 2: I think not only is Bride of Frankenstein the best

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Speaker 2: of all the Universal Monster movies. It's the best by

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Speaker 2: a mile. It's the best by an astronomical unit. It

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Speaker 2: leaves these other great movies in the dust. And I

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Speaker 2: guess we can as we go on, we can talk

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Speaker 2: about some of the reasons why I feel that way.

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Speaker 1: It is kind of funny that in leading up to

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Speaker 1: this episode, we were talking about maybe doing Son of

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Speaker 1: Frankenstein or House of Frankenstein, a couple of the later

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Speaker 1: movies in the Universal Frankenstein cycle, and then we were like, well,

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Speaker 1: why are we denying ourselves, Like staring at the bar,

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Speaker 1: there is the top shelf Frankenstein right there. Let's just

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Speaker 1: do that one.

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Speaker 2: Yeah. So I was realizing before we started recording that

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Speaker 2: one way this movie will fit into the Weird House

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Speaker 2: Cinema cannon is that we sort of have a show

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Speaker 2: tradition of covering sequels without covering the original that they're

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Speaker 2: following up, and we haven't done an episode on the

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Speaker 2: original Universal Frankenstein, though I think it has come up

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Speaker 2: a lot when discussing other movies. I think it might

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Speaker 2: be fruitful to begin today's episode by thinking about Bride

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Speaker 2: of Frankenstein as a sequel, And what can we learn

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Speaker 2: about sequels from a sequel that works this well. I

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Speaker 2: don't know exactly how the percentages break out, but I'd

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Speaker 2: say at least maybe eighty percent of the time sequels

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Speaker 2: are uninteresting derivations of the original, just sort of like

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Speaker 2: trying to make a quick buck off of the success

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Speaker 2: of the original. But sometimes, as we all know, there

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Speaker 2: are sequels that are not only as good as the original,

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Speaker 2: not only worthy of it, lots of people consider them

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Speaker 2: better than the original. Quick list of commonly cited examples

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Speaker 2: that I would agree with a Terminator two Star Trek,

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Speaker 2: The Wrath of Khan, the Empire strikes Back, multiple mad

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Speaker 2: Max sequels, I'd say, you know, Road Warrior, Fury Road,

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Speaker 2: And there are plenty of other examples you can think

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Speaker 2: of too, in even less well known franchises.

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Speaker 1: Yeah, yeah, Like I I'll often throw Blade two in there.

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Speaker 1: Aliens comes to mind, of course, Return of the Blind

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Speaker 1: Dead to feature like a recent horror film that we

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Speaker 1: did a rerun off. I throw Chronicles of Ritick in

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Speaker 1: there as well. You know, I generally say when a

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Speaker 1: sequel works, it either is a second attempt with improved

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Speaker 1: skills and or budget at the concepts of the first

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Speaker 1: Or is it it's a success full expansion of the

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Speaker 1: original concept, you know, not just a sell them another

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Speaker 1: scoop of the same ice cream, but give them something

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Speaker 1: that is transformative, you know.

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Speaker 2: I agree, and I think that's exactly what's going on

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Speaker 2: with Bride Frankenstein. James Whale's original Frankenstein is really good.

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Speaker 2: It's a solid adaptation of the novel, one of the

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Speaker 2: best universal monster movies. But Bride of frank is absolutely divine,

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Speaker 2: and so I'm wondering what exactly it does that really

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Speaker 2: has this step up quality going into the second movie

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Speaker 2: in this series. An interesting thing about Bride of Frankenstein

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Speaker 2: is that it is both a fulfillment of the promise

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Speaker 2: of the source material, in this case, Mary Wilston crafts

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Speaker 2: Shelley's novel Frankenstein or the modern Prometheus, and it forges

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Speaker 2: a new path. So in the sense that it's a

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Speaker 2: fulfillment of the source material, Bride of Frankenstein includes scenes

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Speaker 2: and themes from Shelley's nun that were left out of

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Speaker 2: the first movie, and also when it chooses to include

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Speaker 2: totally new things from out of left field, they are

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Speaker 2: great inclusions. So to start with like things that it

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Speaker 2: brings in from the novel, I think they're typically things

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Speaker 2: that deepen our emotional understanding of the creature. So one

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Speaker 2: example is that in Bride of frank the monster can talk.

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Speaker 2: The monster in the novel, of course, is amazingly articulate.

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Speaker 2: In the first movie, by contrast, it's a silent performance.

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Speaker 2: And I've seen film critics and historians make the interesting

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Speaker 2: observation that Frankenstein was one of the first mega hits

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Speaker 2: of the early sound film era, and yet its principal

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Speaker 2: performance from Boris Karloff was a mostly silent one.

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Speaker 1: Yeah. Yeah, In this we do see some interesting growth

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Speaker 1: in the monster. He's acquiring language, he's learning to express

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Speaker 1: himself better, and it makes Karlov's performance all the more enthralling.

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Speaker 1: There's this crackling, confused, traumatized and yet still hopeful energy

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Speaker 1: in the heart of the creature, just straining to reach

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Speaker 1: out and touch the world. Sadly, he lacks many of

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Speaker 1: the tools he needs, and he finds himself continually on

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Speaker 1: the other end of human violence and human manipulation. Like

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Speaker 1: you said, it's not on the same level of the

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Speaker 1: articulate monster we see in the novel who Is I

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Speaker 1: think it can is often interpreted as being almost kind

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Speaker 1: of like a fallen angel, you know, that's the kind

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Speaker 1: of energy he brings, so, you know, not quite the

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Speaker 1: same energy, but it moves a little closer to that

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Speaker 1: concept and does its own thing with it.

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Speaker 2: Yeah. The articulacy of the creature in the novel, I

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Speaker 2: think is often and this is actually in the novel itself,

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Speaker 2: is compared to Satan in Milton's Paradise Lost. Yeah, Karloff

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Speaker 2: in Bride is not like that. He's mostly speaking in

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Speaker 2: like short clipped statements. And apparently Karlov was wary of

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Speaker 2: the idea of having the monster speak in Bride. He

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Speaker 2: wasn't sure that was a good idea, but I think

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Speaker 2: it was the right move. Even though he's not giving

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Speaker 2: these these long moving speeches like he does in the book,

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Speaker 2: he has these heartbreakingly terse memorable lines, you know, like

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Speaker 2: love dead, hate living. Another thing from the novel that's

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Speaker 2: brought into to deepen the story here is the scene

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Speaker 2: where the monster makes friends with a blind man living

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Speaker 2: in a cabin. That is, it's not exactly the same,

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Speaker 2: but it's based on a section of the novel where

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Speaker 2: the creature observes people living in a remote cottage and

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Speaker 2: learns language from them, but is ultimately driven away when

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Speaker 2: sighted people finally catch a glimpse of him and react

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Speaker 2: with horror to his appearance. The scene in the book

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Speaker 2: where he realizes he is hated because he is ugly

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Speaker 2: is one of the saddest in the book, and they

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Speaker 2: explore those themes very well, and Bride I Think another

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Speaker 2: one the creature's desire for an undead mate. This is

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Speaker 2: also from the book, but left out of the first movie.

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Speaker 2: For the most part. In the novel, after the creature

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Speaker 2: realizes that living humans will all hate him and reject him,

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Speaker 2: he thinks his only hope of finding love and companionship

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Speaker 2: is for his creator to make another like him, so

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Speaker 2: he threatens Victor Frankenstein. He threatens his loved ones to

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Speaker 2: coerce him to make the creature an undead bride. But

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Speaker 2: then in the book, Victor I Think abandons the project

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Speaker 2: before it's completed, and he has a kind of stroke

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Speaker 2: of conscience and he says, no, I can't do this,

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Speaker 2: and then in a rage, the creature punishes him by

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Speaker 2: killing his fiance.

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Speaker 1: And it's in retrospect looking back on this, it's so

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Speaker 1: great that they came back and took this part of

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Speaker 1: the book and did something with it, because I remember

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Speaker 1: this being like one of the most impactful sections of

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Speaker 1: the novel, a novel that is full of fantastic ideas

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Speaker 1: and scenes. But yeah, this section of the book where

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Speaker 1: the doctor is forced to go back and do this

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Speaker 1: mad thing one more time and attempt to create a

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Speaker 1: mate for this monster just so it will leave him

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Speaker 1: and his loved ones alone, and then decides that for

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Speaker 1: the greater good he cannot go through.

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Speaker 2: In it, I agree exactly. So I think the movie

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Speaker 2: is really working because it pulls in all of these

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Speaker 2: great resonant elements from the original source material that you

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Speaker 2: know didn't fit into the first the plot of the

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Speaker 2: first film. But on the other hand, there is all

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Speaker 2: kinds of other stuff that is added purely from the

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Speaker 2: original genius of the filmmakers, and I think you could

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Speaker 2: you could bring up a lot of things here. One

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Speaker 2: I wanted to mention is comedy. I have not read

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Speaker 2: Frankenstein in a bit, but I don't recall it really

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Speaker 2: having much humor in it at all. I think it's

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Speaker 2: a very serious book, and while Bride of Frankenstein deals

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Speaker 2: with serious themes and has many serious moments, it is

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Speaker 2: also overflowing with irony and goofiness. Sometimes it's surprisingly goofy

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Speaker 2: wail understood horror storytelling according I think to the Granginioal

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Speaker 2: tradition of hot and cold showers, where tales of the

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Speaker 2: macabre would be alternately play back and forth with comedy

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Speaker 2: performances and good storytellers in the space. I think understand

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Speaker 2: that comedy is a wonderful release mechanism for the building

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Speaker 2: tension of the story. There's something that really works when

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Speaker 2: you alternate mounting tension and horror with comedy. So and

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Speaker 2: beyond that, there are also characters in this movie that

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Speaker 2: operate on the knife edge between horror and comedy at

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Speaker 2: all times. I think the prime example being probably my

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Speaker 2: favorite character from this movie, doctor Septimus Pretorius, a character

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Speaker 2: who is not in the novel, invented purely for Bride

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Speaker 2: of Frankkenstein. And that brings us to the other thing

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Speaker 2: I'd mentioned about this movie, a sort of original genius

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Speaker 2: zany characters. I love the novel Frankenstein, but it does

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Speaker 2: not have an ensemble of memorable characters with interesting quirks

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Speaker 2: and personalities. I think the genius of the novel is

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Speaker 2: in its scenario and themes, and in the development of

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Speaker 2: the main character of the creature right of. Frank, on

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Speaker 2: the other hand, convinced this whole ensemble of delightfully jagged

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Speaker 2: weirdos to give the story flavor. There's a kind of

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Speaker 2: Cohen Brothers quality to all of the secondary players here.

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Speaker 2: And I think the greatest example of this is the

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Speaker 2: villain of the movie, doctor Septimus Pretorius, played by Ernest Thesiger,

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Speaker 2: a flamboyantly bizarre professor, a scientist matter than any mad

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Speaker 2: scientist you've ever seen before. I think basically every single

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Speaker 2: moment Thesager is on screen is just gold. He has

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Speaker 2: turned up to eleven from his very first line, and

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Speaker 2: he does not he does not stop.

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Speaker 1: I agree, that's it's just amazing in this And.

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Speaker 2: While doctor Pretorius is the greatest, there's room for all

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Speaker 2: kinds of just you know, goobers and creeps and buffoons

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Speaker 2: and weird personalities to weave in and out of the

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Speaker 2: story here. Yeah.

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Speaker 1: Yeah, And I think the other amazing thing about this

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Speaker 1: is Okay, so the idea of horror in comedy working

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Speaker 1: together that that's nothing new, But everything just works so

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Speaker 1: smoothly in this film it can almost feel like a

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Speaker 1: surreal experience, especially given how jarring, sometimes intentionally the transaction

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Speaker 1: transition in and out of horror in comedy may be

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Speaker 1: in other works. There's just just in general, there's absolutely

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Speaker 1: nothing rough around the edges with this movie. You know,

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Speaker 1: there's there's much to be said again, how fresh and

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Speaker 1: exciting this nineteen thirty five film feels in terms of

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Speaker 1: its themes and performances, But even its effects are just

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Speaker 1: staggeringly effective. The monster's basic makeup does is of course iconic,

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Speaker 1: and you might expect that since it's iconic and you've

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Speaker 1: seen it replicated often poorly, you know, on various other

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Speaker 1: forms so many times, that it would lose some of

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Speaker 1: its punch, but it really doesn't. It just looks incredible

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Speaker 1: in every shot.

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Speaker 2: I totally agree. Yeah, I know exactly what you're saying, Like,

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Speaker 2: you know what the Carlos Frankenstein makeup looks like. You've

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Speaker 2: seen it a million times, so how could it still

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Speaker 2: be scary and shocking? But in my opinion, when you

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Speaker 2: watch the movie, it is like seeing it actually come

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Speaker 2: to life in motion situated within the context of the plot.

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Speaker 2: It doesn't matter how many times you've seen this pulled

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Speaker 2: out of context on posters and stills and all that,

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Speaker 2: it's still super creepy. It looks amazing, Yeah.

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Speaker 1: At every shot. On top of that, everything, every shot

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Speaker 1: is perfectly composed. The dialogue is all tight and interesting,

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Speaker 1: and other effects are amazing as well. There's a scene

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Speaker 1: late in the movie in which a model mountain tower

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Speaker 1: collapses in on itself. We've seen similar effects that rained

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Speaker 1: from terrible to great but clearly an effect in so

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Speaker 1: many pictures, but this one just looks and feels real

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Speaker 1: in a way that's truly admirable. Oh yeah, So, Joe,

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Speaker 1: what's your elevator pitch for Bride of Frankenstein?

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Speaker 2: You know it's difficult, so maybe it'd be something like

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Speaker 2: after Frankenstein, you thought you knew what it meant for

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Speaker 2: death to reign over life and for science to go mad,

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Speaker 2: But we have such sites to show you yet.

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Speaker 1: Yeah, I think that sums it up well. And of course,

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Speaker 1: to steal a line from the movie itself, have to

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Speaker 1: quote doctor Pretorius about a new world of gods and monsters.

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Speaker 1: I mean That's just one of the great lines of

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Speaker 1: the film and kind of sums up the spirit and

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Speaker 1: energy of the sequel.

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Speaker 2: Here in the scene, that line is offered as a toast,

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Speaker 2: and it is so good. But it's especially good knowing

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Speaker 2: the line which comes right before it, which is where

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Speaker 2: doctor Pretorius claims that Jin is his only weakness, and

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Speaker 2: he is clearly not correct in saying that.

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Speaker 1: There's another point in the film where he says something

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Speaker 1: else is his only weakness. Yeah, you're just so many

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Speaker 1: wonderful little quirks that that they're able to fit into

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Speaker 1: the dialogue here. All right, Well, let's go ahead and

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Speaker 1: listen to some trailer audio.

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Speaker 4: Oh yeah, all right.

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Speaker 1: Well, if you rightfully wish to go and watch Bride

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Speaker 1: of Frankenstein on your own before you continue with this episode,

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Speaker 1: well you're in luck because this is a Universal Monsters movie.

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Speaker 1: I mean, this is the shining gem of the Universal

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Speaker 1: Monsters franchise. So this one is widely available in all formats,

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Speaker 1: and I think it's streaming on Peacock right now, if

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Speaker 1: that is available to you. But any way you do it,

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Speaker 1: do see this movie in the best quality you can grab.

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Speaker 2: Yes, I would say the same thing This is one

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Speaker 2: where it really pays off to get the highest definition,

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Speaker 2: best visual quality you can because this is a great

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Speaker 2: looking movie and you want to get at every bit

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Speaker 2: of it.

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Speaker 1: All. Right now, getting into the connections here the people

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Speaker 1: that made this movie, we want to stress here that again,

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Speaker 1: this was a big sequel. This was a sequel to

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Speaker 1: a highly successful movie in which director James Whale got

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Speaker 1: to assemble a massively talented cast and crew. So we

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Speaker 1: are not going to be able to do justice to

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Speaker 1: everyone that was involved in bringing this film to life.

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Speaker 2: Yeah, there are a ton of people involved in this

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Speaker 2: movie that each have fascinating biographies, But because there are

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Speaker 2: so many of them, I think we're gonna have to

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Speaker 2: give fairly short statements on most of them. Just know

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Speaker 2: that there's a lot of people here that we will

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Speaker 2: get to kind of briefly, but they're each worth looking up.

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Speaker 1: Yeah, Yeah, and we may come back to many of

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Speaker 1: these people in the future. They're, like we were saying,

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Speaker 1: a lot of these folks are individuals who have they

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Speaker 1: came up in a smaller picture or a lesser picture.

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Speaker 1: We might spend a lot of time talking about who

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Speaker 1: they were and what their careers consisted of all right. Well,

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Speaker 1: starting at the top, of course, with the director. It's

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Speaker 1: James Whale, who lived eighteen eighty nine through nineteen fifty seven,

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Speaker 1: English director of film and the British stage, as well

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Speaker 1: as an occasional actor himself. He primarily came over to

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Speaker 1: the Hollywood system because with the transition to talkies, they

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Speaker 1: wanted to invest in directors who were great with dialogue,

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Speaker 1: and he had that reputation already. He's best remembered for

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Speaker 1: his horror projects, namely the two Frankenstein films. Nineteen thirty

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Speaker 1: three is The Invisible Man in nineteen thirty two's The

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Speaker 1: Old Dark House. His first film, nineteen thirties Journey's End,

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Speaker 1: was a war drama starring Colin Clive, and even after Frankenstein,

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Speaker 1: he continued to make non horror dramas such as nineteen

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Speaker 1: thirty threes by Candlelight, and even musicals like nineteen thirty

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Speaker 1: six's Showboat and late in his career the nineteen forty

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Speaker 1: adventure film Green Hell, which does have a terrific cast.

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Speaker 2: Like many of the directors we talked about who were

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Speaker 2: making great horror films in the early days of sound cinema,

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Speaker 2: I don't know if it would be right to say

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Speaker 2: that like horror was a passion of James Whale. I

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Speaker 2: think he probably wanted to focus more on dramas and such,

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Speaker 2: but you know, he did the work that he got

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Speaker 2: and he made great, great horror movies.

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Speaker 4: Yeah.

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Speaker 1: Yeah, it's time and time again. It's the case with

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Speaker 1: these directors, like they wanted to go up the ladder

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Speaker 1: towards bigger a list type pictures, prestige pictures that had

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Speaker 1: the cast, but also didn't deal with these lesser genres

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Speaker 1: of horror and sci fi. And that was just part

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Speaker 1: of the cinema world of the time, that was the industry.

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Speaker 1: And it's just kind of ironic that nowadays so many

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Speaker 1: of these individuals are best remembered, if not remembered, exclusively

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Speaker 1: for their genre entries.

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Speaker 2: This seems to be a situation where the original Frankenstein

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Speaker 2: was a huge hit. It made incredible money for Universal,

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Speaker 2: and that earned James Whale the right to make the

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Speaker 2: sequel on his own terms. Essentially, however, he wanted very

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Speaker 2: minimal studio interference, so Bride Frankenstein is the result of

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Speaker 2: Whale getting more or less total creative freedom and almost

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Speaker 2: all the resources and support he needed.

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Speaker 1: That's right, IM to understand. He had a lot of

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Speaker 1: say over the script, presented a lot of ideas for

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Speaker 1: the script. So yes, this is a film that more

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Speaker 1: accurately gives us James Whale's vision of Frankenstein. Now, I

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Speaker 1: should also note that James Whale was an openly gay

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Speaker 1: man during a time during which this was rare, So

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Speaker 1: his personal life has long been an area of interest

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Speaker 1: to both biographers and also just film theorists and people

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Speaker 1: analyzing his films and discussing the themes explored in them.

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Speaker 1: It's especially the case with Bride.

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Speaker 2: Yeah, I've read differing takes over the extent to which

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Speaker 2: Bride of Frankenstein should be interpreted as intentionally having gay

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Speaker 2: themes in it. Some film historians read a lot of

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Speaker 2: gay themes and to Bride. Others have said, I think

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Speaker 2: based on some comments about people who from people who

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Speaker 2: knew James Whale said that they didn't think he was

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Speaker 2: intending to put anything like that into the film. But

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Speaker 2: based on the sources available to us, I guess it's

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Speaker 2: impossible to know for sure, but whether it should be

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Speaker 2: interpreted as part of Wales's intention or not. Definitely, this

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Speaker 2: film has been a rich subject for a lot of

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Speaker 2: gay film historians.

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Speaker 1: Absolutely now. The source material, of course, is Mary Shelley's novel.

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Speaker 1: Mary Shelley lived seventeen ninety seven through eighteen fifty one

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Speaker 1: English writer responsible for a good seven novels and multiple

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Speaker 1: short stories, but her first novel, eighteen eighteens Frankenstein or

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Speaker 1: The Modern Prometheus, was the one that made her a legend.

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Speaker 1: To this day, it stands as a powerful, entertaining and

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Speaker 1: richly rewarding novel, highly influential over science fiction. She was

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Speaker 1: the wife of English poet Percy Shelley, with whom she

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Speaker 1: also worked. They, along with a friend and poet Lord Byron,

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Speaker 1: are depicted in this movie.

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Speaker 2: I was watching a making of documentary and people were

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Speaker 2: talking about how apparently Whale insisted on having this framing

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Speaker 2: narrative in the film, because the movie doesn't start in

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Speaker 2: the narrative itself. It starts with us seeing Lord Byron,

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Speaker 2: Percy and Mary Wilson Craft Shelley sitting around a roaring

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Speaker 2: fire and talking about the idea of the novel Frankenstein.

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Speaker 2: Apparently Whale thought that this framing was crucial and he

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Speaker 2: insisted that it be in And I think it does

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Speaker 2: some interesting things. Maybe we can talk about that when

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Speaker 2: we get to the plot section.

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Speaker 1: Yeah, yeah, I do think it's essential. It's hard to

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Speaker 1: imagine this movie without it. But more about that when

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Speaker 1: we get into the plot, all right. In terms of

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Speaker 1: the people involved with writing the screenplay and developing the story,

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Speaker 1: they're a number of uncredited writing credits that pop up

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Speaker 1: for this film on the Internet movie database. We can't

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Speaker 1: go through all of them, so I'm just going to

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Speaker 1: focus on the two names that are credited in the

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Speaker 1: actual credits on the film. Adapted by and screenplay credit

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Speaker 1: goes to William Hurlbut, who lived eighteen seventy eight through

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Speaker 1: nineteen fifty seven, American writer and screenwriter, certainly best remembered

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Speaker 1: for this film, but he has forty credits on IMDb,

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Speaker 1: going back to nineteen fifteen and then stretching up till

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Speaker 1: the mid fifties. Other notable credits include nineteen thirties The

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Speaker 1: Cat Creeps, The Will of the Dead Man, and nineteen

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Speaker 1: thirty four's Imitation of Life. He also did additional dialogue

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Speaker 1: on Robert Flore's Daughter of Hong Kong, starring the legendary

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Speaker 1: anime Wo And then we have An adapted by credit

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Speaker 1: for John L. Balderston, who lived eighteen eighty nine through

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Speaker 1: nineteen fifty four, American playwrights, screenwriter, and journalist with a

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00:25:43,040 --> 00:25:46,359
Speaker 1: nak var horror and fantasy. His work includes nineteen thirties

433
00:25:46,400 --> 00:25:49,159
Speaker 1: Dracula adapted from his own play, nineteen thirty two is

434
00:25:49,200 --> 00:25:53,240
Speaker 1: the Mummy, the nineteen thirty three time travel movie Berkeley Square,

435
00:25:53,600 --> 00:25:57,399
Speaker 1: nineteen thirty five's Mad Love, and nineteen forties The Mummy's Hand.

436
00:25:57,800 --> 00:26:01,520
Speaker 1: He was one of the Love Yeah, it's quite a pedigree.

437
00:26:01,760 --> 00:26:03,720
Speaker 1: He was also one of the writers on nineteen forty

438
00:26:03,760 --> 00:26:06,720
Speaker 1: four's gas Light, from which we get the term gas lighting.

439
00:26:07,160 --> 00:26:09,879
Speaker 1: All right, now getting into the cast clearly right at

440
00:26:09,920 --> 00:26:12,960
Speaker 1: the top, we have the Monster. The monster is played,

441
00:26:13,000 --> 00:26:15,840
Speaker 1: according to the opening credits, by Carloff.

442
00:26:18,280 --> 00:26:19,760
Speaker 2: First name, Yeah.

443
00:26:21,160 --> 00:26:23,520
Speaker 1: Yeah, I love this. This is of course, we're, of course,

444
00:26:23,520 --> 00:26:26,119
Speaker 1: of course talking about Boris Karloff. This is the stage

445
00:26:26,240 --> 00:26:29,640
Speaker 1: name of British actor William Henry Pratt, who lived eighteen

446
00:26:29,640 --> 00:26:32,520
Speaker 1: eighty seven through nineteen sixty nine. He's gone up on

447
00:26:32,560 --> 00:26:34,760
Speaker 1: the show a couple of times already. His credits go

448
00:26:34,840 --> 00:26:36,800
Speaker 1: back to nineteen nineteen, and he already had a long

449
00:26:36,880 --> 00:26:39,440
Speaker 1: filmography by the time with nineteen thirty one It's Frankenstein,

450
00:26:39,680 --> 00:26:42,600
Speaker 1: in which he of course plays the monster. Afterwards, some

451
00:26:42,720 --> 00:26:45,639
Speaker 1: of his big horror roles included nineteen thirty two is

452
00:26:45,680 --> 00:26:48,680
Speaker 1: the Mummy and the Old Dark House, nineteen thirty three

453
00:26:48,760 --> 00:26:52,840
Speaker 1: Is the Ghoul, nineteen thirty four's The Black Cat. After Bride,

454
00:26:52,960 --> 00:26:55,800
Speaker 1: he remained very active, playing the monster one more time

455
00:26:55,920 --> 00:26:59,240
Speaker 1: in nineteen thirty nine, Son of Frankenstein, but he remained

456
00:26:59,240 --> 00:27:02,520
Speaker 1: a superstar of He appeared in nineteen forty four's House

457
00:27:02,560 --> 00:27:05,760
Speaker 1: of Frankenstein, though not as the monster, and of course

458
00:27:05,800 --> 00:27:08,320
Speaker 1: he remained active throughout the rest of his life. All right,

459
00:27:08,400 --> 00:27:10,840
Speaker 1: So that is the monster, But of course we need

460
00:27:11,000 --> 00:27:13,920
Speaker 1: a true Frankenstein, and Frankenstein is, of course in this

461
00:27:14,080 --> 00:27:18,800
Speaker 1: movie Henry Frankenstein, the Creator, played once more by Colin Clive,

462
00:27:19,160 --> 00:27:22,320
Speaker 1: who lived nineteen hundred through nineteen thirty seven. Just a

463
00:27:22,400 --> 00:27:25,480
Speaker 1: tremendous but of course troubled and short lived British actor

464
00:27:25,840 --> 00:27:28,680
Speaker 1: who we previously discussed on our early Weird House Cinema

465
00:27:28,760 --> 00:27:31,680
Speaker 1: episode about nineteen thirty five's Mad Love, in which he

466
00:27:31,800 --> 00:27:35,600
Speaker 1: played Stephen Orlock. He's wonderful in that as well.

467
00:27:35,920 --> 00:27:40,320
Speaker 2: Yeah, he is and he. I think Colin Clive went

468
00:27:40,520 --> 00:27:43,840
Speaker 2: back to having worked with James Whale from the stage,

469
00:27:44,080 --> 00:27:47,399
Speaker 2: like that they had worked together before the transition to

470
00:27:47,480 --> 00:27:47,919
Speaker 2: film here.

471
00:27:48,240 --> 00:27:50,399
Speaker 1: Yeah, yeah, a lot. There are a number of players

472
00:27:50,440 --> 00:27:53,520
Speaker 1: in this that had personal connections to Wale. Whale had

473
00:27:53,560 --> 00:27:56,040
Speaker 1: worked with them before, he knew their talent, and they

474
00:27:56,080 --> 00:28:01,840
Speaker 1: were hand picked. Colin Clive is, I've never seen him

475
00:28:01,840 --> 00:28:04,119
Speaker 1: outside of a genre movie. I've only seen him in

476
00:28:04,160 --> 00:28:08,160
Speaker 1: these horror films, but he is always just this live

477
00:28:08,320 --> 00:28:12,200
Speaker 1: wire of anxiety and terror. He's perfect for a horror movie.

478
00:28:12,840 --> 00:28:13,160
Speaker 2: Of course.

479
00:28:13,480 --> 00:28:16,360
Speaker 1: In this he's reprising his role fro nineteen thirty one's Frankenstein.

480
00:28:16,480 --> 00:28:20,560
Speaker 1: That was only his third emotion picture. The two Frankenstein films,

481
00:28:20,600 --> 00:28:23,639
Speaker 1: along with Mad Love, constitute his only horror pictures. The

482
00:28:23,680 --> 00:28:26,119
Speaker 1: rest of his nineteen credits, including the title role in

483
00:28:26,200 --> 00:28:29,320
Speaker 1: nineteen thirty three's Christopher Strong, are all more mainstream.

484
00:28:29,760 --> 00:28:31,800
Speaker 2: Yeah. I think I also only know him for his

485
00:28:32,119 --> 00:28:36,320
Speaker 2: horror roles. But I recall in Mad Love he is

486
00:28:37,480 --> 00:28:41,120
Speaker 2: he gives a performance of such anxiety. I think the

487
00:28:41,240 --> 00:28:43,600
Speaker 2: way I put it then was that it feels like

488
00:28:43,680 --> 00:28:45,200
Speaker 2: he is undergoing vision.

489
00:28:46,240 --> 00:28:49,320
Speaker 1: Yes, in a way, you compare the two Roles. He's

490
00:28:49,360 --> 00:28:53,760
Speaker 1: actually more chill in this movie. Despite being an individual

491
00:28:53,800 --> 00:28:57,320
Speaker 1: who's gone through a horrifying and near death experience and

492
00:28:57,720 --> 00:28:59,760
Speaker 1: get and then is sucked back into that same world

493
00:29:00,000 --> 00:29:03,040
Speaker 1: once more, he still feels a little bit more chill.

494
00:29:03,080 --> 00:29:04,720
Speaker 1: I guess at least he can throw himself into his

495
00:29:04,840 --> 00:29:07,120
Speaker 1: work in a way that Stephen Orlock was no longer

496
00:29:07,200 --> 00:29:10,040
Speaker 1: able to do. All right. He has a love interest

497
00:29:10,120 --> 00:29:12,920
Speaker 1: in this though, and that is Elizabeth, played by Valerie Hobson,

498
00:29:12,960 --> 00:29:16,160
Speaker 1: who of nineteen seventeen through nineteen ninety eight Irish born

499
00:29:16,240 --> 00:29:19,600
Speaker 1: English actor. She takes over the role here from May Clark,

500
00:29:19,600 --> 00:29:22,320
Speaker 1: who played Henry's love interest Elizabeth in the previous film.

501
00:29:22,840 --> 00:29:25,400
Speaker 1: After this, she appeared in nineteen thirty five's were Wolf

502
00:29:25,440 --> 00:29:28,440
Speaker 1: of London and various other films through about nineteen fifty four.

503
00:29:29,000 --> 00:29:33,200
Speaker 2: So the character here is Elizabeth, that is Henry Frankenstein's fiance,

504
00:29:33,360 --> 00:29:37,720
Speaker 2: and I think she is supposed to represent goodness and virtue,

505
00:29:37,920 --> 00:29:40,640
Speaker 2: you know. So there are like there's this forking path

506
00:29:41,200 --> 00:29:45,160
Speaker 2: in the story where Henry could just choose a good life.

507
00:29:45,280 --> 00:29:47,200
Speaker 2: He could just you know, have a life of love

508
00:29:47,360 --> 00:29:51,240
Speaker 2: and family and pursuing regular noble career. Pursuits and all that.

509
00:29:52,160 --> 00:29:55,920
Speaker 2: But no, you know, she's that option. Instead, he's going

510
00:29:56,000 --> 00:29:58,600
Speaker 2: to go with dangerous knowledge.

511
00:29:59,360 --> 00:30:02,680
Speaker 1: Yes, of course he ends up having to choose that direction,

512
00:30:02,920 --> 00:30:05,160
Speaker 1: in part because he was manipulated, in part because she

513
00:30:05,240 --> 00:30:06,720
Speaker 1: has taken hostage.

514
00:30:07,960 --> 00:30:08,400
Speaker 2: In the book.

515
00:30:08,440 --> 00:30:10,520
Speaker 1: Of course, this is all part of the manipulations of

516
00:30:10,560 --> 00:30:14,080
Speaker 1: the monster. But the monster as presented in that first film,

517
00:30:14,720 --> 00:30:17,480
Speaker 1: the first Frankenstein film, is of course not a master manipulator.

518
00:30:17,640 --> 00:30:20,479
Speaker 1: Like he doesn't even speak. It's a huge step up

519
00:30:20,480 --> 00:30:22,160
Speaker 1: in this movie for him to be able to speak,

520
00:30:22,440 --> 00:30:24,280
Speaker 1: and you can see where it would have been unrealistic

521
00:30:24,560 --> 00:30:29,160
Speaker 1: for suddenly Frankenstein's Monster to be able to lay out

522
00:30:29,200 --> 00:30:31,720
Speaker 1: some sort of a vast scheme. So you need a

523
00:30:31,880 --> 00:30:34,840
Speaker 1: different sort of enemy, a different sort of villain, and

524
00:30:35,000 --> 00:30:38,640
Speaker 1: that is, of course doctor Pretorius played by Ernest Messiger.

525
00:30:39,000 --> 00:30:41,200
Speaker 2: The way to fight evil is with a different kind

526
00:30:41,280 --> 00:30:43,520
Speaker 2: of evil. To vote Chronicles of Britag.

527
00:30:43,640 --> 00:30:47,280
Speaker 1: I guess so yeah. Messenger lived eighteen seventy nine through

528
00:30:47,360 --> 00:30:51,959
Speaker 1: nineteen sixty one an English actor of stage and screen,

529
00:30:52,560 --> 00:30:56,960
Speaker 1: best remembered for this brilliant and flamboyant performance as the

530
00:30:57,040 --> 00:31:00,720
Speaker 1: maddest of mad scientists and mad Science Enablers. His other

531
00:31:00,800 --> 00:31:03,280
Speaker 1: credits include thirty two is the Old Dark House, thirty

532
00:31:03,320 --> 00:31:06,160
Speaker 1: threes The Ghoul, and nineteen fifty threes The Robe, in

533
00:31:06,200 --> 00:31:11,320
Speaker 1: which he plays Emperor Tiberius. It's my understanding he was

534
00:31:11,400 --> 00:31:14,760
Speaker 1: not the like original studio pick for this role, but

535
00:31:15,760 --> 00:31:18,920
Speaker 1: after whoever they wanted for it was not available or

536
00:31:18,920 --> 00:31:22,000
Speaker 1: it didn't work out, Like this was clearly Whyale's pick.

537
00:31:22,920 --> 00:31:26,160
Speaker 1: Whyal you know, had a history with this actor. He

538
00:31:26,640 --> 00:31:29,880
Speaker 1: really looked up to his his abilities and his talent,

539
00:31:30,400 --> 00:31:33,360
Speaker 1: and so this was like the obvious choice for this role.

540
00:31:33,480 --> 00:31:38,120
Speaker 1: And clearly it's impossible to imagine anyone else breathing life

541
00:31:38,400 --> 00:31:40,560
Speaker 1: into this character the way Thatsagre does.

542
00:31:41,360 --> 00:31:48,440
Speaker 2: Unreal, just brilliant, absurd, hilarious, sneering evil. I love Messager here.

543
00:31:49,200 --> 00:31:53,080
Speaker 2: Doctor Pretorius is a great character, and I yeah, I

544
00:31:53,200 --> 00:31:55,720
Speaker 2: could not imagine this going to a different actor. This

545
00:31:55,920 --> 00:31:59,200
Speaker 2: is like he is perfect all right.

546
00:31:59,320 --> 00:32:03,880
Speaker 1: Up next, we have Elsa Lanchester playing really the title

547
00:32:04,040 --> 00:32:08,080
Speaker 1: character of the film, even though the title character, the Bride,

548
00:32:08,200 --> 00:32:12,640
Speaker 1: is just credited with question marks in the opening scroll,

549
00:32:12,800 --> 00:32:14,680
Speaker 1: you know, because it's going to be a surprise, I guess.

550
00:32:16,000 --> 00:32:18,360
Speaker 1: But she it's a dual role because She also in

551
00:32:18,440 --> 00:32:21,840
Speaker 1: the early part of the film plays Mary Shelley, so

552
00:32:21,960 --> 00:32:25,720
Speaker 1: she plays both female creator and feminine creation, and these

553
00:32:25,880 --> 00:32:28,720
Speaker 1: two performances kind of bookend the rest of the picture.

554
00:32:29,160 --> 00:32:31,040
Speaker 2: I think the choice to have the same actress in

555
00:32:31,120 --> 00:32:34,040
Speaker 2: both those roles is significant. Though I don't know exactly

556
00:32:34,120 --> 00:32:36,440
Speaker 2: what it means, it feels right, Yeah.

557
00:32:36,520 --> 00:32:38,680
Speaker 1: I think that's one of the beauties about the show's

558
00:32:39,000 --> 00:32:42,320
Speaker 1: treatment of some of its more serious subject matter is

559
00:32:42,480 --> 00:32:45,640
Speaker 1: that it's kind of amorphous in a way, like you

560
00:32:45,680 --> 00:32:50,520
Speaker 1: can feel the connections, but the filmmakers don't like just

561
00:32:50,680 --> 00:32:53,320
Speaker 1: hammer it home in all cases. So there's plenty of

562
00:32:53,440 --> 00:32:56,960
Speaker 1: room for interpretation. Endless room for interpretation.

563
00:32:56,520 --> 00:33:00,200
Speaker 2: Really, right, but we should not hold back in thing.

564
00:33:00,280 --> 00:33:03,640
Speaker 2: Elsa Lanchester is great. She doesn't have actually a ton

565
00:33:03,760 --> 00:33:06,280
Speaker 2: of screen time, but the few minutes she is on

566
00:33:06,360 --> 00:33:09,040
Speaker 2: the screen, Wow, does she make an impression. Yeah.

567
00:33:09,080 --> 00:33:10,760
Speaker 1: I mean she's fun in the intro and then as

568
00:33:10,880 --> 00:33:15,360
Speaker 1: the Monster's mate she's accredited or the bride she has.

569
00:33:15,400 --> 00:33:17,920
Speaker 1: She has a wonderful and very different energy. It's almost

570
00:33:17,960 --> 00:33:22,120
Speaker 1: kind of an Avian energy. It's also also kind of

571
00:33:22,160 --> 00:33:28,000
Speaker 1: like a hyper focus like, while Frankenstein's Monster has more

572
00:33:28,040 --> 00:33:32,760
Speaker 1: of a like a lantern level of understand of analysis

573
00:33:32,800 --> 00:33:34,840
Speaker 1: of the world, and also kind of like a lantern

574
00:33:35,000 --> 00:33:39,400
Speaker 1: level anxiety and trauma about it. Hers is more laser focused.

575
00:33:39,400 --> 00:33:41,080
Speaker 1: She has that like flashlight intensity.

576
00:33:41,720 --> 00:33:43,520
Speaker 2: Yes, she has I see what you mean when you

577
00:33:43,600 --> 00:33:47,880
Speaker 2: say Avian. She has a jerky, almost bird like movements

578
00:33:47,920 --> 00:33:50,560
Speaker 2: of the head and the eyes. Once she's brought to

579
00:33:50,640 --> 00:33:55,040
Speaker 2: life as the reanimated Bride, is kind of like quick,

580
00:33:55,320 --> 00:33:58,720
Speaker 2: jerky adjustments of her attention around the room, and she

581
00:33:58,880 --> 00:34:00,880
Speaker 2: it seems like she doesn't like she's seeing.

582
00:34:01,120 --> 00:34:03,760
Speaker 1: No, and there's not a lot to like, but we'll

583
00:34:03,760 --> 00:34:06,680
Speaker 1: get to that after a bit. Elsa Lanchester Live nineteen

584
00:34:06,680 --> 00:34:09,520
Speaker 1: oh two through nineteen eighty six, English actor of film,

585
00:34:09,560 --> 00:34:13,560
Speaker 1: stage and TV. This is probably her most iconic role.

586
00:34:13,600 --> 00:34:15,920
Speaker 1: I mean it's just a very iconic role. Everybody knows

587
00:34:16,000 --> 00:34:18,680
Speaker 1: this look. Everybody knows that hair, right, I mean, the

588
00:34:18,680 --> 00:34:22,919
Speaker 1: whole costume is wonderful. As this we'll get into. She'd

589
00:34:22,960 --> 00:34:25,480
Speaker 1: already been acting for film for ten years by the

590
00:34:25,560 --> 00:34:28,160
Speaker 1: time of Bride, and continue to act through nineteen eighty.

591
00:34:28,800 --> 00:34:32,160
Speaker 1: Her later screen credits include forty three's Lassie Come Home,

592
00:34:32,360 --> 00:34:35,200
Speaker 1: forty six's The Spiral Staircase, forty nine is the Secret

593
00:34:35,239 --> 00:34:38,719
Speaker 1: Garden nineteen sixty four, is Mary Poppins that darn cat

594
00:34:38,800 --> 00:34:42,400
Speaker 1: in sixty five Other films of another There's fifty eight's

595
00:34:42,560 --> 00:34:46,640
Speaker 1: Bell Book and Candle, seventy three's Terror in the Wax Museum,

596
00:34:46,880 --> 00:34:50,280
Speaker 1: seventy six is murdered by death in nineteen eighties die Laughing.

597
00:34:50,680 --> 00:34:52,840
Speaker 1: She also appeared on such TV shows as The Magical

598
00:34:52,840 --> 00:34:56,279
Speaker 1: World of Disney and Night Gallery. I don't know why

599
00:34:56,320 --> 00:34:59,120
Speaker 1: I stressed it like that Night Gallery, not Night Gallery.

600
00:34:59,280 --> 00:35:04,200
Speaker 1: That's strange. Up next, we have to mention the character Minnie.

601
00:35:05,360 --> 00:35:08,640
Speaker 1: Minnie is another just this is just a ridiculously fun

602
00:35:08,760 --> 00:35:13,239
Speaker 1: character role, blatantly there for comic relief. And you know

603
00:35:13,320 --> 00:35:15,880
Speaker 1: the thing about comic relief characters in older pictures, they

604
00:35:15,880 --> 00:35:18,080
Speaker 1: don't always stand the test of time. Sometimes they don't

605
00:35:18,080 --> 00:35:20,560
Speaker 1: even stand the test of time, like ten years later,

606
00:35:20,960 --> 00:35:23,400
Speaker 1: much less with an eighty eight year old picture. But

607
00:35:23,960 --> 00:35:29,600
Speaker 1: Minnie is wonderful. This scared, nosy but also bloodthirsty old

608
00:35:29,719 --> 00:35:33,600
Speaker 1: maid u still delivers, still absolutely delivers.

609
00:35:33,800 --> 00:35:36,760
Speaker 2: I love the way that she is terrified of the monster,

610
00:35:36,880 --> 00:35:39,400
Speaker 2: but she also somehow seems to be following the monster

611
00:35:39,600 --> 00:35:43,120
Speaker 2: everywhere it goes. There's one part where the creature is

612
00:35:43,239 --> 00:35:45,800
Speaker 2: captured by the authorities and put in like a dungeon,

613
00:35:46,239 --> 00:35:48,840
Speaker 2: and Minnie is there looking down through the bars and

614
00:35:49,000 --> 00:35:51,600
Speaker 2: she's like, Ooh, wouldn't he ugly, you know, I'd hate

615
00:35:51,640 --> 00:35:53,920
Speaker 2: to wake up and find him hiding underneath my bed

616
00:35:54,000 --> 00:35:56,000
Speaker 2: at night. But she says it in a way that

617
00:35:56,120 --> 00:35:57,960
Speaker 2: suggests she would like to find that.

618
00:35:58,920 --> 00:35:59,160
Speaker 4: Yeah.

619
00:35:59,440 --> 00:36:01,840
Speaker 1: She she seems kind of like what would later be

620
00:36:02,000 --> 00:36:04,040
Speaker 1: known as or maybe was known in the time period.

621
00:36:04,080 --> 00:36:05,960
Speaker 1: I forget the time frame on this is a hat

622
00:36:06,040 --> 00:36:08,239
Speaker 1: ten mary. I think it's the term. This would be

623
00:36:08,320 --> 00:36:12,040
Speaker 1: an older woman at a pro wrestling show who would

624
00:36:12,480 --> 00:36:15,040
Speaker 1: try and poke the heels on their way to the

625
00:36:15,160 --> 00:36:19,359
Speaker 1: ring with their hat pins. So there's kind of yeah,

626
00:36:19,400 --> 00:36:22,840
Speaker 1: blood the fuity to her afraid of the monster, but

627
00:36:22,920 --> 00:36:25,440
Speaker 1: also really wants to be there when the monster is tormented.

628
00:36:25,680 --> 00:36:28,759
Speaker 2: But also this is a very broad comic performance, I

629
00:36:28,760 --> 00:36:31,719
Speaker 2: would say, almost cartoonish, but it works perfectly.

630
00:36:32,360 --> 00:36:34,960
Speaker 1: Yeah, And the actor here is Una O'Connor, who lived

631
00:36:35,040 --> 00:36:38,560
Speaker 1: eighteen eighty through nineteen fifty nine. She was only in

632
00:36:38,600 --> 00:36:40,839
Speaker 1: her mid fifties. Here she's played up as this old woman,

633
00:36:40,920 --> 00:36:43,680
Speaker 1: but she was not an old woman by any stretch

634
00:36:43,719 --> 00:36:46,880
Speaker 1: at this point. A tremendous Irish character actor with extensive

635
00:36:46,880 --> 00:36:50,560
Speaker 1: stage experience often cast in this sort of role. Though,

636
00:36:50,680 --> 00:36:52,800
Speaker 1: like I mean, and clearly why not, She's got it

637
00:36:52,920 --> 00:36:56,520
Speaker 1: nailed perfectly. Other films include The Invisible Man from thirty three,

638
00:36:56,640 --> 00:36:58,919
Speaker 1: The Informer from thirty five, and The Adventures of Robin

639
00:36:58,960 --> 00:36:59,799
Speaker 1: Hood from thirty eight.

640
00:37:00,480 --> 00:37:03,359
Speaker 2: Oh Man. Next, just to make sure we don't leave

641
00:37:03,440 --> 00:37:06,160
Speaker 2: him out, we should mention Dwight Frye, who has a

642
00:37:06,400 --> 00:37:10,200
Speaker 2: small role in this film as Carl, who is essentially

643
00:37:10,360 --> 00:37:14,200
Speaker 2: the new Egor, even though actually Egor wouldn't come until later,

644
00:37:14,360 --> 00:37:17,919
Speaker 2: is the new Fritz, and he's played by the same

645
00:37:18,000 --> 00:37:22,400
Speaker 2: actor who played Fritz in the original Frankenstein. So. Dwight

646
00:37:22,560 --> 00:37:26,120
Speaker 2: Frye lived eighteen ninety nine to nineteen forty three. He

647
00:37:26,360 --> 00:37:30,520
Speaker 2: was Wrinfield in Todd Browning Stracula. He apparently at first

648
00:37:30,600 --> 00:37:32,680
Speaker 2: had a more substantial part in the movie, but it

649
00:37:32,800 --> 00:37:34,759
Speaker 2: was allegedly cut down by censors.

650
00:37:35,600 --> 00:37:38,120
Speaker 1: Yeah, there's apparently like fifteen minutes or so that the

651
00:37:38,160 --> 00:37:40,239
Speaker 1: sensors cut out of this film just because they really

652
00:37:40,280 --> 00:37:42,320
Speaker 1: wanted to play it safe. A lot of it was

653
00:37:42,400 --> 00:37:45,120
Speaker 1: stuff that they thought might come off as blasphemous talking

654
00:37:45,239 --> 00:37:48,120
Speaker 1: you know, getting into the whole thesis of creating live.

655
00:37:48,280 --> 00:37:50,640
Speaker 1: I think some of it too, was Mary Shelley's dress.

656
00:37:51,320 --> 00:37:53,279
Speaker 1: They thought some angles on it were maybe a little

657
00:37:53,320 --> 00:37:55,640
Speaker 1: too risky for the time period, that sort of thing.

658
00:37:55,680 --> 00:38:00,080
Speaker 1: And some sort of subplot here with Carl and and

659
00:38:00,160 --> 00:38:04,879
Speaker 1: whatever he's up to outside of his grave robbing side gig.

660
00:38:05,320 --> 00:38:08,560
Speaker 2: I think he was supposed to murder the mustache guy.

661
00:38:09,239 --> 00:38:10,239
Speaker 1: Oh, the burgermaster.

662
00:38:10,440 --> 00:38:10,600
Speaker 4: Yeah.

663
00:38:10,800 --> 00:38:14,640
Speaker 1: Yeah, so you mentioned that he's the egor of the film.

664
00:38:14,640 --> 00:38:16,319
Speaker 1: He was very much the egor of the film. But yeah,

665
00:38:16,360 --> 00:38:19,080
Speaker 1: the timeline of this is interesting because we were chatting

666
00:38:19,080 --> 00:38:22,200
Speaker 1: about this off of Mike earlier. There is no egor

667
00:38:22,440 --> 00:38:25,960
Speaker 1: in the novel Frankenstein. There is no egor in the

668
00:38:26,040 --> 00:38:29,280
Speaker 1: first Frankenstein movie. Instead, you have, like you said, Fritz

669
00:38:29,600 --> 00:38:32,719
Speaker 1: played by Dwight Frye, and then they bring him back

670
00:38:32,760 --> 00:38:35,200
Speaker 1: to play Carl, which is essentially the same sort of character.

671
00:38:35,880 --> 00:38:38,160
Speaker 1: And then it's not till nineteen thirty nine, Son of

672
00:38:38,200 --> 00:38:42,520
Speaker 1: Frankenstein that we get Igor Igor, we get this role

673
00:38:42,719 --> 00:38:47,520
Speaker 1: that is played by Bella Lagosi. But in retrospect, it's

674
00:38:47,600 --> 00:38:49,840
Speaker 1: like that that's what we think of as this position,

675
00:38:50,040 --> 00:38:55,000
Speaker 1: this sort of like deranged henchman to Doctor Frankenstein. We

676
00:38:55,080 --> 00:38:56,759
Speaker 1: think of it as the Egor role.

677
00:38:57,280 --> 00:39:00,680
Speaker 2: I also think it's interesting that the actual character named

678
00:39:00,840 --> 00:39:03,640
Speaker 2: Egor was played by Bella Lagosi, So you would think

679
00:39:03,719 --> 00:39:07,480
Speaker 2: you would really remember that casting, you would associate Bella

680
00:39:07,600 --> 00:39:10,080
Speaker 2: with the character. But I very much think of Dwight

681
00:39:10,200 --> 00:39:11,440
Speaker 2: Fry when I think of Igor.

682
00:39:12,160 --> 00:39:14,440
Speaker 1: Yeah, yeah, he's good in this role. He's got some

683
00:39:14,520 --> 00:39:17,120
Speaker 1: good Hinchman energy. He'd go on to have small roles

684
00:39:17,160 --> 00:39:20,320
Speaker 1: in other Frankenstein films, various other pictures. He also pops

685
00:39:20,360 --> 00:39:23,040
Speaker 1: up in nineteen thirty one's The Maltese Falcon. All right,

686
00:39:23,600 --> 00:39:26,160
Speaker 1: real quick. The Burgo Master, who we mentioned is very fun,

687
00:39:26,320 --> 00:39:29,840
Speaker 1: a very very fun mustachio of performance. This character is

688
00:39:29,840 --> 00:39:32,080
Speaker 1: played by the actor E. E. Clive, who lived eighteen

689
00:39:32,120 --> 00:39:34,760
Speaker 1: eighty three through nineteen forty. He was also in thirty

690
00:39:34,800 --> 00:39:38,080
Speaker 1: three's The Invisible Man. Another one I'm going to point

691
00:39:38,080 --> 00:39:39,920
Speaker 1: out real quick in passing. Again, we don't have time

692
00:39:39,960 --> 00:39:43,000
Speaker 1: to go into all of these characters. Opi Hedge plays

693
00:39:43,040 --> 00:39:45,920
Speaker 1: the Blind Hermit, an Australian born actor. This is one

694
00:39:45,920 --> 00:39:48,319
Speaker 1: of his final roles. He lived eighteen seventy seven through

695
00:39:48,400 --> 00:39:49,319
Speaker 1: nineteen thirty six.

696
00:39:50,480 --> 00:39:52,840
Speaker 2: Oh he brings a lot of humanity to the story

697
00:39:53,120 --> 00:39:53,520
Speaker 2: he does.

698
00:39:53,600 --> 00:39:55,439
Speaker 1: It is a really it's a shame not to spend

699
00:39:55,480 --> 00:39:56,759
Speaker 1: more time on him, because it is. He gets a

700
00:39:56,800 --> 00:39:59,560
Speaker 1: lot of screen time, brings humanity to the role and

701
00:39:59,640 --> 00:40:02,759
Speaker 1: brings humanity out of the monster. But let us not

702
00:40:02,840 --> 00:40:06,239
Speaker 1: forget Lord Byron. He's fairly in the film, just in

703
00:40:06,360 --> 00:40:09,640
Speaker 1: that opening bit that I believe was rather cut down.

704
00:40:10,200 --> 00:40:13,600
Speaker 1: But Gavin Gordon plays Lord Byron. He lived nineteen oh

705
00:40:13,640 --> 00:40:16,919
Speaker 1: one through nineteen eighty three. He was a Mississippi born

706
00:40:16,960 --> 00:40:20,640
Speaker 1: American actor whose credits include nineteen thirty three's Mystery of

707
00:40:20,680 --> 00:40:23,800
Speaker 1: the Wax Museum, fifty four's White Christmas, fifty six is

708
00:40:23,840 --> 00:40:27,280
Speaker 1: the Ten Commandments, the Eldest film from fifty eight Keen Creole,

709
00:40:27,600 --> 00:40:30,160
Speaker 1: and also the nineteen fifty nine movie The Bat opposite

710
00:40:30,200 --> 00:40:30,880
Speaker 1: Vincent Price.

711
00:40:31,360 --> 00:40:34,480
Speaker 2: I love him in this role, but I have no

712
00:40:34,719 --> 00:40:37,960
Speaker 2: idea what he's trying to do with this accent. It

713
00:40:38,080 --> 00:40:38,640
Speaker 2: is so over.

714
00:40:38,760 --> 00:40:41,960
Speaker 1: I mean, it's a wonderful campy way to start off

715
00:40:42,000 --> 00:40:44,319
Speaker 1: this film. It kind of sets the tone. Once you've

716
00:40:44,400 --> 00:40:48,480
Speaker 1: seen Gavin Gordon's Lord Byron, I mean, where can you go?

717
00:40:48,640 --> 00:40:50,840
Speaker 1: You know you're already in the clouds it's.

718
00:40:50,719 --> 00:40:55,600
Speaker 2: Like part really like rolling the rs on the Irish accent,

719
00:40:55,800 --> 00:40:59,800
Speaker 2: but then also part English accent, part Southern accent. It

720
00:40:59,880 --> 00:41:02,200
Speaker 2: is is it's something, it's something else.

721
00:41:02,680 --> 00:41:06,120
Speaker 1: Yes, now, a very small role, but one is a

722
00:41:06,160 --> 00:41:08,880
Speaker 1: lot of fun for film film fans and you know,

723
00:41:09,000 --> 00:41:12,040
Speaker 1: and horror fans certainly. There's a scene, of course, where

724
00:41:12,080 --> 00:41:14,440
Speaker 1: we're talking about the We have the hermit who's blind.

725
00:41:14,640 --> 00:41:17,560
Speaker 1: He forges this relationship with the monster, but then sighted

726
00:41:17,600 --> 00:41:20,279
Speaker 1: people show up and ruin it. The two sided people

727
00:41:20,320 --> 00:41:22,879
Speaker 1: that show up are a couple of lost hunters, one

728
00:41:22,960 --> 00:41:27,520
Speaker 1: of whom is played by John Carodine. Oh yeah, who's

729
00:41:27,760 --> 00:41:29,799
Speaker 1: literally in everything, it seems.

730
00:41:30,080 --> 00:41:32,439
Speaker 2: In every movie ever made. So of course he would

731
00:41:32,440 --> 00:41:35,120
Speaker 2: be in this one too. But yeah, you wouldn't have known.

732
00:41:35,640 --> 00:41:39,000
Speaker 1: Yeah, it's it's an uncredited role, but it's also unmistakable

733
00:41:39,000 --> 00:41:41,440
Speaker 1: because he does have some lines. And also, I mean

734
00:41:41,480 --> 00:41:44,279
Speaker 1: it's just clearly John Carrodine, you know he has he

735
00:41:44,320 --> 00:41:46,719
Speaker 1: has that lean and hungry look even though he's very

736
00:41:46,760 --> 00:41:50,000
Speaker 1: young here he lived nineteen oh six through nineteen eighty eight.

737
00:41:50,080 --> 00:41:53,120
Speaker 1: We've we've discussed him on the show before. Very long career,

738
00:41:53,600 --> 00:41:57,520
Speaker 1: all manner of films he was in, he had. He

739
00:41:57,560 --> 00:41:59,840
Speaker 1: had already had uncredited roles in thirty three Is in

740
00:41:59,840 --> 00:42:03,279
Speaker 1: the Visible Man and thirty four's The Black Cat. He'd

741
00:42:03,320 --> 00:42:05,560
Speaker 1: go on to be a horror staple and would play

742
00:42:05,640 --> 00:42:08,799
Speaker 1: Dracula in nineteen forty four's House of Frankenstein.

743
00:42:09,239 --> 00:42:11,880
Speaker 2: I don't really know exactly why he should be lost.

744
00:42:11,960 --> 00:42:14,600
Speaker 2: Wouldn't he just know to get on the night train

745
00:42:15,040 --> 00:42:17,360
Speaker 2: to Mundo fie.

746
00:42:18,520 --> 00:42:20,839
Speaker 1: I you'd think you would, You'd think you would. All right,

747
00:42:21,000 --> 00:42:25,040
Speaker 1: just a few quick behind the scenes references. They're just

748
00:42:25,040 --> 00:42:26,520
Speaker 1: because I'm not going to go into them in depth,

749
00:42:26,560 --> 00:42:28,799
Speaker 1: but just got to mention them, just because they're part

750
00:42:28,840 --> 00:42:32,880
Speaker 1: of the alchemy here. Franz Waxman did the score. He

751
00:42:32,960 --> 00:42:35,160
Speaker 1: lived nineteen oh six through nineteen sixty seven. Two time

752
00:42:35,200 --> 00:42:38,600
Speaker 1: Oscar winner for nineteen fifty one Sunset Boulevard in fifty

753
00:42:38,640 --> 00:42:40,600
Speaker 1: two Is A Place in the Sun. He also scored

754
00:42:40,680 --> 00:42:44,200
Speaker 1: nineteen forties Rebecca in nineteen forty one Suspicion It is.

755
00:42:44,560 --> 00:42:47,800
Speaker 1: It is a very classic Hollywood score, but it is

756
00:42:47,840 --> 00:42:50,480
Speaker 1: also a very good score. A lot has been written

757
00:42:50,520 --> 00:42:52,560
Speaker 1: about this. It's not necessarily the kind of music I

758
00:42:52,640 --> 00:42:55,560
Speaker 1: listened to an isolation or anything, but it is.

759
00:42:56,360 --> 00:42:56,960
Speaker 2: It is not a.

760
00:42:57,440 --> 00:42:59,200
Speaker 1: This is no sloppy score here. This is one of

761
00:42:59,239 --> 00:43:01,520
Speaker 1: those scores where there's a lot of thought that goes

762
00:43:01,600 --> 00:43:05,160
Speaker 1: into what different musical themes match up with the characters

763
00:43:05,200 --> 00:43:05,759
Speaker 1: and so forth.

764
00:43:06,280 --> 00:43:09,800
Speaker 2: Agreed. Now, this is also an amazing looking film and

765
00:43:10,080 --> 00:43:13,200
Speaker 2: one with a superb makeup effects, so I think we

766
00:43:13,239 --> 00:43:15,440
Speaker 2: should call out those credits. That's right.

767
00:43:16,160 --> 00:43:20,160
Speaker 1: On the makeup front, we have Jack p. Pierce credited

768
00:43:20,200 --> 00:43:22,919
Speaker 1: for the monster makeup. He lived eighteen eighty nine through

769
00:43:23,080 --> 00:43:25,520
Speaker 1: nineteen sixty eight. He also did the makeup on nineteen

770
00:43:25,560 --> 00:43:28,400
Speaker 1: forty one's The Wolfman And Yeah, the cinematographer on this

771
00:43:28,560 --> 00:43:31,759
Speaker 1: was John J. Mescal who lived eighteen ninety nine through

772
00:43:31,800 --> 00:43:34,200
Speaker 1: nineteen sixty two, also known for thirty four as the

773
00:43:34,239 --> 00:43:34,759
Speaker 1: Black Cat.

774
00:43:35,600 --> 00:43:39,360
Speaker 2: I've watched some interviews with people talking about what it

775
00:43:39,480 --> 00:43:42,520
Speaker 2: was like to work with Jack Pierce supplying makeup. There's

776
00:43:42,560 --> 00:43:48,360
Speaker 2: a story of Elsa Lanchester talking about the painstaking, delicate

777
00:43:48,480 --> 00:43:53,120
Speaker 2: procedure that he would use to apply the makeup for

778
00:43:53,239 --> 00:43:57,600
Speaker 2: the scar running underneath the bride's jaw, which she was like,

779
00:43:57,920 --> 00:44:00,800
Speaker 2: ultimately was only on screen for about a second that

780
00:44:00,920 --> 00:44:03,840
Speaker 2: you could actually see, but that you know, he really

781
00:44:04,680 --> 00:44:08,480
Speaker 2: was taking a kind of religious care to make it perfect.

782
00:44:09,400 --> 00:44:12,600
Speaker 1: Yeah, I mean in that level of craftsmanship just matches

783
00:44:12,680 --> 00:44:24,440
Speaker 1: up with everything else we see on the film. All right, well,

784
00:44:24,480 --> 00:44:26,320
Speaker 1: shall we get into the plot of this baby a

785
00:44:26,400 --> 00:44:26,759
Speaker 1: bit more?

786
00:44:27,080 --> 00:44:29,680
Speaker 2: Okay, Well, we start on a dark and stormy night.

787
00:44:29,960 --> 00:44:33,279
Speaker 2: We see a retigenous castle perched up on a rocky

788
00:44:33,360 --> 00:44:36,000
Speaker 2: mountaintop in the dark, with light pouring out from one

789
00:44:36,040 --> 00:44:41,000
Speaker 2: of the windows and thundercracks, rain battering the stonework towers.

790
00:44:41,120 --> 00:44:45,719
Speaker 2: It's perfect Gothic setting. And inside the castle we get

791
00:44:45,800 --> 00:44:49,200
Speaker 2: some poets. There are three writers sitting around a roaring fireplace.

792
00:44:49,560 --> 00:44:52,120
Speaker 2: There's also a quick shot of a lady who looks

793
00:44:52,120 --> 00:44:55,719
Speaker 2: almost like she's being pulled by it, like sled dogs indoors.

794
00:44:55,960 --> 00:44:58,600
Speaker 2: I think she's actually just walking dogs on a leash,

795
00:44:58,680 --> 00:45:00,839
Speaker 2: and she has a you know, one of those large

796
00:45:00,920 --> 00:45:03,520
Speaker 2: wide skirts, so you don't see her legs moving much.

797
00:45:03,640 --> 00:45:06,560
Speaker 2: But yeah, she's like walking dogs indoors. For some reason,

798
00:45:06,840 --> 00:45:09,560
Speaker 2: she's quickly out of frame. And then we get to

799
00:45:09,760 --> 00:45:14,600
Speaker 2: this prologue, this framing idea, with the characters of Percy Biss,

800
00:45:14,640 --> 00:45:18,279
Speaker 2: Shelley Lord Byron, and Mary Wolstoncraft. Shelley, who again is

801
00:45:18,360 --> 00:45:21,279
Speaker 2: the author of the novel Frankenstein. Oh and by the way,

802
00:45:21,520 --> 00:45:24,600
Speaker 2: if you don't know the backstory Frankenstein, the novel began

803
00:45:25,040 --> 00:45:28,840
Speaker 2: as a spooky story that Mary Shelley dreamed up for

804
00:45:29,400 --> 00:45:31,880
Speaker 2: a sort of contest. I think when these three and

805
00:45:31,920 --> 00:45:34,399
Speaker 2: at least one other writers, you know, some group of them,

806
00:45:34,760 --> 00:45:38,399
Speaker 2: were staying at a mansion near Lake Geneva one year. Yeah.

807
00:45:38,480 --> 00:45:41,160
Speaker 1: This would go on to be sort of the germ

808
00:45:41,360 --> 00:45:44,800
Speaker 1: for the nineteen eighty six film Gothic, in which Gabriel

809
00:45:44,920 --> 00:45:49,120
Speaker 1: Byrne plays Byron, Julian Sands plays Shelley, and Natasha Richardson

810
00:45:49,200 --> 00:45:51,279
Speaker 1: plays Mary as a kin Russell film.

811
00:45:51,320 --> 00:45:53,480
Speaker 2: By the way, Oh really, I haven't seen that one.

812
00:45:53,880 --> 00:45:55,520
Speaker 1: It's been a while. I don't remember much about it.

813
00:45:55,880 --> 00:45:57,680
Speaker 2: Is there somebody playing John Pauladorian?

814
00:45:57,760 --> 00:45:57,800
Speaker 3: Know?

815
00:45:57,920 --> 00:46:01,160
Speaker 2: That was the at least one other there was John Paulodori,

816
00:46:01,200 --> 00:46:05,239
Speaker 2: who ended up turning a story from this summer get

817
00:46:05,280 --> 00:46:08,719
Speaker 2: together into a novel or novella called The Vampire.

818
00:46:09,440 --> 00:46:12,920
Speaker 1: Yes, and he is played by the always excellent Timothy Spall.

819
00:46:13,480 --> 00:46:16,560
Speaker 2: Oh. Okay, now, as we mentioned, the guy playing Lord

820
00:46:16,600 --> 00:46:21,400
Speaker 2: Byron really gets into his part. In fact, I decided

821
00:46:21,480 --> 00:46:24,680
Speaker 2: to type out his opening monologue here because he's he's

822
00:46:24,719 --> 00:46:27,080
Speaker 2: looking out the window at the storm, and he says,

823
00:46:27,120 --> 00:46:31,319
Speaker 2: how beautifully dramatic, the crudest, savage exhibition of nature at

824
00:46:31,400 --> 00:46:35,240
Speaker 2: her worst without and we three, we elegant three within.

825
00:46:35,960 --> 00:46:38,840
Speaker 2: I should like to think that an irated Jehovah was

826
00:46:38,960 --> 00:46:42,480
Speaker 2: pointing those arrows of lightning directly at my head, the

827
00:46:42,719 --> 00:46:48,360
Speaker 2: unbowed head of George Gordon, Lord Byron, England's greatest sinner.

828
00:46:50,440 --> 00:46:52,360
Speaker 2: But then he says, but I cannot flatter myself to

829
00:46:52,440 --> 00:46:55,840
Speaker 2: that extent. Possibly those thunders are for our dear Shelley,

830
00:46:56,000 --> 00:47:00,600
Speaker 2: referring to Percy Heaven's applause for England's greatest poet. But

831
00:47:00,719 --> 00:47:04,839
Speaker 2: then Percy says, well, what about my Mary? And Byron says, oh,

832
00:47:04,960 --> 00:47:08,480
Speaker 2: she is an angel? And Mary looks up from her

833
00:47:08,680 --> 00:47:13,319
Speaker 2: embroidery with this flashing smile and says, you think so ooh,

834
00:47:13,360 --> 00:47:15,680
Speaker 2: And I love that because her smile is a little

835
00:47:15,719 --> 00:47:16,440
Speaker 2: bit creepy.

836
00:47:17,280 --> 00:47:19,799
Speaker 1: Yeah, yeah, because as they're about to allude to here,

837
00:47:20,320 --> 00:47:22,759
Speaker 1: you know, they're talking about how great they are, these

838
00:47:22,800 --> 00:47:26,399
Speaker 1: two male poets. But they have to acknowledge that Mary,

839
00:47:26,440 --> 00:47:28,319
Speaker 1: even though they're kind of treating her like this very

840
00:47:28,680 --> 00:47:33,840
Speaker 1: fragile thing that she has already created something that is

841
00:47:34,280 --> 00:47:37,719
Speaker 1: terrifying to everyone there, and then they're already at least

842
00:47:37,760 --> 00:47:39,800
Speaker 1: a bit in awe of her creative powers.

843
00:47:40,160 --> 00:47:44,160
Speaker 2: That's right. I've read that at some point James Whale

844
00:47:44,200 --> 00:47:47,000
Speaker 2: said to someone that with this opening scene and in

845
00:47:47,120 --> 00:47:50,360
Speaker 2: the movie in general, he wanted to emphasize that quote,

846
00:47:50,520 --> 00:47:54,759
Speaker 2: pretty people can harbor the most twisted imaginations. So we

847
00:47:54,880 --> 00:47:59,719
Speaker 2: have Byron here chattering somewhat condescendingly about how, oh Mary

848
00:48:00,320 --> 00:48:03,520
Speaker 2: you are, this delicate, beautiful, angelic creature, and yet she

849
00:48:03,640 --> 00:48:08,080
Speaker 2: has written a story so dreadful it curdled my blood. Meanwhile,

850
00:48:08,320 --> 00:48:12,120
Speaker 2: she's just blasting out this creepy smile with gleaming eyes

851
00:48:12,239 --> 00:48:15,640
Speaker 2: and giggling, and she says, why shouldn't I write monsters?

852
00:48:16,200 --> 00:48:19,120
Speaker 2: And there's something in this that suggests, buddy, you ain't

853
00:48:19,160 --> 00:48:20,040
Speaker 2: seen nothing yet.

854
00:48:21,600 --> 00:48:24,359
Speaker 1: They're also kind of toying with the prestige of Lord

855
00:48:24,440 --> 00:48:28,600
Speaker 1: Byron and Percy Shelley here, his famous and influential writers,

856
00:48:28,960 --> 00:48:31,800
Speaker 1: while of course Mary's work I think ultimately casts a

857
00:48:31,880 --> 00:48:34,839
Speaker 1: far greater shadow over the following centuries, you know, far

858
00:48:34,920 --> 00:48:37,480
Speaker 1: greater than both of them combined. I don't know, my

859
00:48:37,719 --> 00:48:40,200
Speaker 1: fellow English majors may respectfully disagree on the matter.

860
00:48:40,600 --> 00:48:43,200
Speaker 2: Oh no, I would totally agree, and I think it'd

861
00:48:43,239 --> 00:48:45,400
Speaker 2: be kind of hard to argue with that. So not

862
00:48:45,600 --> 00:48:49,600
Speaker 2: to knock either Percy Shelley or Lord Byron. I enjoy

863
00:48:49,680 --> 00:48:52,000
Speaker 2: them both. I think they're both necessary reading if you

864
00:48:52,520 --> 00:48:55,719
Speaker 2: want to understand the Romantic movement in English literature, and

865
00:48:55,880 --> 00:48:58,879
Speaker 2: that each wrote some poetry that's still wonderful to read today,

866
00:48:59,120 --> 00:49:03,720
Speaker 2: I think especially. But it could be argued that Mary

867
00:49:04,239 --> 00:49:07,759
Speaker 2: essentially is the founder of modern science fiction, and I

868
00:49:07,840 --> 00:49:11,359
Speaker 2: think that's like hugely more significant in the long run,

869
00:49:12,480 --> 00:49:16,560
Speaker 2: and especially in the way that she established themes like

870
00:49:16,719 --> 00:49:21,560
Speaker 2: the themes of Frankenstein are themes that are still explored

871
00:49:21,640 --> 00:49:24,239
Speaker 2: in science fiction and science fiction horror to this day,

872
00:49:24,400 --> 00:49:29,160
Speaker 2: especially ideas about the dark side of the power unleashed

873
00:49:29,280 --> 00:49:33,880
Speaker 2: by advances in science and technology. You know, Frankenstein. It

874
00:49:34,080 --> 00:49:37,880
Speaker 2: was a story about how not all increase of human

875
00:49:38,160 --> 00:49:42,560
Speaker 2: power is good, and sometimes in blithely plowing ahead with

876
00:49:42,719 --> 00:49:46,680
Speaker 2: newly acquired scientific and technological powers, if you don't think

877
00:49:46,760 --> 00:49:49,840
Speaker 2: through the consequences, you make monsters, or you make a

878
00:49:49,920 --> 00:49:52,840
Speaker 2: monster out of yourself. It's one of the most enduring

879
00:49:53,000 --> 00:49:56,640
Speaker 2: themes of modern storytelling and it still finds new ways

880
00:49:56,719 --> 00:50:02,880
Speaker 2: of being entertaining, frightening, and socially insightful. You'll encounter hundreds

881
00:50:02,920 --> 00:50:05,720
Speaker 2: of novels and movies and all kinds of interesting stories

882
00:50:05,800 --> 00:50:09,160
Speaker 2: coming out this year that are still hashing through themes

883
00:50:09,239 --> 00:50:11,239
Speaker 2: that Mary Shelley raised in Frankenstein.

884
00:50:12,239 --> 00:50:14,600
Speaker 1: Yeah. Yeah, and each time it's retold, you can do

885
00:50:14,640 --> 00:50:18,640
Speaker 1: it in a way that reflects modern anxieties and modern s.

886
00:50:18,680 --> 00:50:20,880
Speaker 1: It's abilities all right. But the other part of this

887
00:50:21,000 --> 00:50:24,960
Speaker 1: whole intro is that basically we get a previously on Frankenstein.

888
00:50:25,120 --> 00:50:28,000
Speaker 2: Yes, I love that. So the framing narrative with Mary

889
00:50:28,040 --> 00:50:31,640
Speaker 2: Shelley serves as a way to remind us what happened

890
00:50:31,640 --> 00:50:34,840
Speaker 2: in the previous movie. It's sort of narrated by Byron's

891
00:50:34,960 --> 00:50:38,200
Speaker 2: like he's basically like a kid explaining the plot of

892
00:50:38,280 --> 00:50:41,200
Speaker 2: his favorite movie, except he's explaining the plot of the

893
00:50:41,360 --> 00:50:44,920
Speaker 2: movie Frankenstein to the author of Frankenstein.

894
00:50:45,560 --> 00:50:48,759
Speaker 1: Perfect though, it's perfect for what they're putting together here. Yes,

895
00:50:49,080 --> 00:50:51,799
Speaker 1: this was before man'splaining was the thing. I mean, well,

896
00:50:51,920 --> 00:50:53,840
Speaker 1: obviously it was a thing already, but before it was

897
00:50:53,880 --> 00:50:55,640
Speaker 1: a term. It's what we have here.

898
00:50:56,280 --> 00:50:59,799
Speaker 2: So the broad strokes go like this Frankenstein. The man

899
00:51:00,080 --> 00:51:02,320
Speaker 2: Henry in the movie, even though he's named Victor in

900
00:51:02,400 --> 00:51:05,680
Speaker 2: the book, creates a monster out of corpses. He uses

901
00:51:05,960 --> 00:51:09,480
Speaker 2: science to bring this dead man to life. There is

902
00:51:09,880 --> 00:51:13,160
Speaker 2: an unfortunate series of events. The monster escapes the laboratory

903
00:51:13,200 --> 00:51:16,280
Speaker 2: and roams the country. He is at first a gentle

904
00:51:16,480 --> 00:51:20,200
Speaker 2: and childlike, but he accidentally kills a young girl without

905
00:51:20,280 --> 00:51:24,040
Speaker 2: realizing what he is doing, and this raises an angry mob,

906
00:51:24,120 --> 00:51:27,239
Speaker 2: which pursues the creature. The creature flees to a windmill

907
00:51:27,400 --> 00:51:31,319
Speaker 2: with the unconscious Henry, carrying Henry with him, and then

908
00:51:31,360 --> 00:51:34,040
Speaker 2: the creature is seemingly killed in the blaze after the

909
00:51:34,120 --> 00:51:37,760
Speaker 2: angry mob sets the windmill on fire. So like Byron

910
00:51:37,880 --> 00:51:40,880
Speaker 2: goes back through all that, and then Elsa Ancester is like,

911
00:51:41,000 --> 00:51:43,280
Speaker 2: oh for real, though that's not the end of the story.

912
00:51:43,400 --> 00:51:47,080
Speaker 2: Would you like to know what happened next? And yes, yes, Elsa,

913
00:51:47,160 --> 00:51:47,479
Speaker 2: we would.

914
00:51:48,120 --> 00:51:50,400
Speaker 1: And so it's time to Halloween too. This baby right

915
00:51:50,520 --> 00:51:52,640
Speaker 1: to just go pick up right where the last one

916
00:51:52,760 --> 00:51:55,080
Speaker 1: left off and start the new journey.

917
00:51:55,360 --> 00:51:58,040
Speaker 2: I love that no time passes in between. Yeah, it's

918
00:51:58,120 --> 00:52:00,640
Speaker 2: just right there. The mill is still burning. So the

919
00:52:00,760 --> 00:52:04,040
Speaker 2: action begins with the mill burning down, presumably having killed

920
00:52:04,080 --> 00:52:08,160
Speaker 2: the monster. Henry Frankenstein lies unconscious at the foot of

921
00:52:08,239 --> 00:52:11,120
Speaker 2: the Flaming Tower, having been thrown nearly to his death

922
00:52:11,320 --> 00:52:15,480
Speaker 2: by his own creation. Henry's friends and servants load him

923
00:52:15,520 --> 00:52:18,480
Speaker 2: into a wagon to be taken back to his family estate.

924
00:52:18,600 --> 00:52:20,919
Speaker 2: I think they believe he is dead at this point,

925
00:52:21,000 --> 00:52:24,719
Speaker 2: but he's not. Meanwhile, the angry villagers cheer and they

926
00:52:25,040 --> 00:52:28,080
Speaker 2: shake their torches and pitchforks at the demise of the

927
00:52:28,160 --> 00:52:31,320
Speaker 2: hated Boris Karloff, and we get zoom ins on several

928
00:52:31,440 --> 00:52:34,720
Speaker 2: characters in the crowd. Here. There is, as we mentioned earlier,

929
00:52:35,120 --> 00:52:39,120
Speaker 2: Henry's talkative housekeeper Mini, wearing this what would you call

930
00:52:39,200 --> 00:52:41,480
Speaker 2: this piece of headwear that she has on?

931
00:52:42,000 --> 00:52:44,920
Speaker 1: I don't know. I was trying to figure it out.

932
00:52:45,040 --> 00:52:47,600
Speaker 1: Is it like some sort of a cultural thing that

933
00:52:47,640 --> 00:52:50,480
Speaker 1: I'm supposed to pick up on or it's something historic?

934
00:52:50,680 --> 00:52:54,320
Speaker 1: But yeah, it threw me for a curve trying to

935
00:52:54,360 --> 00:52:56,480
Speaker 1: figure out, like what it's supposed to tell us the

936
00:52:56,560 --> 00:52:58,160
Speaker 1: viewer about her role.

937
00:52:58,560 --> 00:53:00,400
Speaker 2: I do not know what it is that makes her

938
00:53:00,440 --> 00:53:03,880
Speaker 2: head look like a venus fly trap. H She is

939
00:53:04,360 --> 00:53:07,360
Speaker 2: discussing how happy she is to know the monster is

940
00:53:07,600 --> 00:53:11,440
Speaker 2: roasting in the inferno there as she also explains with

941
00:53:12,000 --> 00:53:15,160
Speaker 2: apparent glee, how the insides of a body are the

942
00:53:15,239 --> 00:53:18,080
Speaker 2: last part to burn in a fire. That's just science.

943
00:53:19,280 --> 00:53:22,280
Speaker 2: There's also this old, blustery guy with a big mustache,

944
00:53:22,400 --> 00:53:25,680
Speaker 2: the Burgomaster. He's wandering around telling everyone that it's time

945
00:53:25,760 --> 00:53:28,279
Speaker 2: for them to go to bed now, and I'll just

946
00:53:28,800 --> 00:53:30,879
Speaker 2: love for this guy to do a buddy cop team

947
00:53:31,000 --> 00:53:33,279
Speaker 2: up with Christopher Lee from the Devil rides out and

948
00:53:33,400 --> 00:53:36,160
Speaker 2: they can tell everyone to go to bed. He's like,

949
00:53:36,320 --> 00:53:40,399
Speaker 2: go home, go to bed also. Though, then amidst these

950
00:53:40,480 --> 00:53:44,279
Speaker 2: funny characters, we have tragic characters, the parents of the

951
00:53:44,400 --> 00:53:47,360
Speaker 2: girl who was killed accidentally by the monster in the

952
00:53:47,440 --> 00:53:52,960
Speaker 2: previous movie. As the crowd gets bored wanders away from

953
00:53:53,080 --> 00:53:57,320
Speaker 2: the wreckage of the mill, the girl's father, Hans, decides

954
00:53:57,440 --> 00:54:01,000
Speaker 2: that he will not be satisfied until he's the creature's

955
00:54:01,200 --> 00:54:04,920
Speaker 2: charred bones, so he starts picking his way down. He

956
00:54:05,040 --> 00:54:08,359
Speaker 2: climbs into the rubble, but then slips and tumbles down

957
00:54:08,520 --> 00:54:11,000
Speaker 2: into the cellar of the burning mill, which is now

958
00:54:11,160 --> 00:54:16,400
Speaker 2: flooded with water and oh, in a beautifully unsettling series

959
00:54:16,440 --> 00:54:20,160
Speaker 2: of shots, we see in the dark with water falling

960
00:54:20,239 --> 00:54:23,840
Speaker 2: all around. A pale hand reach out across the stone

961
00:54:23,920 --> 00:54:26,920
Speaker 2: work of the wall, and then from behind a corner

962
00:54:27,120 --> 00:54:31,480
Speaker 2: emerges carl Off. The creature is burned but still alive,

963
00:54:31,680 --> 00:54:35,200
Speaker 2: and then the light of the fire reflects off of

964
00:54:35,320 --> 00:54:39,680
Speaker 2: the flowing water and projects shimmering patterns on the monster's face.

965
00:54:39,800 --> 00:54:44,000
Speaker 2: All over this great makeup and the creature you can

966
00:54:44,040 --> 00:54:47,360
Speaker 2: see it. He no longer has the innocent and childlike

967
00:54:47,520 --> 00:54:50,080
Speaker 2: nature that he had in the movie before. Now the

968
00:54:50,160 --> 00:54:53,680
Speaker 2: creature just immediately descends on Hans and murders him. He

969
00:54:53,760 --> 00:54:56,160
Speaker 2: pushes his head under the waters of the flood. He's

970
00:54:56,560 --> 00:54:59,799
Speaker 2: full of rage. And then Hans's wife comes to help her,

971
00:55:00,640 --> 00:55:02,960
Speaker 2: but the hand that reaches up from the cellar is

972
00:55:03,080 --> 00:55:06,160
Speaker 2: not the hand she expects. It's the monster coming out,

973
00:55:06,480 --> 00:55:09,239
Speaker 2: and the monster throws her down to her death in

974
00:55:09,320 --> 00:55:10,120
Speaker 2: the rubble below.

975
00:55:10,600 --> 00:55:12,880
Speaker 1: This is a great way to re establish the monster,

976
00:55:13,040 --> 00:55:15,800
Speaker 1: because again we all know what everyone going into this

977
00:55:15,920 --> 00:55:19,000
Speaker 1: film knew what the monster would look like. Retroactively watching

978
00:55:19,080 --> 00:55:22,120
Speaker 1: this film, you know, decades later, we know what the

979
00:55:22,200 --> 00:55:26,640
Speaker 1: monster looks like. But the monster is so perfectly reintroduced

980
00:55:26,680 --> 00:55:32,480
Speaker 1: here in this dark, shadowy, submerged world, and then proceeds

981
00:55:32,520 --> 00:55:36,080
Speaker 1: to just brutally murder these two sympathetic characters, Like when

982
00:55:36,160 --> 00:55:41,520
Speaker 1: he throws the old woman back down, like it was

983
00:55:41,560 --> 00:55:43,320
Speaker 1: obviously one of these you know stunts where they have

984
00:55:43,840 --> 00:55:46,120
Speaker 1: a dummy that is standing in for the body of

985
00:55:46,200 --> 00:55:48,920
Speaker 1: the woman, but she like lands head first on the

986
00:55:49,000 --> 00:55:53,040
Speaker 1: water wheel and the mill and then tumbles down. It's brutal.

987
00:55:53,400 --> 00:55:57,040
Speaker 2: I totally agree. And I've always found something so profoundly

988
00:55:57,160 --> 00:56:00,320
Speaker 2: dark about this opening. The set design is a about

989
00:56:00,400 --> 00:56:04,120
Speaker 2: as dank and heavy as one could possibly achieve. Like

990
00:56:04,600 --> 00:56:08,440
Speaker 2: we begin in this flooded basement underneath the ruins of

991
00:56:08,520 --> 00:56:11,200
Speaker 2: a burning building. It is as close as it could

992
00:56:11,280 --> 00:56:15,800
Speaker 2: be to meeting the creature again in hell. And the

993
00:56:15,880 --> 00:56:19,480
Speaker 2: creature was supposed to be the ugliest thing imaginable before,

994
00:56:20,000 --> 00:56:23,360
Speaker 2: a monster just scrabbled together out of dead flesh. And

995
00:56:23,520 --> 00:56:27,440
Speaker 2: now somehow he is even worse. His hair is singed

996
00:56:27,520 --> 00:56:30,480
Speaker 2: off by the fire, his skin has been melted and

997
00:56:30,600 --> 00:56:33,680
Speaker 2: torn open, He's got all these scars. He murders the

998
00:56:33,880 --> 00:56:36,800
Speaker 2: grieving parents of the child that he never meant to

999
00:56:36,880 --> 00:56:39,680
Speaker 2: harm in the first place, and then he staggers out

1000
00:56:39,840 --> 00:56:42,759
Speaker 2: under a sky that is so gray and dismal it's

1001
00:56:42,840 --> 00:56:45,560
Speaker 2: like the sun has never existed. This is such a

1002
00:56:45,640 --> 00:56:50,120
Speaker 2: strong opening, absolutely, but then in a reversal that will

1003
00:56:50,520 --> 00:56:53,279
Speaker 2: presage that the tone of the film going forward, and

1004
00:56:53,400 --> 00:56:56,359
Speaker 2: a lot of whales other works as well. It goes

1005
00:56:56,440 --> 00:57:00,200
Speaker 2: straight from the sorest gloom ever committed to film to

1006
00:57:00,320 --> 00:57:03,680
Speaker 2: a comedy bit. So, the monster staggers up to Minnie,

1007
00:57:03,920 --> 00:57:07,400
Speaker 2: who is still wandering around on the hillside, apparently looking

1008
00:57:07,480 --> 00:57:10,160
Speaker 2: for somebody whose business she can get up into, and

1009
00:57:10,640 --> 00:57:14,120
Speaker 2: she sees the monster and she starts making Looney Tunes

1010
00:57:14,200 --> 00:57:17,280
Speaker 2: noises for what feels like a solid minute before running away.

1011
00:57:18,320 --> 00:57:22,320
Speaker 1: Yeah, it does just goes so Looney Tunes. It's wonderful.

1012
00:57:22,400 --> 00:57:27,120
Speaker 1: And yet again everything feels balanced, it doesn't feel jarring somehow,

1013
00:57:28,040 --> 00:57:30,000
Speaker 1: And part of that may be that we started out

1014
00:57:30,240 --> 00:57:33,240
Speaker 1: so campy, we started out so broad, and we're already

1015
00:57:33,280 --> 00:57:36,960
Speaker 1: weaving in and out smoothly between the comedy and the horror.

1016
00:57:37,440 --> 00:57:40,560
Speaker 2: Yeah, and you said the word camp. I think that's important.

1017
00:57:40,600 --> 00:57:43,720
Speaker 2: A lot of critics and film historians have pointed to

1018
00:57:43,840 --> 00:57:48,520
Speaker 2: the importance of the camp sensibility within the rich Tonal

1019
00:57:48,640 --> 00:57:52,760
Speaker 2: architecture of Bride Frankenstein. Camp is core to what this

1020
00:57:52,960 --> 00:57:58,600
Speaker 2: movie is. I think, especially once Ernest Thesiger arrives and

1021
00:57:59,080 --> 00:58:02,400
Speaker 2: in the role of doctor Preetorious. But anyway, so to

1022
00:58:02,480 --> 00:58:05,560
Speaker 2: come back to the plot, Henry Frankenstein is carried unconscious

1023
00:58:05,720 --> 00:58:08,680
Speaker 2: and apparently dead back to his family estate, where he

1024
00:58:08,800 --> 00:58:13,680
Speaker 2: is greeted by his good hearted fiance Elizabeth. And I

1025
00:58:13,680 --> 00:58:16,160
Speaker 2: should add also that this is true for pretty much

1026
00:58:16,200 --> 00:58:19,000
Speaker 2: the whole movie. But the sets here are tremendous. The

1027
00:58:19,040 --> 00:58:22,800
Speaker 2: Frankenstein home is full of arches and firelight and all

1028
00:58:22,920 --> 00:58:27,160
Speaker 2: kinds of gothic flare. It's photographed beautifully, so you can

1029
00:58:27,280 --> 00:58:30,640
Speaker 2: just see in every moment that Universal like really opened

1030
00:58:30,720 --> 00:58:32,919
Speaker 2: up the purse to allow Whale to make the best

1031
00:58:32,960 --> 00:58:34,280
Speaker 2: movie he could. Yeah.

1032
00:58:34,320 --> 00:58:36,920
Speaker 1: Absolutely, just beautiful, beautiful sets.

1033
00:58:37,360 --> 00:58:40,040
Speaker 2: Somewhere in the sequence, Many comes back and reports that

1034
00:58:40,160 --> 00:58:42,720
Speaker 2: the monster is still alive, that she saw him, and

1035
00:58:42,840 --> 00:58:44,840
Speaker 2: of course she is ignored. I think it's the head

1036
00:58:44,920 --> 00:58:47,600
Speaker 2: butler who tells her to shut up and then says,

1037
00:58:47,680 --> 00:58:52,120
Speaker 2: we don't believe in ghosts around here. So they initially

1038
00:58:52,200 --> 00:58:55,320
Speaker 2: think that Henry is dead, but then he moves suddenly

1039
00:58:55,400 --> 00:58:58,560
Speaker 2: in the presence of Elizabeth, and so she's like, oh,

1040
00:58:58,640 --> 00:59:01,280
Speaker 2: he's still alive, and she nursed Henry back to health.

1041
00:59:03,040 --> 00:59:04,920
Speaker 2: All the casting is good, but I wanted to call

1042
00:59:05,000 --> 00:59:08,840
Speaker 2: out the casting of Elizabeth as also quite good. You know,

1043
00:59:09,680 --> 00:59:12,520
Speaker 2: it's a it's a little bit more thankless of a

1044
00:59:12,600 --> 00:59:14,360
Speaker 2: role than a lot of the other roles in the film,

1045
00:59:14,400 --> 00:59:17,200
Speaker 2: where actors really get to ham it up. Elizabeth doesn't

1046
00:59:17,280 --> 00:59:19,960
Speaker 2: quite get to do that. But I think Hobson is

1047
00:59:20,080 --> 00:59:24,040
Speaker 2: selected because she comes off as a beacon of undiluted

1048
00:59:24,120 --> 00:59:27,080
Speaker 2: love and kindness in the middle of this wretched setting.

1049
00:59:27,960 --> 00:59:30,520
Speaker 2: I mentioned this earlier, but I think she represents the

1050
00:59:30,680 --> 00:59:34,840
Speaker 2: other life, the life of virtue and bliss that Henry

1051
00:59:34,920 --> 00:59:37,960
Speaker 2: could have had if he had just been content rather

1052
00:59:38,120 --> 00:59:41,600
Speaker 2: than questing into these domains of unknown knowledge and power.

1053
00:59:41,800 --> 00:59:44,680
Speaker 2: Like Elizabeth is as good as gold, and they could

1054
00:59:44,720 --> 00:59:47,360
Speaker 2: have been happy and had that golden life together. But

1055
00:59:47,520 --> 00:59:51,200
Speaker 2: he wanted more. He had that faustian temptation. He wanted,

1056
00:59:51,520 --> 00:59:53,760
Speaker 2: He wanted more than it is healthy for a person

1057
00:59:53,880 --> 00:59:54,240
Speaker 2: to want.

1058
00:59:54,960 --> 00:59:56,800
Speaker 1: She's like the girlfriend on the second season of The

1059
00:59:56,880 --> 01:00:00,520
Speaker 1: Bear For you TV viewers, I don't know the Bear well,

1060
01:00:00,960 --> 01:00:03,440
Speaker 1: same role, like saying you don't maybe you could. We

1061
01:00:03,480 --> 01:00:04,960
Speaker 1: could have a life together and you don't have to

1062
01:00:05,160 --> 01:00:07,960
Speaker 1: go through this painful experience of opening this restaurant or

1063
01:00:08,040 --> 01:00:10,760
Speaker 1: reopening it, which is kind of the same thing. It's like,

1064
01:00:11,240 --> 01:00:15,320
Speaker 1: we have a reopening of a destructive project in this

1065
01:00:16,360 --> 01:00:20,240
Speaker 1: in this personally destructive project in this film, just like

1066
01:00:20,320 --> 01:00:20,840
Speaker 1: in that show.

1067
01:00:21,320 --> 01:00:24,400
Speaker 2: And we yeah, and we see some remorse. Like while recovering,

1068
01:00:24,640 --> 01:00:27,800
Speaker 2: Henry wonders if he is being punished for his experiments

1069
01:00:27,880 --> 01:00:31,240
Speaker 2: in creating the monster. He says, perhaps death is sacred

1070
01:00:31,320 --> 01:00:34,680
Speaker 2: and I've profaned it. But his remorse is only half

1071
01:00:34,720 --> 01:00:37,800
Speaker 2: the picture. It's kind of fleeting because he also still thinks,

1072
01:00:38,040 --> 01:00:42,160
Speaker 2: you know, in piecing together a superhuman strangling machine out

1073
01:00:42,200 --> 01:00:45,000
Speaker 2: of the mangled odds and ends of dead bodies, I

1074
01:00:45,080 --> 01:00:48,320
Speaker 2: might have really been onto something. He says, quote, I

1075
01:00:48,480 --> 01:00:51,400
Speaker 2: dreamed of giving to the world the secret that God

1076
01:00:51,560 --> 01:00:55,040
Speaker 2: is so jealous of, the formula for life. So Henry

1077
01:00:55,120 --> 01:00:57,600
Speaker 2: has not completely abandoned his ambitions.

1078
01:00:58,640 --> 01:01:02,680
Speaker 1: Yeah, there's at least there's some embers still hot in there.

1079
01:01:03,800 --> 01:01:06,720
Speaker 1: Of course, it's left for us to wonder, well, does

1080
01:01:06,800 --> 01:01:10,000
Speaker 1: he actually have the wherewithal to do this again? Is

1081
01:01:10,040 --> 01:01:13,400
Speaker 1: he just sort of idly dreaming? And maybe that's the case.

1082
01:01:13,440 --> 01:01:17,320
Speaker 1: Maybe he wouldn't have the courage and the strength to

1083
01:01:17,440 --> 01:01:20,960
Speaker 1: go through with that nightmare again. As long as nobody

1084
01:01:21,040 --> 01:01:24,400
Speaker 1: comes along and encourages him to pick it up again.

1085
01:01:24,520 --> 01:01:28,760
Speaker 2: Right, that's right, And here things really start cooking. Into

1086
01:01:28,840 --> 01:01:32,480
Speaker 2: the picture comes Doctor Septimus Pretorious. What can we say

1087
01:01:32,760 --> 01:01:37,440
Speaker 2: of Doctor Septimus Pretorious, The look, the attitude, the scowl,

1088
01:01:37,680 --> 01:01:42,240
Speaker 2: he's so ernest Messager is this tall, gaunt man with

1089
01:01:43,040 --> 01:01:47,120
Speaker 2: light colored, frizzy, curly hair, and he he puts on

1090
01:01:47,240 --> 01:01:52,560
Speaker 2: this amazing scowl, this resting stink face that throughout pretty

1091
01:01:52,600 --> 01:01:57,560
Speaker 2: much the whole movie. And from his very first line,

1092
01:01:57,680 --> 01:01:59,840
Speaker 2: he is committed to being a lot.

1093
01:02:01,000 --> 01:02:01,920
Speaker 1: Yes he is.

1094
01:02:02,600 --> 01:02:03,320
Speaker 2: He is a lot.

1095
01:02:03,400 --> 01:02:08,720
Speaker 1: He is so much the I mean the most, the

1096
01:02:08,800 --> 01:02:11,720
Speaker 1: most entertaining character in this film. Among so many other

1097
01:02:11,880 --> 01:02:14,040
Speaker 1: entertaining characters, he has to stand out as one of

1098
01:02:14,120 --> 01:02:17,840
Speaker 1: the most the most entertaining characters in just cinema in general. Like,

1099
01:02:18,320 --> 01:02:21,800
Speaker 1: it's everything we see from him is golden here, it's

1100
01:02:22,000 --> 01:02:24,280
Speaker 1: it's it's almost a shame that we don't get to

1101
01:02:24,400 --> 01:02:28,880
Speaker 1: experience this same actor in this same role in other pictures.

1102
01:02:29,120 --> 01:02:31,160
Speaker 1: But and again that's kind of what makes it special.

1103
01:02:31,520 --> 01:02:33,720
Speaker 2: That's right. So he arrives at the door of the

1104
01:02:33,760 --> 01:02:37,440
Speaker 2: Frankenstein estate. He says he must see Henry tonight. On

1105
01:02:37,520 --> 01:02:41,120
Speaker 2: a secret matter of grave importance, and I guess it's

1106
01:02:41,240 --> 01:02:44,840
Speaker 2: many who lets him in, Like, okay, grave importance. So

1107
01:02:45,440 --> 01:02:49,040
Speaker 2: we learned. Doctor Pretorius is a professor, a former mentor

1108
01:02:49,160 --> 01:02:53,280
Speaker 2: of Henry's, but has recently been ejected from the academy

1109
01:02:53,440 --> 01:02:56,600
Speaker 2: for reasons that are only vaguely alluded to with summaries,

1110
01:02:56,680 --> 01:03:03,040
Speaker 2: such as for knowing too much. But once doctor Pretorius

1111
01:03:03,120 --> 01:03:06,400
Speaker 2: has gotten Elizabeth out of Henry's bedroom, he goes to

1112
01:03:06,480 --> 01:03:10,520
Speaker 2: Henry's bedside and says that he knows of Henry's experiments,

1113
01:03:10,560 --> 01:03:13,120
Speaker 2: he knows about the monster, and he says, we've got

1114
01:03:13,200 --> 01:03:17,000
Speaker 2: to work together. He wants their experimentation to go on,

1115
01:03:17,640 --> 01:03:21,080
Speaker 2: no longer as master and pupil, but as fellow scientists.

1116
01:03:21,240 --> 01:03:25,400
Speaker 2: In fact, he says, in Henry's absence, he has continued

1117
01:03:25,480 --> 01:03:29,600
Speaker 2: his own forbidden studies in secret and managed to create

1118
01:03:29,760 --> 01:03:33,360
Speaker 2: life of a sort on his own. So Henry initially

1119
01:03:33,440 --> 01:03:37,000
Speaker 2: tries to resist doctor Pretorius's recruitment. He's like, no, no,

1120
01:03:37,280 --> 01:03:39,920
Speaker 2: I have to get married to Elizabeth. But when he

1121
01:03:40,000 --> 01:03:43,320
Speaker 2: hears that his former teacher has also found the formula

1122
01:03:43,440 --> 01:03:47,040
Speaker 2: for life, he says he must see what he has accomplished.

1123
01:03:46,840 --> 01:03:51,520
Speaker 1: And you know you might expect that doctor Pretorius has

1124
01:03:51,680 --> 01:03:54,880
Speaker 1: created something more or less like the monster, but maybe

1125
01:03:54,960 --> 01:03:58,720
Speaker 1: not as good, you know, like it's it's it's less

1126
01:03:58,840 --> 01:04:03,520
Speaker 1: powerful thing imperfect about it. And I think this is

1127
01:04:03,600 --> 01:04:06,480
Speaker 1: a this is a this would be a good guess,

1128
01:04:07,600 --> 01:04:10,160
Speaker 1: but this film is not going to align with the

1129
01:04:10,240 --> 01:04:14,520
Speaker 1: easy guesswork you might have in Blaze here like this, Well,

1130
01:04:14,640 --> 01:04:17,240
Speaker 1: what he has been working on is tremendous.

1131
01:04:17,080 --> 01:04:19,720
Speaker 2: That's right. So they go back to Pretorius's lab to

1132
01:04:19,760 --> 01:04:21,680
Speaker 2: see what he has done, and here we come to

1133
01:04:21,840 --> 01:04:26,480
Speaker 2: the famous homuncular scene. First at his lab, Pretorious, this

1134
01:04:26,560 --> 01:04:28,600
Speaker 2: is the part where he offers a toast to a

1135
01:04:28,680 --> 01:04:31,520
Speaker 2: new world of gods and monsters, and then he gets

1136
01:04:31,560 --> 01:04:35,160
Speaker 2: out this huge black box to show Henry what's inside,

1137
01:04:35,360 --> 01:04:37,960
Speaker 2: talking the whole time about how enthralling it is to

1138
01:04:38,120 --> 01:04:41,680
Speaker 2: create life. He says, my experiments went in a different

1139
01:04:41,760 --> 01:04:46,480
Speaker 2: direction than yours, But science, like love, is always full

1140
01:04:46,520 --> 01:04:50,760
Speaker 2: of surprises. Why does he say that? Like love? There

1141
01:04:50,840 --> 01:04:56,080
Speaker 2: seems to be something really inherently sensual about doctor Pretorius's

1142
01:04:56,240 --> 01:04:57,360
Speaker 2: idea of science.

1143
01:04:57,920 --> 01:05:00,520
Speaker 1: Yeah, I mean it is all consuming, that's for sure.

1144
01:05:01,120 --> 01:05:06,880
Speaker 2: So he unveiled Pretorious unveils these glass jars with tiny

1145
01:05:07,200 --> 01:05:11,080
Speaker 2: living people inside them, and I should just say that

1146
01:05:11,200 --> 01:05:16,120
Speaker 2: the effects here are spectacular. He has created homunculi, and

1147
01:05:16,280 --> 01:05:19,440
Speaker 2: he explains that he first created a woman who was

1148
01:05:19,480 --> 01:05:21,680
Speaker 2: so lovely that he had to make her a queen.

1149
01:05:21,920 --> 01:05:25,040
Speaker 2: So she's here in this regal gown on a throne.

1150
01:05:25,400 --> 01:05:27,320
Speaker 2: And he says next, since he had a queen, he

1151
01:05:27,440 --> 01:05:29,680
Speaker 2: had to make a king, and the king is apparently

1152
01:05:29,760 --> 01:05:32,560
Speaker 2: obsessed with getting out of his jar and getting to

1153
01:05:32,800 --> 01:05:35,840
Speaker 2: the queen. Then he says he made another tiny man

1154
01:05:36,080 --> 01:05:39,360
Speaker 2: quote who looked so disapprovingly at the other two that

1155
01:05:39,480 --> 01:05:44,800
Speaker 2: they made him an archbishop. Now I guess this somehow

1156
01:05:44,880 --> 01:05:47,480
Speaker 2: got past the Hayes Code prohibition and gets making fun

1157
01:05:47,560 --> 01:05:50,240
Speaker 2: of the clergy or I don't know, to be fair,

1158
01:05:50,280 --> 01:05:53,080
Speaker 2: I'm not sure exactly how the Hayes Code affected this movie,

1159
01:05:53,160 --> 01:05:55,040
Speaker 2: but this was left in for some reason.

1160
01:05:55,680 --> 01:05:58,080
Speaker 1: Yeah, I mean it's like, likewise, there are some other

1161
01:05:58,160 --> 01:06:00,440
Speaker 1: lines we've already touched on that feel like if you

1162
01:06:00,520 --> 01:06:03,680
Speaker 1: were gonna be picky about blasphemous statements, it might have

1163
01:06:03,760 --> 01:06:04,640
Speaker 1: been picked on.

1164
01:06:04,760 --> 01:06:05,160
Speaker 2: But I don't know.

1165
01:06:05,240 --> 01:06:08,360
Speaker 1: It's like, I'm not sure offhand what they cut compared

1166
01:06:08,360 --> 01:06:10,960
Speaker 1: to what they kept, And maybe they let this slide too,

1167
01:06:11,040 --> 01:06:13,480
Speaker 1: because it's like, it's not as much about the clergy

1168
01:06:14,160 --> 01:06:16,800
Speaker 1: being dumb as it is about like, just look how

1169
01:06:17,000 --> 01:06:20,240
Speaker 1: awful this king is. He's like, this clergy member is

1170
01:06:20,320 --> 01:06:23,160
Speaker 1: just done with them. But to be clear, these are

1171
01:06:23,320 --> 01:06:26,720
Speaker 1: little people wearing full costumes. They're like a miniature king

1172
01:06:26,840 --> 01:06:32,240
Speaker 1: and queen, a miniature archbishop or whatever it's it is.

1173
01:06:32,440 --> 01:06:34,840
Speaker 1: This is so comedically weird.

1174
01:06:35,280 --> 01:06:38,040
Speaker 2: Yes. Oh and the fourth homunculus, by the way, is

1175
01:06:38,200 --> 01:06:42,440
Speaker 2: a devil. It's the devil. Messenger says, there's a resemblance

1176
01:06:42,520 --> 01:06:46,880
Speaker 2: to me, don't you think. And Doctor Pretorius then muses

1177
01:06:47,000 --> 01:06:49,880
Speaker 2: that wouldn't life be simpler if we were all devils?

1178
01:06:50,000 --> 01:06:52,800
Speaker 2: No nonsense about angels and being good.

1179
01:06:53,800 --> 01:06:55,720
Speaker 1: He's really laying it out out there. He's like, look,

1180
01:06:55,960 --> 01:06:58,600
Speaker 1: there's no good, there's no bad. There's just the work

1181
01:06:58,720 --> 01:07:01,280
Speaker 1: at hand. And we've got a team up again, because

1182
01:07:01,680 --> 01:07:04,800
Speaker 1: I've got my ideas, you've got your ideas. Together, we

1183
01:07:04,920 --> 01:07:06,880
Speaker 1: can really make the perfect being.

1184
01:07:07,400 --> 01:07:09,600
Speaker 2: Oh. Also he made a ballerina and a mermaid.

1185
01:07:10,200 --> 01:07:13,920
Speaker 1: Yeah, I'd forgotten that there were so many additional creature

1186
01:07:14,400 --> 01:07:16,959
Speaker 1: being some unculi that he had made. Because this scene

1187
01:07:17,000 --> 01:07:20,080
Speaker 1: goes on a while and a lot of effort went

1188
01:07:20,160 --> 01:07:24,680
Speaker 1: into into making each of these Homunculi tubes. It's very impressive.

1189
01:07:25,280 --> 01:07:28,520
Speaker 2: So Henry is appalled by this. I'm not quite sure

1190
01:07:28,600 --> 01:07:32,120
Speaker 2: exactly why Henry is so appalled by the Homunculi compared

1191
01:07:32,200 --> 01:07:35,480
Speaker 2: to the monster he made. But he says, this isn't science,

1192
01:07:35,600 --> 01:07:39,040
Speaker 2: it's more like black magic. And doctor Pretorius says, you

1193
01:07:39,200 --> 01:07:43,480
Speaker 2: think I'm mad. Perhaps I am, but listen to Henry Frankenstein.

1194
01:07:43,920 --> 01:07:48,480
Speaker 2: While you were digging in your graves piecing together dead tissues, I,

1195
01:07:48,800 --> 01:07:52,080
Speaker 2: my dear pupil, went for my materials to the source

1196
01:07:52,200 --> 01:07:56,920
Speaker 2: of life. I grew my creatures like cultures, grew them

1197
01:07:56,960 --> 01:08:01,640
Speaker 2: as nature does from seed. Yeah, and I think that

1198
01:08:01,920 --> 01:08:04,880
Speaker 2: means exactly what it sounds like. I think Pretorius here

1199
01:08:05,000 --> 01:08:10,520
Speaker 2: is operating on the basis of the ideology of spermist preformationism.

1200
01:08:11,560 --> 01:08:11,760
Speaker 3: Yeah.

1201
01:08:11,800 --> 01:08:14,240
Speaker 1: I believe we discussed in some past episodes of Stuff.

1202
01:08:14,000 --> 01:08:18,360
Speaker 2: To Blow your Mind, the idea that, like the human body,

1203
01:08:18,840 --> 01:08:21,479
Speaker 2: it's sort of an alternative to cell theory, is that,

1204
01:08:21,640 --> 01:08:24,439
Speaker 2: like the human body is fully formed, just very tiny

1205
01:08:25,040 --> 01:08:27,800
Speaker 2: in the sex cells, and the spermists thought that they

1206
01:08:27,880 --> 01:08:30,720
Speaker 2: were that the human bodies were in the sperm, not

1207
01:08:30,880 --> 01:08:31,479
Speaker 2: in the eggs.

1208
01:08:31,960 --> 01:08:32,200
Speaker 4: Yeah.

1209
01:08:32,920 --> 01:08:35,800
Speaker 1: So, I mean already they're laying out a really cool

1210
01:08:35,840 --> 01:08:39,439
Speaker 1: idea and one that the film will will fulfill. The

1211
01:08:39,600 --> 01:08:43,320
Speaker 1: idea that on one hand, doctor Pretorius is all about

1212
01:08:43,520 --> 01:08:48,280
Speaker 1: growing new life, Frankenstein is about assembling new life and

1213
01:08:48,400 --> 01:08:51,479
Speaker 1: instilling energy in it. And if you bring these two

1214
01:08:51,560 --> 01:08:54,720
Speaker 1: disciplines together, well then there's no there's no limit to

1215
01:08:54,800 --> 01:08:55,800
Speaker 1: what you can create.

1216
01:08:55,920 --> 01:08:58,800
Speaker 2: That's right. Soretorius beckons Henry to join him. He says,

1217
01:08:58,840 --> 01:09:01,439
Speaker 2: together they can discover all all the secrets of creating life.

1218
01:09:01,840 --> 01:09:04,720
Speaker 2: He says, leave your Charnel house and follow the lead

1219
01:09:04,800 --> 01:09:09,120
Speaker 2: of nature or of God if you like your Bible stories.

1220
01:09:12,040 --> 01:09:15,320
Speaker 2: So doctor Pretorius wants to not only create life from

1221
01:09:15,400 --> 01:09:18,680
Speaker 2: non life, but together with Henry, he thinks that they

1222
01:09:18,760 --> 01:09:22,920
Speaker 2: can make two living beings that can join in sexual

1223
01:09:23,160 --> 01:09:27,120
Speaker 2: union and reproduce with one another, giving rise to a

1224
01:09:27,240 --> 01:09:31,640
Speaker 2: whole new line of created creatures. Henry is horrified. He

1225
01:09:31,720 --> 01:09:35,160
Speaker 2: claims he won't do it, but Pretorius is mighty persuasive.

1226
01:09:36,040 --> 01:09:38,040
Speaker 1: Yeah, he doesn't even really have to get heavy handed

1227
01:09:38,080 --> 01:09:40,519
Speaker 1: at this point. He's just like like, do it, do it,

1228
01:09:40,600 --> 01:09:42,040
Speaker 1: You're doing it. Come on, you're doing it.

1229
01:09:42,040 --> 01:09:53,760
Speaker 2: And he's like, okay, now meanwhile, so we leave that

1230
01:09:53,960 --> 01:09:56,600
Speaker 2: scene for a while and we revisit the creature. So

1231
01:09:56,720 --> 01:09:59,559
Speaker 2: the creature, having escaped to the burning mill, wanders through

1232
01:09:59,560 --> 01:10:04,080
Speaker 2: a forest, which is an absolutely gorgeous bucolic indoor forest set,

1233
01:10:04,240 --> 01:10:06,960
Speaker 2: you know, I love those. It's got a canopy of

1234
01:10:07,160 --> 01:10:11,000
Speaker 2: slanted pine trees and a rushing waterfall, and the creature

1235
01:10:11,120 --> 01:10:14,400
Speaker 2: drinks from a stream, but he sees his face reflected

1236
01:10:14,479 --> 01:10:17,320
Speaker 2: in the water and then strikes out at it in anger.

1237
01:10:17,479 --> 01:10:18,799
Speaker 2: He hates his own image.

1238
01:10:19,360 --> 01:10:21,760
Speaker 1: And again, I just want to drive home that while

1239
01:10:21,800 --> 01:10:25,880
Speaker 1: there's so much about Carlos Frankenstein's Monster that has become

1240
01:10:25,920 --> 01:10:28,720
Speaker 1: a stereotype of the horror genre, that has become kind

1241
01:10:28,760 --> 01:10:32,880
Speaker 1: of cliche, when you see the actual performance, there is

1242
01:10:32,960 --> 01:10:34,320
Speaker 1: so much more nuance to it.

1243
01:10:34,479 --> 01:10:34,640
Speaker 3: You know.

1244
01:10:35,080 --> 01:10:36,479
Speaker 1: It's easy to think of it as just you know,

1245
01:10:36,640 --> 01:10:39,800
Speaker 1: like firebag, you know, and sort of think of the

1246
01:10:40,040 --> 01:10:42,720
Speaker 1: like the Phil Hartman Saturday Night Live version of the thing,

1247
01:10:43,320 --> 01:10:46,479
Speaker 1: But yeah, there's just so many additional levels to it,

1248
01:10:47,200 --> 01:10:50,840
Speaker 1: Like there is this real authentic feeling of this being

1249
01:10:51,000 --> 01:10:54,920
Speaker 1: that cannot communicate properly about the world around him, but

1250
01:10:55,160 --> 01:10:58,840
Speaker 1: has like intense emotions and trauma and even a little

1251
01:10:58,840 --> 01:11:01,479
Speaker 1: bit of hope still remain about how he connects to

1252
01:11:01,560 --> 01:11:01,800
Speaker 1: it all.

1253
01:11:02,240 --> 01:11:05,920
Speaker 2: I totally agree that the Frankenstein creature is so much

1254
01:11:06,000 --> 01:11:09,480
Speaker 2: more complex than the impression you would get from the parodies.

1255
01:11:10,840 --> 01:11:13,040
Speaker 2: And as I said earlier, that does go straight back

1256
01:11:13,080 --> 01:11:16,240
Speaker 2: to the novel. The creature is an extremely complex and

1257
01:11:16,320 --> 01:11:19,560
Speaker 2: thoughtful and emotional being in the novel. So in the

1258
01:11:19,640 --> 01:11:22,479
Speaker 2: scene there's a shepherdess leading some lambs through the forest.

1259
01:11:22,600 --> 01:11:25,519
Speaker 2: The shepherdess sees the creature and she screams in terror

1260
01:11:25,640 --> 01:11:28,280
Speaker 2: and falls into the water, and the creature actually goes

1261
01:11:28,360 --> 01:11:31,760
Speaker 2: and saves her from drowning. And you know, I think

1262
01:11:31,880 --> 01:11:34,519
Speaker 2: something interesting is going on here where Just in the

1263
01:11:34,640 --> 01:11:38,479
Speaker 2: scene before, a character fell into the water with the creature,

1264
01:11:38,560 --> 01:11:42,320
Speaker 2: and the creature drowned that character on purpose. He was

1265
01:11:42,439 --> 01:11:45,559
Speaker 2: so filled with rage. Here somebody falls into the water

1266
01:11:45,640 --> 01:11:49,040
Speaker 2: and he tries to save their life. So I think

1267
01:11:49,120 --> 01:11:52,719
Speaker 2: this is also supposed to communicate something about the creature

1268
01:11:52,960 --> 01:11:58,479
Speaker 2: just being so filled with churning emotions and contradictions. It

1269
01:11:58,600 --> 01:12:01,920
Speaker 2: doesn't know what it is. The creature doesn't know if

1270
01:12:02,439 --> 01:12:05,240
Speaker 2: he is if he is good or evil, and doesn't

1271
01:12:05,320 --> 01:12:10,200
Speaker 2: know which path to embrace. He's just sort of flying

1272
01:12:10,320 --> 01:12:13,759
Speaker 2: back and forth from one to the other. Yeah, but anyway,

1273
01:12:13,880 --> 01:12:16,120
Speaker 2: so the woman falls in the water. He saves her,

1274
01:12:16,479 --> 01:12:19,479
Speaker 2: but then she is of course terrified of him. She

1275
01:12:19,560 --> 01:12:22,400
Speaker 2: starts to scream, and the creature is frightened by this.

1276
01:12:23,160 --> 01:12:25,920
Speaker 2: He tries to stop her screaming by covering her mouth,

1277
01:12:26,000 --> 01:12:28,759
Speaker 2: which just makes it worse. And then men with guns

1278
01:12:28,840 --> 01:12:31,080
Speaker 2: come and start shooting at the creature. They wound him,

1279
01:12:31,120 --> 01:12:34,760
Speaker 2: but he escapes into the wild and the townspeople raise

1280
01:12:34,800 --> 01:12:37,720
Speaker 2: a mob to chase the monster once again. This is

1281
01:12:37,760 --> 01:12:41,320
Speaker 2: another chased by the crowd scene. And one thing I

1282
01:12:41,360 --> 01:12:45,879
Speaker 2: wanted to point out is how the forest set changes

1283
01:12:46,080 --> 01:12:48,479
Speaker 2: from the previous scene to this one. So when the

1284
01:12:48,560 --> 01:12:53,080
Speaker 2: monster is wandering alone before the mob attacks him, before

1285
01:12:53,520 --> 01:12:57,000
Speaker 2: he has been seen and hated again by humanity, the

1286
01:12:57,120 --> 01:13:00,120
Speaker 2: forest is lush and lovely and alive, and now that

1287
01:13:00,200 --> 01:13:03,479
Speaker 2: he is again being hunted and despised, the trees are

1288
01:13:03,520 --> 01:13:07,000
Speaker 2: all these straight, bare trunks without leaves or branches, and

1289
01:13:07,280 --> 01:13:10,120
Speaker 2: it's set against a dark sky and these crooked rocks.

1290
01:13:10,720 --> 01:13:13,800
Speaker 2: And I think the film uses set and setting to

1291
01:13:14,280 --> 01:13:15,960
Speaker 2: infuse the scenes with emotion.

1292
01:13:16,760 --> 01:13:18,800
Speaker 1: I'm glad you mentioned this because this is something that

1293
01:13:18,880 --> 01:13:20,880
Speaker 1: I don't think I actually I didn't think about it

1294
01:13:20,960 --> 01:13:22,720
Speaker 1: as I was watching. I was so caught up in

1295
01:13:22,760 --> 01:13:25,240
Speaker 1: the action of it all. But I think you're absolutely right.

1296
01:13:25,400 --> 01:13:29,639
Speaker 1: Like they're they're manipulating their their tightly controlled set world

1297
01:13:29,720 --> 01:13:33,280
Speaker 1: here to uh to imbue the scene with just the

1298
01:13:33,439 --> 01:13:36,000
Speaker 1: right amount of just the right emotion and just the

1299
01:13:36,120 --> 01:13:37,040
Speaker 1: right energy.

1300
01:13:37,600 --> 01:13:39,600
Speaker 2: So this all has a momentum of its own that

1301
01:13:39,720 --> 01:13:43,840
Speaker 2: the creature is caught by the mob, bound up like

1302
01:13:43,960 --> 01:13:47,120
Speaker 2: tied to a pole, taken to town, thrown into a dungeon,

1303
01:13:47,680 --> 01:13:50,160
Speaker 2: chained up to this heavy wooden chair that looks like

1304
01:13:50,240 --> 01:13:53,000
Speaker 2: some kind of torture device. All throughout the creature is

1305
01:13:53,080 --> 01:13:56,200
Speaker 2: groaning in pain and misery. This is the scene where

1306
01:13:56,240 --> 01:13:58,360
Speaker 2: Many is looking down the window at the dungeon and

1307
01:13:58,600 --> 01:14:02,280
Speaker 2: is like, ooh ooh, she's just getting too excited about this.

1308
01:14:03,720 --> 01:14:06,840
Speaker 2: But of course, first chance he gets Karloff, snaps the chains,

1309
01:14:06,920 --> 01:14:10,759
Speaker 2: breaks out of prison, kicks down the heavy wooden doors. Meanwhile,

1310
01:14:11,120 --> 01:14:15,880
Speaker 2: that mustachioed character, the Burgomaster from the guy from earlier

1311
01:14:15,920 --> 01:14:18,200
Speaker 2: who was telling everybody to go to bed, there's a

1312
01:14:18,280 --> 01:14:20,400
Speaker 2: really funny part where he's trying to clear the crowd.

1313
01:14:20,479 --> 01:14:23,400
Speaker 2: He's saying, nothing to worry about just an escaped lunatic,

1314
01:14:23,600 --> 01:14:27,080
Speaker 2: quite harmless, while the monster is kicking down the door

1315
01:14:27,160 --> 01:14:28,680
Speaker 2: of the prison in the background.

1316
01:14:29,400 --> 01:14:33,120
Speaker 1: Yes, yeah, this is great because, yeah, this part is funny,

1317
01:14:33,120 --> 01:14:35,960
Speaker 1: and yet at the same time, the daytime rampage is

1318
01:14:36,000 --> 01:14:39,040
Speaker 1: still terrifying, and I think it's more terrifying because it

1319
01:14:39,120 --> 01:14:39,799
Speaker 1: is in the daylight.

1320
01:14:40,160 --> 01:14:43,559
Speaker 2: I agree. So there's this rampage. The monster harms people

1321
01:14:43,640 --> 01:14:46,040
Speaker 2: in the process of escaping the town, but eventually gets

1322
01:14:46,080 --> 01:14:50,640
Speaker 2: out into the woods. And so eventually this leads up

1323
01:14:50,680 --> 01:14:54,320
Speaker 2: to the part where the monster is drawn to the cabin.

1324
01:14:54,439 --> 01:14:56,880
Speaker 2: The cabin in the woods where the old hermit lives.

1325
01:14:56,920 --> 01:14:59,519
Speaker 2: He's drawn by the sound of music. So this old

1326
01:14:59,600 --> 01:15:02,559
Speaker 2: blind man lives alone in a cottage and he's playing

1327
01:15:02,680 --> 01:15:06,719
Speaker 2: ave Maria on the violin. The creature likes the music,

1328
01:15:06,840 --> 01:15:08,559
Speaker 2: and so he comes to the door of the cabin,

1329
01:15:09,040 --> 01:15:12,840
Speaker 2: and unlike everyone else who fears and rejects the monster,

1330
01:15:13,120 --> 01:15:16,400
Speaker 2: the blind man welcomes the creature into his house. He

1331
01:15:16,520 --> 01:15:21,400
Speaker 2: offers him hospitality, and he offers him friendship, gives the

1332
01:15:21,479 --> 01:15:24,160
Speaker 2: creature food, he cares for his wounds, and he shows

1333
01:15:24,240 --> 01:15:27,479
Speaker 2: him kindness. When the creature is unable to speak, the

1334
01:15:27,520 --> 01:15:30,599
Speaker 2: old man says, perhaps you are afflicted too. I cannot

1335
01:15:30,680 --> 01:15:33,719
Speaker 2: see and you cannot speak. But he says, I've prayed

1336
01:15:33,800 --> 01:15:36,639
Speaker 2: many times for God to send me a friend. God

1337
01:15:36,680 --> 01:15:39,000
Speaker 2: has taken pity on my loneliness, and we can be

1338
01:15:39,080 --> 01:15:41,760
Speaker 2: friends to each other. And so this turns into a

1339
01:15:41,880 --> 01:15:46,360
Speaker 2: really beautiful short story in the middle of the movie. Here,

1340
01:15:46,479 --> 01:15:50,040
Speaker 2: you know, the blind man does not even understand how

1341
01:15:50,320 --> 01:15:54,280
Speaker 2: uncommon the friendship he's offering is to the person he's

1342
01:15:54,320 --> 01:15:58,240
Speaker 2: offering it to, and so the creature seems he accepts

1343
01:15:58,280 --> 01:16:00,479
Speaker 2: the hospitality, and the creature goes on to live with

1344
01:16:00,600 --> 01:16:04,840
Speaker 2: this blind man for some unspecified length of time, during

1345
01:16:04,920 --> 01:16:09,360
Speaker 2: which he learns to speak. The old man teaches him words,

1346
01:16:09,840 --> 01:16:12,800
Speaker 2: teaches him about bread, wine, and cigars, and oh boy,

1347
01:16:13,160 --> 01:16:15,200
Speaker 2: when you know what he's learning about cigars, at first

1348
01:16:15,360 --> 01:16:18,240
Speaker 2: fire bad. So the creature doesn't like that, but he

1349
01:16:18,600 --> 01:16:21,160
Speaker 2: figures out pretty soon that he likes smoking cigars.

1350
01:16:21,840 --> 01:16:26,280
Speaker 1: Yes, these things are hilarious, but also very poignant as well.

1351
01:16:26,560 --> 01:16:30,760
Speaker 1: He's because the monster is learning to enjoy life for

1352
01:16:30,920 --> 01:16:33,720
Speaker 1: the first time, and the blind man is sharing the

1353
01:16:33,880 --> 01:16:35,120
Speaker 1: enjoyments of life with him.

1354
01:16:35,560 --> 01:16:39,040
Speaker 2: After gaining a vocabulary, the creature learns to express his

1355
01:16:39,160 --> 01:16:43,800
Speaker 2: feelings in words, and he says things like alone, bad, friend, good.

1356
01:16:45,600 --> 01:16:48,880
Speaker 2: But this happy interlude is broken when two hunters, including

1357
01:16:48,960 --> 01:16:51,840
Speaker 2: John Kerroty and come to the cabin asking for directions,

1358
01:16:52,080 --> 01:16:55,240
Speaker 2: and uh oh, they see the monster, you know exactly what.

1359
01:16:55,439 --> 01:16:59,800
Speaker 2: A fight breaks out, the cabin catches fire, and everyone

1360
01:17:00,080 --> 01:17:04,599
Speaker 2: runs off in their separate directions. So the creature's chance

1361
01:17:04,680 --> 01:17:07,479
Speaker 2: here and having a good life is thwarted. And the

1362
01:17:07,560 --> 01:17:11,479
Speaker 2: creature wanders at night through a desolate cemetery in a rage.

1363
01:17:12,160 --> 01:17:15,280
Speaker 2: And this graveyard set is fantastic. It's like the graveyard

1364
01:17:15,280 --> 01:17:18,040
Speaker 2: at the end of the world. High contrasts, dead trees

1365
01:17:18,120 --> 01:17:22,719
Speaker 2: reaching like ghostly fingers. There's mist rising from the consecrated earth.

1366
01:17:23,520 --> 01:17:25,720
Speaker 2: And then in his anger and despair, the creature is

1367
01:17:25,840 --> 01:17:29,760
Speaker 2: literally toppling monuments and grave markers. He hates every work

1368
01:17:29,800 --> 01:17:33,360
Speaker 2: of man, but he decides to hide out. The creature

1369
01:17:33,479 --> 01:17:36,120
Speaker 2: tries to hide from the angry mob by climbing down

1370
01:17:36,200 --> 01:17:39,800
Speaker 2: into a subterranean crypt. And what's this. Down in the

1371
01:17:39,840 --> 01:17:43,920
Speaker 2: crypt he sees three figures coming carrying lanterns, descending into

1372
01:17:43,960 --> 01:17:46,920
Speaker 2: the catacomb, and one of them is our old friend,

1373
01:17:47,000 --> 01:17:48,400
Speaker 2: doctor Septimus Pretorious.

1374
01:17:49,640 --> 01:17:53,759
Speaker 1: Yes, now, before even encountering him. Though this is already

1375
01:17:53,840 --> 01:17:57,600
Speaker 1: so perfect because the monster earlier in the film emerges

1376
01:17:57,680 --> 01:18:01,760
Speaker 1: from the underworld, has all these encounters, seems to find

1377
01:18:01,800 --> 01:18:04,000
Speaker 1: a new a new way to look at life, and

1378
01:18:04,120 --> 01:18:06,480
Speaker 1: now he is forced to descend back into the underworld.

1379
01:18:06,560 --> 01:18:09,360
Speaker 1: You know, it's it's like all his attempts have failed.

1380
01:18:09,720 --> 01:18:12,360
Speaker 1: But sometimes in the underworld you do run into the

1381
01:18:12,479 --> 01:18:17,760
Speaker 1: devil and enter yet doctor Pretorius and his guns.

1382
01:18:17,920 --> 01:18:21,439
Speaker 2: Two Oh my god, she's accompanied by these two cursed

1383
01:18:21,640 --> 01:18:25,080
Speaker 2: waxen goons, one of them played by Dwight Fry. The

1384
01:18:25,200 --> 01:18:28,080
Speaker 2: characters are named Karl and Ludwig. They're here to do

1385
01:18:28,200 --> 01:18:32,240
Speaker 2: the heavy lifting for this midnight grave robbing mission. They're

1386
01:18:32,240 --> 01:18:34,719
Speaker 2: supposed to be criminals of some sort of Pretorious threatens

1387
01:18:34,760 --> 01:18:37,080
Speaker 2: to send them back to the gallows where they belong

1388
01:18:37,200 --> 01:18:40,080
Speaker 2: if they don't get on with the body removal, so

1389
01:18:40,200 --> 01:18:43,040
Speaker 2: they select a grave. They steal the woman's body from

1390
01:18:43,120 --> 01:18:46,559
Speaker 2: the grave. Looking on, Pretorius says, I hope her bones

1391
01:18:46,640 --> 01:18:50,200
Speaker 2: are firm, but eventually so they get the body. The

1392
01:18:50,280 --> 01:18:53,400
Speaker 2: grave robbers leave, but Pretorius stays and then this is

1393
01:18:53,479 --> 01:18:56,560
Speaker 2: probably my favorite scene in the movie, where he Pretorious

1394
01:18:56,680 --> 01:18:59,439
Speaker 2: is just like I rather like this place I shall

1395
01:18:59,479 --> 01:19:01,640
Speaker 2: stay here for a bit, and just has himself a

1396
01:19:01,840 --> 01:19:06,920
Speaker 2: cackling picnic in the middle of the catacomb, wine cheese, skeletons.

1397
01:19:07,280 --> 01:19:09,840
Speaker 2: He won't stop laughing. He's having a great time.

1398
01:19:10,640 --> 01:19:14,080
Speaker 1: I think he has her bones, that the woman's bones

1399
01:19:14,120 --> 01:19:17,000
Speaker 1: like piled up there in the middle of his little

1400
01:19:17,040 --> 01:19:17,439
Speaker 1: pic neck.

1401
01:19:17,560 --> 01:19:19,040
Speaker 2: Right, Oh, is that what it is? Okay?

1402
01:19:19,040 --> 01:19:21,880
Speaker 1: If not her bones, someone else's bones. Either way, it's

1403
01:19:21,960 --> 01:19:26,599
Speaker 1: a gothic delight. I should I should also point out

1404
01:19:26,720 --> 01:19:29,280
Speaker 1: like he's already like he's shown that he's such a

1405
01:19:29,800 --> 01:19:31,600
Speaker 1: you can't trust anything, he says, because this whole thing

1406
01:19:31,640 --> 01:19:34,240
Speaker 1: to Frankenstein was like, we're done with with dead bodies,

1407
01:19:34,280 --> 01:19:37,519
Speaker 1: old boy. Yes, the next thing we see from him

1408
01:19:37,880 --> 01:19:40,280
Speaker 1: is he's down there grave robbin with a couple of goods.

1409
01:19:40,360 --> 01:19:42,680
Speaker 2: That's right, Okay, I think you're right. Actually, I was

1410
01:19:42,720 --> 01:19:45,960
Speaker 2: thinking about the that the goons still took the body

1411
01:19:46,040 --> 01:19:48,439
Speaker 2: with them, but I think they got these bones out

1412
01:19:48,640 --> 01:19:50,840
Speaker 2: and he's like just hanging out with the bones. I

1413
01:19:50,920 --> 01:19:51,519
Speaker 2: think that's right.

1414
01:19:52,040 --> 01:19:55,080
Speaker 1: But yes, tremendous saint just cackling in the crypt.

1415
01:19:55,640 --> 01:19:58,320
Speaker 2: But the monster comes out of hiding and meets doctor Pretorius.

1416
01:19:58,400 --> 01:20:01,120
Speaker 2: Pretorius says oh, I thought I was a And then

1417
01:20:01,200 --> 01:20:04,120
Speaker 2: he shares his food, wine, and cigars. But the creature

1418
01:20:04,280 --> 01:20:06,720
Speaker 2: much like the old man did in the Cottage in

1419
01:20:06,760 --> 01:20:11,439
Speaker 2: the Woods, except whereas that was wholesome and friendly, there's

1420
01:20:11,479 --> 01:20:15,000
Speaker 2: a different subtext here. Instead, it feels more like he's

1421
01:20:15,040 --> 01:20:19,000
Speaker 2: being enticed into a deal with the devil here. Yes, yes,

1422
01:20:19,800 --> 01:20:21,720
Speaker 2: So they sort of get to know each other, and

1423
01:20:21,880 --> 01:20:26,360
Speaker 2: then Pretorius explains his plans to the monster. He says

1424
01:20:26,439 --> 01:20:29,719
Speaker 2: that he promises that he will make the monster a friend,

1425
01:20:30,080 --> 01:20:33,680
Speaker 2: a woman like him to be his wife. So this

1426
01:20:33,840 --> 01:20:36,479
Speaker 2: takes us into the last act of the movie. Henry

1427
01:20:36,520 --> 01:20:39,400
Speaker 2: and Elizabeth are married again by the time we meet them,

1428
01:20:39,720 --> 01:20:41,880
Speaker 2: and I'm going to skip more lightly over the plot now,

1429
01:20:42,000 --> 01:20:46,280
Speaker 2: but basically, Pretorius comes to Henry and Elizabeth's home and

1430
01:20:46,400 --> 01:20:49,840
Speaker 2: he confronts Henry for help about making the bride. He's like,

1431
01:20:49,880 --> 01:20:52,360
Speaker 2: I've got to make this undead woman. You're gonna help me.

1432
01:20:52,760 --> 01:20:55,760
Speaker 2: Henry tries to refuse, but he's got an ace up

1433
01:20:55,800 --> 01:20:59,679
Speaker 2: his sleeve. He has the monster kidnap Elizabeth as a hostage.

1434
01:21:00,000 --> 01:21:02,439
Speaker 2: Henry will have no choice but to help him do

1435
01:21:02,640 --> 01:21:07,200
Speaker 2: unholy science. That's right, that's right. So together they work

1436
01:21:07,280 --> 01:21:10,639
Speaker 2: on bringing this dead woman to life, and there's one

1437
01:21:10,760 --> 01:21:14,040
Speaker 2: hilarious part where they're trying to get a heart that

1438
01:21:14,200 --> 01:21:17,360
Speaker 2: will be appropriate, and the heart they have doesn't work.

1439
01:21:17,760 --> 01:21:20,280
Speaker 2: Henry says he needs a better one. So Pretorius calls

1440
01:21:20,360 --> 01:21:23,720
Speaker 2: up Carl, that's Dwight Fry, and he's like, Carl, go

1441
01:21:23,880 --> 01:21:28,720
Speaker 2: to the accident hospital. We need a fresh heart from

1442
01:21:28,760 --> 01:21:32,719
Speaker 2: a young woman. And you know where this is going, yeah, exactly.

1443
01:21:32,840 --> 01:21:36,080
Speaker 2: So Carl just like goes and murders someone and then

1444
01:21:36,400 --> 01:21:38,559
Speaker 2: he shows up with a heart and Henry's like, wow,

1445
01:21:38,680 --> 01:21:42,280
Speaker 2: this is a really fresh heart. Good job, and Carl's

1446
01:21:42,439 --> 01:21:50,880
Speaker 2: like it was a police case. But anyway, So they

1447
01:21:50,960 --> 01:21:53,160
Speaker 2: do all their unholy science and the bride is brought

1448
01:21:53,240 --> 01:21:55,960
Speaker 2: to life during an electrical storm, wrapped up like a

1449
01:21:56,080 --> 01:21:59,519
Speaker 2: mummy in these bandages, and eventually the bandages are peeled

1450
01:21:59,560 --> 01:22:02,800
Speaker 2: back and the reveal this is the bride of Frankenstein.

1451
01:22:03,080 --> 01:22:06,600
Speaker 2: It's Elsa Lanchester. Uh what what would you say to

1452
01:22:06,680 --> 01:22:07,400
Speaker 2: describe her here?

1453
01:22:07,520 --> 01:22:10,720
Speaker 1: Rob oh Well, I already mentioned the Avian energy, and

1454
01:22:11,000 --> 01:22:15,479
Speaker 1: certainly everybody knows the look, the hair, but god like,

1455
01:22:16,280 --> 01:22:18,840
Speaker 1: initially she's still wrapped in bandages. You don't know what

1456
01:22:18,920 --> 01:22:21,040
Speaker 1: you're gonna see. You know, there's there elements of a

1457
01:22:21,160 --> 01:22:24,599
Speaker 1: mummy to the way she's wrapped up, and then when

1458
01:22:24,640 --> 01:22:26,800
Speaker 1: we start taking them off, yeah, you begin to see

1459
01:22:26,840 --> 01:22:29,800
Speaker 1: that she is this one they've they've really managed to

1460
01:22:29,920 --> 01:22:33,439
Speaker 1: look for the bride. That is this uncanny place between

1461
01:22:33,600 --> 01:22:37,320
Speaker 1: otherworldly beauty and and and and really the grave.

1462
01:22:37,960 --> 01:22:41,800
Speaker 2: That's right, and tragically so they so the monster comes

1463
01:22:41,840 --> 01:22:44,880
Speaker 2: out after his bride has been created, and the monster

1464
01:22:45,160 --> 01:22:50,720
Speaker 2: hopefully approaches her, saying friend, friend. But here's where the

1465
01:22:50,800 --> 01:22:54,920
Speaker 2: real tragedy comes in. Even she from beyond the grave

1466
01:22:55,360 --> 01:22:59,679
Speaker 2: rejects Karlof rejects the monster. She she screams, she finds

1467
01:22:59,720 --> 01:23:01,320
Speaker 2: him to terrifying and ugly.

1468
01:23:01,880 --> 01:23:04,360
Speaker 1: And she kind of does this hiss thing eventually too.

1469
01:23:04,600 --> 01:23:07,000
Speaker 1: Maybe that's towards the end, but I really like that

1470
01:23:07,160 --> 01:23:09,680
Speaker 1: moment as well because it also sort of served to

1471
01:23:10,160 --> 01:23:13,240
Speaker 1: underline the fact that like she is, she is monster

1472
01:23:13,320 --> 01:23:16,679
Speaker 1: as well, like she's not I mean, in the same

1473
01:23:16,720 --> 01:23:20,320
Speaker 1: way that that Karlov's monster is also a victim. Yes,

1474
01:23:20,439 --> 01:23:21,960
Speaker 1: she is also a victim. She did not ask to

1475
01:23:22,000 --> 01:23:25,040
Speaker 1: be brought into this world, but she is also not

1476
01:23:25,560 --> 01:23:28,120
Speaker 1: human in the same way that the monster.

1477
01:23:27,960 --> 01:23:31,360
Speaker 2: Is not human. That's right. She immediately seems to recognize

1478
01:23:31,520 --> 01:23:35,920
Speaker 2: the wrongness of her own existence, like you know, love dead,

1479
01:23:36,040 --> 01:23:40,480
Speaker 2: hate living, and she hisses, and that that hiss signals

1480
01:23:40,520 --> 01:23:44,280
Speaker 2: almost that like she doesn't want to exist. The hiss

1481
01:23:44,320 --> 01:23:48,599
Speaker 2: apparently was Elsa Lanchester's idea, and she got the idea

1482
01:23:48,720 --> 01:23:52,560
Speaker 2: from observing geese. You know, geese hiss. Yeah, so she

1483
01:23:52,720 --> 01:23:55,120
Speaker 2: was trying to do like a goose's threatening hiss.

1484
01:23:56,000 --> 01:23:57,799
Speaker 1: Oh, very good, excellent addition.

1485
01:23:58,360 --> 01:24:01,000
Speaker 2: So in the very end, the cree sure just defeated

1486
01:24:01,200 --> 01:24:06,759
Speaker 2: by uh by this rejection. He allows Henry and Elizabeth

1487
01:24:06,840 --> 01:24:09,519
Speaker 2: to escape the castle. He tells them to live. But

1488
01:24:09,680 --> 01:24:13,679
Speaker 2: as for himself, the bride and doctor Pretorius, he says,

1489
01:24:13,960 --> 01:24:18,240
Speaker 2: we belong dead and flips this lever that had been established.

1490
01:24:18,280 --> 01:24:21,120
Speaker 2: Would would reduce the h I think Pretorius said it

1491
01:24:21,120 --> 01:24:24,320
Speaker 2: would reduce their castle to atoms. It doesn't quite do that,

1492
01:24:24,640 --> 01:24:26,799
Speaker 2: but it does cause a great destruction.

1493
01:24:27,600 --> 01:24:30,439
Speaker 1: Yes, again, this is the beautiful discruction scene that I

1494
01:24:30,520 --> 01:24:32,960
Speaker 1: was talking about at the top of the episode. Just oh,

1495
01:24:33,040 --> 01:24:36,240
Speaker 1: it's so beautiful everything I mean in the film, certainly,

1496
01:24:36,320 --> 01:24:38,920
Speaker 1: but this this last stretch, this last third of the picture,

1497
01:24:39,200 --> 01:24:43,960
Speaker 1: I mean, the the laboratory looks amazing, the lightning effects,

1498
01:24:44,040 --> 01:24:48,280
Speaker 1: the kites they send up, the the the resurrection or

1499
01:24:48,520 --> 01:24:52,839
Speaker 1: or or energizing of the bride is so wonderful. Everything

1500
01:24:53,000 --> 01:24:53,880
Speaker 1: is just pitch perfect.

1501
01:24:54,400 --> 01:24:57,760
Speaker 2: I totally agree. And I guess that's got to be

1502
01:24:57,800 --> 01:25:00,320
Speaker 2: the end, right, that's Bride of Frankenstein. I will just

1503
01:25:00,320 --> 01:25:03,040
Speaker 2: say again, I love this movie. I think it's like

1504
01:25:03,360 --> 01:25:07,480
Speaker 2: top tier weird horror, just unbeatable.

1505
01:25:08,160 --> 01:25:12,920
Speaker 1: Yeah, and solid ending too. We cut to the Frankenstein's

1506
01:25:13,400 --> 01:25:17,600
Speaker 1: not the monsters, Henry and Elizabeth, you know, reunited and

1507
01:25:17,680 --> 01:25:19,400
Speaker 1: it's a nice little moment. Kind of serves as a

1508
01:25:19,479 --> 01:25:22,479
Speaker 1: nice cap, but it doesn't feel kind of like unearned

1509
01:25:22,520 --> 01:25:24,960
Speaker 1: and tact on like the happy moment at the end

1510
01:25:25,040 --> 01:25:28,600
Speaker 1: of the first Frankenstein film, Like this one feels like it.

1511
01:25:28,880 --> 01:25:31,240
Speaker 1: It honestly got to that feel good moment at the

1512
01:25:31,360 --> 01:25:32,519
Speaker 1: end where everything's put right.

1513
01:25:33,880 --> 01:25:34,040
Speaker 4: Yeah.

1514
01:25:34,160 --> 01:25:36,680
Speaker 1: Like Joe said, it's a beautiful movie. Go see it

1515
01:25:36,720 --> 01:25:38,799
Speaker 1: if you haven't seen it, And if you've seen it before,

1516
01:25:39,000 --> 01:25:41,519
Speaker 1: even a few times, go watch it again because you

1517
01:25:41,560 --> 01:25:44,080
Speaker 1: know you love it. Just a reminder out there that

1518
01:25:44,640 --> 01:25:47,280
Speaker 1: Stuffed to Blow your Mind is primarily a science podcast

1519
01:25:47,360 --> 01:25:51,120
Speaker 1: with core episodes on Tuesdays and Thursdays, but on Fridays

1520
01:25:51,320 --> 01:25:53,400
Speaker 1: we set aside most serious concerns to just talk about

1521
01:25:53,439 --> 01:25:56,640
Speaker 1: a weird movie here on Weird House Cinema. If you

1522
01:25:56,760 --> 01:25:58,760
Speaker 1: want to see a list of all the movies we've

1523
01:25:58,840 --> 01:26:02,640
Speaker 1: covered over the years here, you can go to U.

1524
01:26:03,040 --> 01:26:04,680
Speaker 1: We can go to letterbox dot com. It's l E

1525
01:26:04,760 --> 01:26:06,559
Speaker 1: T T E R B O x D dot com.

1526
01:26:07,240 --> 01:26:11,880
Speaker 1: That's a site where people create accounts and review movies

1527
01:26:11,960 --> 01:26:14,160
Speaker 1: and make lists of movies. Well, we have a username

1528
01:26:14,200 --> 01:26:16,400
Speaker 1: on there, it's weird House, and you can see a

1529
01:26:16,520 --> 01:26:19,240
Speaker 1: wonderful visual list of all the movies we've covered thus far,

1530
01:26:19,360 --> 01:26:22,120
Speaker 1: and sometimes a peek ahead at what's coming up next.

1531
01:26:22,439 --> 01:26:24,720
Speaker 1: I also blog about these films at some mutomusic dot

1532
01:26:24,800 --> 01:26:26,439
Speaker 1: com Huge Things.

1533
01:26:26,479 --> 01:26:30,320
Speaker 2: As always to our excellent audio producer Jjposway. If you

1534
01:26:30,320 --> 01:26:32,240
Speaker 2: would like to get in touch with us with feedback

1535
01:26:32,320 --> 01:26:34,760
Speaker 2: on this episode or any other, to suggest a topic

1536
01:26:34,840 --> 01:26:36,720
Speaker 2: for the future, or just to say hello, you can

1537
01:26:36,840 --> 01:26:39,760
Speaker 2: email us at contact at stuff to Blow your Mind

1538
01:26:39,920 --> 01:26:40,360
Speaker 2: dot com.

1539
01:26:47,200 --> 01:26:50,120
Speaker 3: Stuff to Blow your Mind is production of iHeartRadio. For

1540
01:26:50,240 --> 01:26:53,000
Speaker 3: more podcasts from my Heart Radio, visit the iHeartRadio app,

1541
01:26:53,160 --> 01:26:55,920
Speaker 3: Apple Podcasts, or wherever you listen to your favorite shows,