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Speaker 1: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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Speaker 2: Hey, welcome to Weird House Cinema.

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Speaker 3: This is Rob Lamb and this is Joe McCormick, and

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Speaker 3: Hey friends. If I sound a little bit unusual today,

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Speaker 3: I am recording in a different place than usual. My

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Speaker 3: audio setup's a little different, So if if you hear

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Speaker 3: anything different, that's the reason why. In fact, I'm recording

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Speaker 3: from my secret laboratory. Because I'm so excited today we're

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Speaker 3: going to be talking about the nineteen thirty nine Universal

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Speaker 3: monster film Son of Frankenstein. This was a great pick.

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Speaker 2: Rob, Yeah, this is a lot. This film is a

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Speaker 2: lot of fun and for Weird House Cinema, it's our

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Speaker 2: return to the nineteen thirties. This is only the fourth

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Speaker 2: film from the nineteen thirties that we've talked about on

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Speaker 2: the show. We previously talked about nineteen thirty five's Mad Love,

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Speaker 2: then nineteen thirty two's Doctor X, and then most recently

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Speaker 2: last year, I believe, nineteen thirty five's Bride of Frankenstein.

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Speaker 2: Today's film is the sequel to that motion picture.

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Speaker 3: The treequel, if you will, And this is really exciting

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Speaker 3: because Bride of Frankenstein is one of my favorite horror movies.

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Speaker 3: If you've heard the episode we did on that, a

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Speaker 3: lot of it was just gushing about how much I

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Speaker 3: love the film. And I had always read that the

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Speaker 3: Universal follow up, Son of Frankenstein was a lot better

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Speaker 3: than you might expect from a third movie in the series.

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Speaker 3: Until this week, I had never seen it, and Wow,

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Speaker 3: I was blown away. I love Son of Frankenstein. Not

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Speaker 3: only is it great, not only is it worthy of

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Speaker 3: the Frankenstein line. I think I probably like it better

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Speaker 3: than the original Frankenstein as well. I think it's not

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Speaker 3: quite at the level of Bride, but it's like the

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Speaker 3: very next tier down. It might be now my third

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Speaker 3: or perhaps even second favorite Universal monster movie.

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Speaker 2: Yeah, it's really quite a testament to how good it is,

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Speaker 2: you know, because we've talked about the problem with sequels,

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Speaker 2: the challenge of sequels in the past, like how do

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Speaker 2: you capture that man? And like most most films don't

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Speaker 2: work the first time around, but then to actually strike

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Speaker 2: gold and then come back and equal or exceed the

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Speaker 2: previous film, like that's quite an accomplishment. And then to

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Speaker 2: have the gall to come back and do a third one,

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Speaker 2: you know, the odds are not with you. So I

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Speaker 2: have heard from a lot of people that have said, yeah,

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Speaker 2: this one is better than the original Frankenstein. It's more

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Speaker 2: fun or whatever, you know, caveats you want to put

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Speaker 2: on it, But yeah, I would agree. It doesn't. It

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Speaker 2: doesn't really top the glory of Bride but you and

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Speaker 2: then at the same time, it also you know, it

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Speaker 2: doesn't really do much in the way of digging back

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Speaker 2: through unused morsels from Mary Shelley's novel. It doesn't dive

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Speaker 2: too deep into the themes of the original work, but

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Speaker 2: we do end up with a very entertaining, at times

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Speaker 2: very comedic, but also weird, fresh film that is still

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Speaker 2: a logical continuation of the series, full of great sets,

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Speaker 2: great cinematography, and a lot of fun performances.

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Speaker 3: Yeah, I would agree. I think it probably doesn't have

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Speaker 3: as much in the way of profound themes as the

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Speaker 3: first two movies do because they interact more with the

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Speaker 3: original source material. Like you were saying, there's not much

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Speaker 3: of Mary Shelley in Son of Frankenstein, and yet it's

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Speaker 3: just fantastic. It's just a wild, fun ride full of

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Speaker 3: zany characters and great scenes, great dialogue, and Bella Lagosi

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Speaker 3: in a performance I can't believe I've never seen before. Like,

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Speaker 3: having been a Bella Lagosi fan, I don't know how

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Speaker 3: I was without his igor in this movie. It's one

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Speaker 3: of his best ever.

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Speaker 2: Absolutely just terrific performance, and it's not the only scene

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Speaker 2: stealing performance in this picture.

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Speaker 3: Really.

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Speaker 2: My only complaint, and it's a small one, concerning Son

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Speaker 2: of Frankenstein, is that it maybe feels a bit long

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Speaker 2: for a nineteen thirties monster film. It clocks in at

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Speaker 2: an hour and thirty nine minutes, whereas the original Frankenstein

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Speaker 2: was an hour in ten and Bride was an hour

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Speaker 2: and fifteen. As my wife observed she watched it with me,

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Speaker 2: as did my son. They could have maybe done with

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Speaker 2: a few cuts to the many hatch and door opening

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Speaker 2: scenes and maybe maybe got that runtime down just a

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Speaker 2: little bit.

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Speaker 3: I agree that it's a little bit longer than you

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Speaker 3: might expect, but at the same time, it feels pretty

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Speaker 3: tight to me. I agree. Yeah, there are a few

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Speaker 3: like hatch opening scenes, I guess, but it is not

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Speaker 3: padded out. I mean, this is not it conquered the

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Speaker 3: world with driving scenes and so forth. We're not spending

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Speaker 3: time parking the car.

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Speaker 2: Right and it is a great hatch, is what this?

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Speaker 3: Guess?

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Speaker 2: Yeah, quick schedule change. Note you might be some of

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Speaker 2: you might be wondering, why are y'all talking about this

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Speaker 2: nineteen thirties horror movie. Aren't you supposed to be talking

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Speaker 2: about a nineteen nineties Cthulhu movie. Well, we had to

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Speaker 2: switch up in the schedule, but don't worry, and we'll

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Speaker 2: come back in the future with some other Cthulhu mythos

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Speaker 2: movie to make up for it. All right, so let's

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Speaker 2: get back into Son of Frankenstein, and my elevator pitch

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Speaker 2: for this one is just Frankenstein the next generation.

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Speaker 3: Wait, in that analogy, is Basil Rathbone the Picard or

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Speaker 3: is he more the riker?

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Speaker 2: Hmm, that's a great question. We'll have to chew on

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Speaker 2: that one as we received. All right, let's hear just

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Speaker 2: a little bit of that classic trailer audio. I think

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Speaker 2: we have some fun narration in this.

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Speaker 4: Twenty years ago in the barony of Frankenstein, a monster

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Speaker 4: created by man stalk through the country, being and killing.

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Speaker 4: In time, Frankenstein, maker of the monster, died, the monster disappeared.

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Speaker 4: Now after twenty years, the Son of Frankenstein returns and

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Speaker 4: fear grips the village an a man tainted by the

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Speaker 4: blood of his father can forget his human soul and

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Speaker 4: carry on the diabolical work of the Frankenstein. As a man,

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Speaker 4: I should destroy.

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Speaker 5: Him, but as a scientist, I should do everything in

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Speaker 5: my power to bring him back to conscious life and

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Speaker 5: some ton on the generator.

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Speaker 2: All right, So if you're excited for this one, now,

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Speaker 2: if you've never seen Son of Frankenstein and you want

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Speaker 2: to watch it, or you want to rewatch it before

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Speaker 2: getting into the rest of this episode, well we encourage

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Speaker 2: you to do so. This is a universal monster movie,

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Speaker 2: so it is widely available in physical and digital formats

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Speaker 2: of all kinds, including universals Frankenstein Complete Legacy Collection box

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Speaker 2: set that's eight movies plus extras. For folks looking to

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Speaker 2: stream it in the States, I believe it's currently on Peacock,

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Speaker 2: but you know, check that out for yourself and see.

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Speaker 2: I see if you can find it somewhere that you like.

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Speaker 3: I streamed it on the Big River and the quality

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Speaker 3: was good.

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Speaker 2: Okay, all right, I watched this one on the big screen,

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Speaker 2: which is pretty exciting. I don't think I've actually done

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Speaker 2: that for a weird house cinema before I saw it

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Speaker 2: with friends and family at Atlanta's historic Plaza Theater, presented

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Speaker 2: as part of the Silver Screens Spook Show series. It's

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Speaker 2: pretty great in two major ways. So first of all,

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Speaker 2: Professor Morte and company come out and they do this

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Speaker 2: fun pre show full of gags and puppets and terrible jokes,

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Speaker 2: a whole lot of fun. And we caught them the matinee,

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Speaker 2: so it was all kid friendly, very halloweeny. And secondly,

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Speaker 2: it's a real I thought it was just a real

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Speaker 2: treat to see a nineteen thirty nine film in a

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Speaker 2: movie theater that opened in nineteen thirty nine.

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Speaker 3: Oh wow.

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Speaker 2: Yeah, I'm not sure if Son of Frankenstein ever played

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Speaker 2: at the Plaza back in thirty nine. I looked around.

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Speaker 2: I couldn't find any really good resources for this kind

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Speaker 2: of research. But I'll tell you in twenty twenty four,

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Speaker 2: it looked just tremendous on the big screen, like it's

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Speaker 2: just such a well shot picture and the film quality,

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Speaker 2: and know it's been so beautifully restored. It's just just pristine.

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Speaker 3: The Plaza really is one of the treasures of Atlanta,

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Speaker 3: so it is so wonderful.

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Speaker 2: Yeah, and so Yeah. If you're visiting Atlanta or you

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Speaker 2: live here, go check out the Plaza. Check them out

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Speaker 2: at Plaza Atlanta dot com. They have lots of fun programming,

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Speaker 2: including Silver Scream spook shows. There's also Plaza Drome that's

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Speaker 2: a partnership that they have with Videodrome. And next week alone,

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Speaker 2: the week following the original publication of this episode, they're

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Speaker 2: playing a Ramsey Brothers Bollywood horror film and Beyond the

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Speaker 2: Black Rainbow. So it's you know, if you like our

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Speaker 2: show and you have access to this theater, there are

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Speaker 2: plenty of reasons to go there.

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Speaker 3: They are really operating on your frequency, Rob.

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Speaker 2: I know, they just they won't They really won't be

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Speaker 2: back in. I'm going to get back in, all right.

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Speaker 2: Shall we get into the people behind this picture?

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Speaker 4: Ah?

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Speaker 3: Yeah, I guess we should. Now. One thing that you

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Speaker 3: might assume if you haven't seen the movie yet and

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Speaker 3: you just look at the creative names behind it, you

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Speaker 3: might assume a big problem would be where's James Whylee? Yeah?

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Speaker 2: I think that that is one of the things that's

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Speaker 2: often pointed out in at least reviews, if not criticism

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Speaker 2: of the film is we have to move on from

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Speaker 2: James Whale at this point, and it's another director taking

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Speaker 2: the film. It is Roland V. Lee, who lived eighteen

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Speaker 2: ninety one through nineteen seventy five, an American director and producer,

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Speaker 2: an established name at this point, having directed since I

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Speaker 2: believe nineteen twenty and written, produced nearly and produced nearly

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Speaker 2: as long. This was his only horror film, however, coming

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Speaker 2: off of a number of historical adventures and comedies, including

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Speaker 2: nineteen thirty fours The Count of Money Cristo, nineteen thirty

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Speaker 2: seven's Love from a Stranger that would starred Basil Rathbone

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Speaker 2: as well nineteen thirty nine's Tower of London, which had

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Speaker 2: both Rathbone and Carloff in it, and his last directorial

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Speaker 2: credit was nineteen forty five's Captain Kidd, after which he

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Speaker 2: retired to run a ranch. But I believe he returned

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Speaker 2: at one point in nineteen fifty nine to produce and

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Speaker 2: do some writing on a film called The Big Fisherman. Also,

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Speaker 2: he was a founding member of the Screen Directors Guild.

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Speaker 3: Incredibly big shoes to Phil coming in after James, Well,

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Speaker 3: but I don't know. To me, this movie feels directed

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Speaker 3: with extreme confidence. There is just such a strong, steady

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Speaker 3: storytelling hand at the helm with a great sense of humor.

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Speaker 2: Yeah, And it's all the more amazing when you read

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Speaker 2: a little bit about the problems with the screenplay and

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Speaker 2: the challenges with the screenplay running into this. So the

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Speaker 2: screenplay is credited to Willis Cooper, who lived eighteen ninety

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Speaker 2: nine through nineteen fifty five. This is a guy who

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Speaker 2: created an old time radio horror show called lights Out

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Speaker 2: that ran from thirty four through forty seven. His other story,

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Speaker 2: screenwriting and dialogue credits include a few Mister Moto movies

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Speaker 2: and the nineteen thirty nine serial The Phantom Creeps Now Again,

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Speaker 2: Son of Frankenstein. Apparently had a lot of script problems.

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Speaker 2: Cooper's initial script was rejected, and Lee had numerous issues

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Speaker 2: with the script as production proceeded. Apparently even as they

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Speaker 2: were shooting it. They were apparently still writing pages minutes

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Speaker 2: before the film rolled, and Lee himself was in there

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Speaker 2: doing some of the writing uncredited. So I mean that

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Speaker 2: in some pictures that would be a recipe for chaos

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Speaker 2: and disaster, but it works here, and we'll get into

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Speaker 2: some of the ways that it works really well as

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Speaker 2: we proceed.

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Speaker 3: That's wild. It doesn't feel like that. It feels tight.

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Speaker 3: It feels tight and well considered, and all the scenes

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Speaker 3: feel constructed with the overall arc of the story in mind.

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Speaker 2: Yeah, and it could be based on what I was reading,

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Speaker 2: it could be that, like, it wasn't a situation where

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Speaker 2: they necessarily threw everything out. They kind of kept to

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Speaker 2: the basic bones. They'd shift characters, they'd change characters, but

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Speaker 2: you know they maybe they were making just very deliberate

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Speaker 2: choices every time they changed something and made sure that

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Speaker 2: they weren't just completely jackknifing the vehicle.

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Speaker 3: I'm seriously impressed.

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Speaker 2: We'll mention in passing here that, of course, this is

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Speaker 2: ultimately based on the work of Mary Shelley, who lived

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Speaker 2: seventeen ninety seven through eighteen fifty one, the English writer

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Speaker 2: responsible for a good seven novels and multiple short stories,

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Speaker 2: but her first eighteen eighteen's Frankenstein or The Modern Prometheus,

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Speaker 2: this is the one that made her a legend. This

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Speaker 2: is the book that kind of gave birth to so

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Speaker 2: much in gothic horror and certainly science fiction. It's almost

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Speaker 2: impossible to overstate the importance of this book in general,

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Speaker 2: and of course without this book we wouldn't have this movie.

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Speaker 3: Yeah, and we talk at length about the importance of

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Speaker 3: Mary Shelley in the history of science fiction and horror

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Speaker 3: in the episode we did on Bride of Frankenstein, so

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Speaker 3: check that one out too. In fact, I think that's

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Speaker 3: going to be rerunning soon, isn't it.

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Speaker 2: Yes, it is rerunning this October. I'm not sure where

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Speaker 2: it's going to fall on either side of this publication,

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Speaker 2: but look out for it. You don't have to do

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Speaker 2: too much of digging in order to listen to our

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Speaker 2: Bride episode again.

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Speaker 3: Yeah, but big, big Mary Shelley fan here.

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Speaker 2: Yeah, it's a tremendous book. If you haven't read it,

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Speaker 2: you don't be afraid of that publication date. It stands

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Speaker 2: the test of time, all right. There are a number

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Speaker 2: of other names that we have discussed on the show before,

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Speaker 2: some in right of Frankenstein, and of course the big

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Speaker 2: one literally is the monster himself, played by Boris Karloff,

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Speaker 2: who lived eighteen eighty seven through nineteen sixty nine. I

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Speaker 2: won't go into as much detail here since we have

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Speaker 2: covered Karloff multiple times for different films that he's appeared in,

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Speaker 2: but British actor born William Henry Pratt. Boris Karloff was

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Speaker 2: his stage name. His credits go all the way back

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Speaker 2: to nineteen nineteen, and he already had a long filmography

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Speaker 2: by the time of nineteen thirty One's Frankenstein came around,

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Speaker 2: which of course really put him on the map in

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Speaker 2: the horror genre and helped make him a legend. And

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Speaker 2: he appeared in various other horror films as well, which

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Speaker 2: is nineteen thirty four is the Black Cat, Do's The Mummy. This,

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Speaker 2: of course is the last time that he appears as

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Speaker 2: Frankenstein's monster in a feature film. I think he would

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Speaker 2: do like a little one offs here for TV, you know,

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Speaker 2: a handful, but this is the last time he truly

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Speaker 2: played the monster.

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Speaker 3: Now, I will have almost exclusively positive things to say

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Speaker 3: about this movie, but I think one fair criticism you

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Speaker 3: could make about Son of Frankenstein is that it signals,

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Speaker 3: in a way, a retreat from the complexity and the

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Speaker 3: pathos that were imbued on the monster in both of

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Speaker 3: the two previous films, in the original and then especially

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Speaker 3: in Bride, where the monster becomes so interesting and pitiable,

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Speaker 3: and you know, you get that section in the middle

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Speaker 3: of the movie where he lives with the old man

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Speaker 3: in the cottage, and then you get his conclusion at

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Speaker 3: the end when he decides that we belong dead. The

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Speaker 3: version of Karloff's Monster that appears in Son of Frankenstein

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Speaker 3: is very psychologically stripped down compared to that. I mean,

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Speaker 3: he has some interesting moments, and you can see Karloff

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Speaker 3: really giving the character probably more than is even on

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Speaker 3: the page. Like there is a scene where he confronts

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Speaker 3: Basil Rathbone for the first time and he reaches up

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Speaker 3: as if he's deciding whether to kill him or to

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Speaker 3: embrace him, and he doesn't know which he should do,

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Speaker 3: and so Karloff is, i think, bringing his own stuff.

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Speaker 3: It almost feels like to what's there. I think maybe

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Speaker 3: one of the weakest things about the movie though, is

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Speaker 3: that they did away with a lot of the complexity

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Speaker 3: that the monster earned already in this series.

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Speaker 2: Yeah, I absolutely agree. So we don't see any of

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Speaker 2: these moments. Aside from the scene you highlighted, there aren't

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Speaker 2: really any scenes of like real transcendence with the creature.

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Speaker 2: Both of the previous films had some really haunting moments

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Speaker 2: that he might forget. If you haven't seen the film

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Speaker 2: in a while, I'll also note that the other big

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Speaker 2: difference with the monster this time around still looks great.

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Speaker 2: Makeup still is tremendous, Karloff still shines through. But the

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Speaker 2: monster also has this big furry coat on which, you know,

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Speaker 2: it's a different looks he's winnerized.

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Speaker 3: He's dressed like Trumpy from Pod People. Yeah, you know,

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Speaker 3: he's got that furry coat.

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Speaker 2: All right. Next up we have barn Wolf von Frankenstein.

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Speaker 2: This is the titular son of Frankenstein played by Basil Rathlone.

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Speaker 3: You know, there are multiple sons of Frankenstein in the

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Speaker 3: movie though, because Basil Rathbune plays the son of Henry Frankenstein,

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Speaker 3: Henry being the movies version of Victor Frankenstein from the novel,

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Speaker 3: and then also Wolf Frankenstein. Basil Rathbone has a son

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Speaker 3: in the movie, Peter Frankenstein, who is his son. And

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Speaker 3: then there's also discussion of whether or not the monster

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Speaker 3: should be thought of as Henry Frankenstein's other sons. Is

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Speaker 3: the monster Basil Rathbone's brother, So it's just a SunFest

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Speaker 3: Sons abound.

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Speaker 2: They could have called it Sons of Frankenstein and that

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Speaker 2: would that would have been a great title. I don't know. Yeah,

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Speaker 2: so anyway, this is this is the biological sun of

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Speaker 2: the original Frankenstein again, Baron Wolf von Frankenstein Uh played

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Speaker 2: by Basil Rathbone. Basil Rathbone lived eighteen ninety two through

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Speaker 2: nineteen sixty seven. Famed British actor who we've previously discussed

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Speaker 2: on the show for his roles in nineteen sixty Two's

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Speaker 2: The Magic Sword in nineteen sixty six is Queen of Blood.

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Speaker 2: But that's a that's a much older Basil Rathbone that

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Speaker 2: we were talking about there. Here we get to see

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Speaker 2: him in his prime, you know, coming off of a

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Speaker 2: lot of like swashbuckling stuff. You know, he's even got

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Speaker 2: that nice pencil thin mustache going on. Oh yeah, and

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Speaker 2: he gets to buckle some swash late in the picture,

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Speaker 2: you know.

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Speaker 3: He does he swings.

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Speaker 2: Yeah, so it you know, it's it's impossible not to

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Speaker 2: compare his performance to, of course, that of Colin Clive

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Speaker 2: in the previous two films who played the original Victor Frankenstein. Clive,

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Speaker 2: of course was Henry in the movies. Yes, sorry, Colin

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Speaker 2: Clive was tremendous. He had just such amazing frantic energy.

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Speaker 2: But Basil Rathbone I think that's a pretty great job

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Speaker 2: getting somewhere near that level without because he's also not

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Speaker 2: supposed to completely embrace the madness of his father, or

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Speaker 2: at least not immediately, Like that's part of the substance

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Speaker 2: of the film. It's like, to what extent are you

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Speaker 2: going to step into your father's shoes and be the

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Speaker 2: man he was for you know, good or for bad.

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Speaker 3: Bazil Rathbone does well with this role because it's written

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Speaker 3: in a way that you might say contains contradictions, Like,

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Speaker 3: ultimately he's a quite sympathetic character, and yet he behaves

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Speaker 3: in ways that are really not I don't know if

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Speaker 3: you like just described his scene to scene behavior. A

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Speaker 3: lot of it is not very sympathy, earning the way

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Speaker 3: he is just so defensive about his father's legacy, and

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Speaker 3: he's dismissive of you know, oh, all these peasants afraid

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Speaker 3: of monsters. Bah. He is defensive and shows insufficient concern

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Speaker 3: for others at many times, and you could argue as

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Speaker 3: even vainglorious to some extent, and yet in the end

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Speaker 3: you don't think of him as one of those protagonist villains.

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Speaker 3: Ultimately you're on his side.

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Speaker 2: Yeah, yeah, And he You know, there's a nice lead

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Speaker 2: up to him doing any mad science. You know, it

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Speaker 2: starts off more as a gentlemanly curiosity about these things,

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Speaker 2: and then it becomes increasingly personal and obsessive.

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Speaker 3: Yeah all, but oh.

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Speaker 2: As we previously alluded to, this film also features the

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Speaker 2: legendary Bela Lagosi, who lived eighteen eighty two through nineteen

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Speaker 2: fifty six. This, of course, is the Hungarian American actor

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Speaker 2: and classic horror icon best known for his portray of

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Speaker 2: Dracula in the nineteen thirty one Universal Horror Film, which

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Speaker 2: of course came on the heels of a Broadway play

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Speaker 2: based on the novel Dracula from I Believe twenty seven,

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Speaker 2: and his success as Draka led to a number of

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Speaker 2: additional horror films. This is interesting though. One of the

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Speaker 2: things about Legosi's career, though, of course, is there's often

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Speaker 2: an uneven and even downward trajectory. There are a number

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Speaker 2: of issues that kind of derailed his career, especially late

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Speaker 2: in life, and in fact, this film apparently occurs at

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Speaker 2: a point of decline as well. His part in this

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Speaker 2: apparently wasn't even in the original screenplay, and when the

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Speaker 2: character of Igor that's with a why was initially added

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Speaker 2: It was a very small part for apparently little pay,

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Speaker 2: almost an insulting level of pay, many thought for someone

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Speaker 2: of Lagosi's stature and his talent. And so the director

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Speaker 2: of the story goes Lee here stood up for Lago

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Speaker 2: and as much of the shooting script was again being

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Speaker 2: written and prepared last minute, he was able to continually

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Speaker 2: beef up Legosi's role, giving him more and more dialogue,

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Speaker 2: making his character more and more important. Because ultimately, instead

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Speaker 2: of getting like just a Toady or a Hinchman here,

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Speaker 2: or just a you know, sort of like the crazy

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Speaker 2: old hermit character, instead we end up positioning Bella Lagosi's

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Speaker 2: igor as really the central antagonist of the picture.

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Speaker 3: Oh. I can't believe this movie was ever envisioned without him.

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Speaker 3: He's the star of the show. It is a scene

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Speaker 3: stealer every time. Every time he comes on screen, I

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Speaker 3: would just light up, like, oh, here he is again.

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Speaker 3: I'm so excited. And his scenes are great again. It

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Speaker 3: does not have the feeling of something thrown together at

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Speaker 3: the last minute. His scenes feel like the core texture

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Speaker 3: of this movie.

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Speaker 2: Yeah yeah, and I mean it even brings up some

396
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Speaker 2: deeper concepts about the overarching themes of Frankenstein, which'll get

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Speaker 2: into Yeah, he's yeah, so he has some of the

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Speaker 2: trappings of henchman, but he's also like a satanic antagonist,

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Speaker 2: a tempter that is luring bearn Wolf von Frankenstein into

400
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Speaker 2: deeper experimentation with his father's legacy.

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Speaker 3: Yeah, and there are just so many moments where it's

402
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Speaker 3: the perfect pairing of an ominously understated line in terms

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Speaker 3: of the words with Legosi's predatory delivery, like that part

404
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Speaker 3: where he's talking about how the monster is his friend

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Speaker 3: and then he just says he does things for me.

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Speaker 2: Those things are murder, as we will learn.

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Speaker 3: But yeah, I mean, if Legosi was actually feeling i

408
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Speaker 3: don't know, demeaned or depressed about this role, it does

409
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Speaker 3: not come through in the movie. He seems like he

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Speaker 3: is having a ball.

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Speaker 2: Yeah. That's my understanding is that he was greatly appreciative

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Speaker 2: of everything that Lee did for him here and giving

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Speaker 2: him more to work with and letting him go beyond

414
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Speaker 2: just mere you know, villain stuff getting into comedy. Like

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Speaker 2: there's there's some really funny moments from this character and

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Speaker 2: virous other characters in this picture.

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Speaker 3: When he coughs on the guy in the testimony scene

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Speaker 3: that was laughing so hard. Sorry, I cough.

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Speaker 2: Apparently in earlier versions of the script, the Inspector was

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Speaker 2: the primary antagonist.

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Speaker 3: Hmmm, that's funny because the Inspector comes off quite honorable

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Speaker 3: in the final telling.

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Speaker 2: Yes, and is also just a tremendous scene stealing performance

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Speaker 2: as well. This is Inspector Krogue, played by the Great

425
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Speaker 2: Lionel Atwell, who lived eighteen eighty five through nineteen forty six.

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Speaker 2: This is an English and American actor of stage and

427
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Speaker 2: screen who is perhaps best remembered today for his roles

428
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Speaker 2: in various horror films, because he was some in some

429
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Speaker 2: pretty notable ones, including nineteen thirty two's Doctor X, which

430
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Speaker 2: we talked about on the show, Oh, the Original, nineteen

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Speaker 2: thirty three, The History of the Wax Museum, as well

432
00:24:02,240 --> 00:24:07,280
Speaker 2: as assorted Frankenstein, Dracula, and Sherlock Holmes movies of the era.

433
00:24:07,600 --> 00:24:10,119
Speaker 2: He even got to play Professor Moriarty at one point.

434
00:24:10,560 --> 00:24:13,200
Speaker 2: He was active in universal horror for quite a bit there.

435
00:24:14,280 --> 00:24:18,840
Speaker 2: Personal scandal ended up relegating him to mostly smaller roles

436
00:24:18,840 --> 00:24:21,439
Speaker 2: in smaller pictures for the last several years of his

437
00:24:21,480 --> 00:24:25,680
Speaker 2: life and career, but he's great here portraying this proud

438
00:24:25,920 --> 00:24:29,600
Speaker 2: and proper inspector who lost an arm to the monster

439
00:24:29,760 --> 00:24:33,280
Speaker 2: as a child. And this is one of those performances

440
00:24:33,320 --> 00:24:36,040
Speaker 2: where every scene involving the character is worth watching for

441
00:24:36,080 --> 00:24:39,600
Speaker 2: all sorts of just little performance details, like little momentary

442
00:24:39,600 --> 00:24:42,480
Speaker 2: shifts in his facial expression, as well as all of

443
00:24:42,560 --> 00:24:46,679
Speaker 2: these grandiose manipulations of his prosthetic arm. So between this

444
00:24:46,760 --> 00:24:51,640
Speaker 2: performance and Legosi's igor performance, oh man, it's just this

445
00:24:51,720 --> 00:24:53,639
Speaker 2: is such a feast.

446
00:24:54,040 --> 00:24:57,960
Speaker 3: Yeah, packing in the oddball characters, because again, you might

447
00:24:57,960 --> 00:25:00,840
Speaker 3: get the wrong impression about this guy from the role

448
00:25:00,880 --> 00:25:03,240
Speaker 3: he plays in the plot that he's like the you know,

449
00:25:03,280 --> 00:25:06,119
Speaker 3: the arm of the law. He's the police investigator, and

450
00:25:06,160 --> 00:25:10,800
Speaker 3: he's portrayed as mostly honorable and upright, and yet he

451
00:25:11,040 --> 00:25:14,040
Speaker 3: is eccentric to the max. Like every scene he does

452
00:25:14,080 --> 00:25:15,119
Speaker 3: something really weird.

453
00:25:15,640 --> 00:25:18,480
Speaker 2: Yeah, there's there are a lot of gags with the

454
00:25:18,520 --> 00:25:22,639
Speaker 2: prosthetic arm, but but they're not they're not like super

455
00:25:22,680 --> 00:25:26,119
Speaker 2: goofy gags, Like they're all very much in character for

456
00:25:26,160 --> 00:25:31,200
Speaker 2: this very prim and proper man who believes that if

457
00:25:31,240 --> 00:25:34,040
Speaker 2: not for this accident, not an accident, if not for

458
00:25:34,080 --> 00:25:36,720
Speaker 2: this attack that he suffered as a child. He would

459
00:25:36,720 --> 00:25:39,080
Speaker 2: be a general, he would be he would be a

460
00:25:39,119 --> 00:25:42,320
Speaker 2: man of far more importance in the world. But he

461
00:25:42,359 --> 00:25:46,320
Speaker 2: still holds himself up as if he does have this,

462
00:25:46,320 --> 00:25:48,200
Speaker 2: this this true purpose in life.

463
00:25:48,280 --> 00:25:51,879
Speaker 3: You know, if not for Boris Karloff, I would be Napoleon.

464
00:25:52,359 --> 00:25:55,399
Speaker 3: Yeah and uh. And there are these these little moments,

465
00:25:55,440 --> 00:25:58,560
Speaker 3: like the scene where he does the little heel click

466
00:25:58,640 --> 00:26:01,600
Speaker 3: at Basil Rathbone, or Rathbone tries to do it back

467
00:26:01,640 --> 00:26:04,000
Speaker 3: at him, but he just stares at him because like

468
00:26:04,119 --> 00:26:06,080
Speaker 3: Rathbone didn't do it right, so he has to click

469
00:26:06,119 --> 00:26:06,840
Speaker 3: his heels again.

470
00:26:09,080 --> 00:26:21,200
Speaker 2: So good, all right, let's see Son of Frankenstein also

471
00:26:21,320 --> 00:26:25,000
Speaker 2: has a wife, and this is an American wife, Elsa

472
00:26:25,160 --> 00:26:27,840
Speaker 2: von Frankenstein, played by Josephine Hutchinson.

473
00:26:28,240 --> 00:26:31,880
Speaker 3: Elsa von Frankenstein doesn't sound like a character written as

474
00:26:31,880 --> 00:26:32,560
Speaker 3: an American.

475
00:26:33,160 --> 00:26:34,600
Speaker 2: Yeah, it might have. This is one of those things

476
00:26:34,640 --> 00:26:38,639
Speaker 2: that might have changed as they were moving through the

477
00:26:38,640 --> 00:26:43,679
Speaker 2: production process. So she's played by American actress Josephine Hutchinson,

478
00:26:43,720 --> 00:26:46,119
Speaker 2: perhaps best known for supporting roles in nineteen fifty nine

479
00:26:46,160 --> 00:26:49,000
Speaker 2: is North By Northwest, and she'd previously co starred in

480
00:26:49,000 --> 00:26:52,159
Speaker 2: the nineteen thirty four musical Happiness Ahead. That was her

481
00:26:52,200 --> 00:26:55,959
Speaker 2: first feature film. Coming off of stage work. She worked

482
00:26:56,080 --> 00:26:59,159
Speaker 2: a lot on TV up until nineteen seventy four, I believe,

483
00:26:59,200 --> 00:27:01,919
Speaker 2: appearing on such shows as the original Twilight Zone.

484
00:27:02,320 --> 00:27:04,280
Speaker 3: In several scenes throughout the movie, she's sort of the

485
00:27:04,320 --> 00:27:07,959
Speaker 3: presence that is helping to pull Basil Rathbone back from

486
00:27:08,040 --> 00:27:11,120
Speaker 3: the brink, you know, from going too far with his experiments.

487
00:27:11,680 --> 00:27:15,280
Speaker 3: She's sort of a voice of goodness and reason and

488
00:27:15,720 --> 00:27:18,440
Speaker 3: interest for their family at least, though it's interesting also

489
00:27:18,560 --> 00:27:23,600
Speaker 3: that she's portrayed as like not personally being very excited

490
00:27:23,640 --> 00:27:27,640
Speaker 3: about moving to wherever this is Transylvania, or it's not Transylvania,

491
00:27:27,680 --> 00:27:30,280
Speaker 3: you know, wherever this is supposed to take place, the

492
00:27:30,359 --> 00:27:33,359
Speaker 3: village of Frankenstein, which is just surrounded by this barren,

493
00:27:33,480 --> 00:27:37,720
Speaker 3: horrible landscape of dead trees. And she clearly is not

494
00:27:37,880 --> 00:27:40,159
Speaker 3: excited about that. But she's game, you know, She's like,

495
00:27:40,200 --> 00:27:42,160
Speaker 3: I'm gonna give it a try. We're gonna see if

496
00:27:42,160 --> 00:27:42,639
Speaker 3: this works.

497
00:27:43,080 --> 00:27:47,520
Speaker 2: Dead trees and intense lightning storms. Yes, And they've of

498
00:27:47,560 --> 00:27:50,359
Speaker 2: course brought their son, this is son of Frankenstein or

499
00:27:50,640 --> 00:27:54,440
Speaker 2: grandson of Frankenstein's, anyhow you want to describe him.

500
00:27:54,680 --> 00:27:56,040
Speaker 3: This is the son of Frankenstein.

501
00:27:56,119 --> 00:28:00,720
Speaker 2: Yes, this is Peter von Frankenstein, played by Donnie Dunnaghan

502
00:28:00,840 --> 00:28:03,600
Speaker 2: born nineteen thirty four and as of this recording still

503
00:28:03,880 --> 00:28:07,800
Speaker 2: still still very much out there retired now. He was

504
00:28:07,840 --> 00:28:10,840
Speaker 2: a child actor of the late thirties and forties who

505
00:28:10,880 --> 00:28:14,199
Speaker 2: also appeared in Tower of London. He also most famously

506
00:28:14,440 --> 00:28:18,040
Speaker 2: was the voice of young Bambie in the nineteen forty

507
00:28:18,080 --> 00:28:24,040
Speaker 2: two Walt Disney animated film Uh Yeah, Yeah, Okay Yeah.

508
00:28:24,080 --> 00:28:26,800
Speaker 2: Texas born and I believe at the time based out

509
00:28:26,800 --> 00:28:31,479
Speaker 2: of Memphis, Tennessee. Something that becomes very obvious with this

510
00:28:31,560 --> 00:28:37,240
Speaker 2: performance because his father is British his mother is American,

511
00:28:37,960 --> 00:28:40,840
Speaker 2: but with kind of like what a transatlantic kind of

512
00:28:40,920 --> 00:28:46,960
Speaker 2: accent going on. Little Peter, though, has a very loud

513
00:28:47,000 --> 00:28:52,360
Speaker 2: and at times difficult to understand thick Southern accent, Like what.

514
00:28:52,680 --> 00:28:56,320
Speaker 3: Is going on with his accent? There is one part

515
00:28:56,400 --> 00:28:59,040
Speaker 3: where he's saying his prayers before bed and he says

516
00:28:59,080 --> 00:29:02,160
Speaker 3: the word aim and I don't know how many syllables

517
00:29:02,160 --> 00:29:04,440
Speaker 3: are in the word amen when he says it. It's

518
00:29:04,480 --> 00:29:08,920
Speaker 3: a lot. He is The accent is is nuts, but

519
00:29:09,120 --> 00:29:13,479
Speaker 3: it but also I love this kid's presence. It's like

520
00:29:13,800 --> 00:29:18,240
Speaker 3: it doesn't really fit realistically, but it's so much fun

521
00:29:18,280 --> 00:29:19,640
Speaker 3: every time he starts talking.

522
00:29:20,080 --> 00:29:23,520
Speaker 2: Yeah, and to be clear, if we're not shaming Southern accents,

523
00:29:23,760 --> 00:29:26,680
Speaker 2: Lord knows, we don't sound pretty plenty Southern to many

524
00:29:26,720 --> 00:29:26,880
Speaker 2: of you.

525
00:29:26,960 --> 00:29:27,360
Speaker 3: I'm sure.

526
00:29:27,600 --> 00:29:31,760
Speaker 2: Yeah, but it just feels wildly out of place. And

527
00:29:32,200 --> 00:29:36,240
Speaker 2: I've read that the actor here, looking back on his time,

528
00:29:36,280 --> 00:29:37,800
Speaker 2: he says like a part of it was that the

529
00:29:37,840 --> 00:29:41,400
Speaker 2: director kept telling him to speak his lines louder and

530
00:29:41,520 --> 00:29:44,280
Speaker 2: these big cavernous sets that they were using, and that

531
00:29:44,440 --> 00:29:47,000
Speaker 2: just ended up enhancing his Southern accent, like you just

532
00:29:47,040 --> 00:29:49,560
Speaker 2: having to act act louder, and that just made him

533
00:29:49,600 --> 00:29:53,840
Speaker 2: more Southern sounding. Yeah, but it's yeah, it is a

534
00:29:53,880 --> 00:29:57,920
Speaker 2: wild performance. It's like that thick Southern accent going along

535
00:29:57,960 --> 00:30:01,360
Speaker 2: with the sort of I guess surely temp as precociousness

536
00:30:01,880 --> 00:30:04,320
Speaker 2: of the actor and the character.

537
00:30:04,280 --> 00:30:08,200
Speaker 3: With the super curly hair. So yeah, but yes, so

538
00:30:08,240 --> 00:30:11,760
Speaker 3: you get these exchanges where it's like Basil Rathbone being like, yes, son,

539
00:30:11,880 --> 00:30:13,760
Speaker 3: what do you what have you been doing? And then

540
00:30:13,800 --> 00:30:16,000
Speaker 3: it's like I've been out hunting there.

541
00:30:16,760 --> 00:30:21,080
Speaker 2: Yeah. Yeah, it is alarming. The the the audience in

542
00:30:21,120 --> 00:30:23,320
Speaker 2: the theater didn't didn't know what to make of this

543
00:30:23,400 --> 00:30:26,280
Speaker 2: at times. But but yeah, Donnie.

544
00:30:25,920 --> 00:30:27,880
Speaker 3: I wouldn't change it for the world. It's amazing.

545
00:30:28,680 --> 00:30:30,800
Speaker 2: But Donnie done again. He apparently had a kind of

546
00:30:30,800 --> 00:30:34,840
Speaker 2: a challenging time after this picture, but ultimately, as an adult,

547
00:30:34,920 --> 00:30:38,680
Speaker 2: ended up joining the Marine Corps served in Vietnam uh

548
00:30:38,720 --> 00:30:43,040
Speaker 2: and has since his his his time as a as

549
00:30:43,080 --> 00:30:45,800
Speaker 2: a marine, has done a lot of interviews about Bambie,

550
00:30:45,880 --> 00:30:48,440
Speaker 2: about this film, about his time as a child actor,

551
00:30:48,880 --> 00:30:52,239
Speaker 2: and and you know, answered a lot of questions about it,

552
00:30:52,280 --> 00:30:55,320
Speaker 2: and also mentioned that he was terrified of letting anybody

553
00:30:55,320 --> 00:30:56,920
Speaker 2: know that he was the voice of Bambi when he

554
00:30:56,960 --> 00:30:59,040
Speaker 2: was in the Marines, because he's like, if they find out,

555
00:30:59,320 --> 00:31:01,560
Speaker 2: that will be nickname and I just can't have that.

556
00:31:01,880 --> 00:31:04,040
Speaker 3: Oh no, yeah, all.

557
00:31:04,000 --> 00:31:05,640
Speaker 2: Right, Well, we mentioned the look of this film being

558
00:31:05,680 --> 00:31:08,000
Speaker 2: so spectacular, so I want to briefly call out the

559
00:31:08,000 --> 00:31:10,959
Speaker 2: director of photography, George Robinson, who lived eighteen ninety through

560
00:31:11,000 --> 00:31:15,520
Speaker 2: nineteen fifty eight. Yeah, he also worked on Tower of London,

561
00:31:15,680 --> 00:31:19,320
Speaker 2: forty two's The Mummy's Tomb, various Frankenstein and Dracula sequels,

562
00:31:19,320 --> 00:31:22,680
Speaker 2: and even nineteen fifty five's Tarantula. And likewise, we have

563
00:31:22,720 --> 00:31:25,800
Speaker 2: set decoration by Russell A. Gossman who lived eighteen ninety

564
00:31:25,800 --> 00:31:28,880
Speaker 2: two through nineteen sixty three, who won Oscars for his

565
00:31:29,280 --> 00:31:31,720
Speaker 2: work on nineteen forty four's Phantom of the Opera in

566
00:31:31,800 --> 00:31:35,720
Speaker 2: nineteen sixty one Spartacus. He also worked on a number

567
00:31:35,720 --> 00:31:38,320
Speaker 2: of other major and minor universal horror films.

568
00:31:38,800 --> 00:31:41,880
Speaker 3: Was Tarantula, the spider movie we covered that had a

569
00:31:41,920 --> 00:31:44,880
Speaker 3: spider getting really big and attacking a town, and they

570
00:31:44,920 --> 00:31:47,920
Speaker 3: discovered that the secret to defeating it was explosives.

571
00:31:48,920 --> 00:31:53,840
Speaker 2: Yes, yes, yes, yeah, via Eastwood showing up at the

572
00:31:53,920 --> 00:31:54,640
Speaker 2: end in a jet.

573
00:31:54,800 --> 00:31:57,160
Speaker 3: Yeah that's right, Clint Eastwood flying a jet fighter.

574
00:31:57,240 --> 00:32:00,600
Speaker 2: Yeah yeah, let's see. The makeup is once more by A.

575
00:32:00,720 --> 00:32:03,600
Speaker 2: Jack P. Pierce who lived eighteen eighty nine through nineteen

576
00:32:03,640 --> 00:32:07,240
Speaker 2: sixty eight. Monster makeup legend who worked on all so

577
00:32:07,360 --> 00:32:10,280
Speaker 2: many great films of this era. Twenty eight's The Man

578
00:32:10,320 --> 00:32:13,800
Speaker 2: Who Laughs, thirty one's Dracula, thirty twos, The Mummy, thirty

579
00:32:13,800 --> 00:32:16,520
Speaker 2: three is The Invisible Man, nineteen forty one's The Wolf Man,

580
00:32:16,640 --> 00:32:20,200
Speaker 2: and so much more so again legend and master of

581
00:32:20,320 --> 00:32:24,000
Speaker 2: the craft. His credits run really deep. And then finally,

582
00:32:24,040 --> 00:32:26,240
Speaker 2: the music is by Frank Skinner who lived eighteen ninety

583
00:32:26,240 --> 00:32:29,640
Speaker 2: seven through nineteen sixty eight, five time OSCAR nominated composer.

584
00:32:30,000 --> 00:32:33,960
Speaker 2: His genre scores include The Wolfman, Various Mummy, and Invisible Movies,

585
00:32:34,280 --> 00:32:37,000
Speaker 2: nineteen fifty five is Revenge of the Creature and more.

586
00:32:37,560 --> 00:32:39,840
Speaker 2: I have to admit, like when I was watching the film,

587
00:32:40,120 --> 00:32:42,800
Speaker 2: I really didn't think much about the music. The music

588
00:32:42,880 --> 00:32:44,760
Speaker 2: just kind of felt like what I expected of a

589
00:32:44,760 --> 00:32:48,240
Speaker 2: picture like this. But we were chatting with my son afterwards,

590
00:32:48,280 --> 00:32:51,720
Speaker 2: who had never seen a Frankenstein movie before and hasn't

591
00:32:51,720 --> 00:32:53,920
Speaker 2: really seen much in the way of I don't think

592
00:32:54,120 --> 00:32:56,400
Speaker 2: he may have never seen a black and white film before,

593
00:32:57,360 --> 00:33:00,600
Speaker 2: so it was a first in many ways. He said

594
00:33:00,640 --> 00:33:03,920
Speaker 2: that he thought the music made it scarier, So kudos

595
00:33:03,920 --> 00:33:06,760
Speaker 2: to Frank Skinner. It is an effective score.

596
00:33:07,000 --> 00:33:08,800
Speaker 3: Well, you know, there are actually some parts with some

597
00:33:08,880 --> 00:33:11,760
Speaker 3: important diegetic music in the plot, because we see Bella

598
00:33:11,840 --> 00:33:16,280
Speaker 3: Lagosi standing in the window playing his whatever instrument this is.

599
00:33:16,320 --> 00:33:19,880
Speaker 3: It looks like a cross between like a clarinet and

600
00:33:19,920 --> 00:33:22,040
Speaker 3: a horn of some kind. I don't know what that is,

601
00:33:22,080 --> 00:33:25,640
Speaker 3: but I think he's standing there playing creepy music as

602
00:33:25,680 --> 00:33:28,280
Speaker 3: an alibi. So he's like always doing that while the

603
00:33:28,320 --> 00:33:31,120
Speaker 3: monster is out killing somebody, so he can't be blamed.

604
00:33:31,480 --> 00:33:33,760
Speaker 2: Oh god, these scenes of what is it he's playing

605
00:33:33,800 --> 00:33:35,440
Speaker 2: like clarinet or some.

606
00:33:35,320 --> 00:33:37,440
Speaker 3: Sort of Yeah, I don't know, that's what I was saying.

607
00:33:37,600 --> 00:33:40,240
Speaker 2: Some weird mountain flute. But you we get those great

608
00:33:40,280 --> 00:33:42,240
Speaker 2: scenes of Igor playing it.

609
00:33:42,400 --> 00:33:44,760
Speaker 3: Love it. By the way, you mentioned Jack P. Pierce

610
00:33:44,840 --> 00:33:48,240
Speaker 3: doing the makeup effects. I guess it must have been him.

611
00:33:48,240 --> 00:33:52,360
Speaker 3: But whoever did Bela Legosi's teeth in this movie needed

612
00:33:52,400 --> 00:33:56,680
Speaker 3: an oscar? These are some good He almost has fangs

613
00:33:56,760 --> 00:33:59,400
Speaker 3: they or maybe they are fangs, I don't know.

614
00:33:59,800 --> 00:34:02,680
Speaker 2: Yeah, yeah, I mean's he is almost a monster in

615
00:34:02,720 --> 00:34:05,200
Speaker 2: and on himself. He's just like as close to like

616
00:34:05,240 --> 00:34:07,560
Speaker 2: he almost looks like a wolf man like. I think

617
00:34:07,600 --> 00:34:10,360
Speaker 2: they realize there's a line. We can only go so

618
00:34:10,480 --> 00:34:12,640
Speaker 2: far here, and then we're in a two monster film

619
00:34:12,640 --> 00:34:15,000
Speaker 2: and we can only have one monster in this picture.

620
00:34:15,600 --> 00:34:17,600
Speaker 2: But they bring it right up to the line with

621
00:34:17,880 --> 00:34:18,800
Speaker 2: this character design.

622
00:34:19,120 --> 00:34:20,800
Speaker 3: All right, well, do you want to talk about the plot?

623
00:34:21,080 --> 00:34:22,120
Speaker 2: Yeah, let's get into it.

624
00:34:22,800 --> 00:34:25,280
Speaker 3: The very first thing we see is an exterior shot

625
00:34:25,320 --> 00:34:28,680
Speaker 3: of a town square with mountains in the background holding

626
00:34:28,719 --> 00:34:31,279
Speaker 3: a dark castle on top, and then in the foreground

627
00:34:31,600 --> 00:34:36,120
Speaker 3: we see this winding wall topped with spires gate of

628
00:34:36,719 --> 00:34:39,480
Speaker 3: you know, these vertical posts like a palisade gate and

629
00:34:39,520 --> 00:34:43,200
Speaker 3: then a gatehouse with a roof that just curves like calligraphy,

630
00:34:43,640 --> 00:34:46,560
Speaker 3: And the columns and the archway surrounding the gate are

631
00:34:46,640 --> 00:34:50,600
Speaker 3: not straight up and down or horizontal. They're tapered and tilted,

632
00:34:50,920 --> 00:34:53,400
Speaker 3: as if the set designer were like a Peter Watts

633
00:34:53,480 --> 00:34:57,680
Speaker 3: vampire allergic to right angles. And this seems to be

634
00:34:58,200 --> 00:35:03,160
Speaker 3: laid out in the style of lightly reminiscent of German

635
00:35:03,239 --> 00:35:06,799
Speaker 3: expressionist horror films like The Cabinet of Doctor Kaligari, which

636
00:35:06,840 --> 00:35:10,719
Speaker 3: strives not for strict realism and set decoration, but for

637
00:35:10,800 --> 00:35:14,719
Speaker 3: these kind of warped geometries that express feelings and ideas

638
00:35:14,800 --> 00:35:18,279
Speaker 3: rather than the natural forms of real objects. Now, the

639
00:35:18,360 --> 00:35:21,359
Speaker 3: geometric weirdness in Son of Frank is nowhere near as

640
00:35:21,400 --> 00:35:24,920
Speaker 3: extreme as it is in Caligari and other real German

641
00:35:24,920 --> 00:35:29,560
Speaker 3: expressionist films, but we are in for some unusual angles

642
00:35:29,600 --> 00:35:31,759
Speaker 3: and slopes in this bleak world. So I think you

643
00:35:31,840 --> 00:35:34,160
Speaker 3: might call the visual style of this movie somewhere in

644
00:35:34,239 --> 00:35:39,239
Speaker 3: between your classic universal Gothic horror cinema cinema style and

645
00:35:39,400 --> 00:35:40,520
Speaker 3: half expressionist.

646
00:35:41,160 --> 00:35:44,839
Speaker 2: Yeah, Yeah, it's it's really interesting because the sets are gorgeous,

647
00:35:45,040 --> 00:35:49,400
Speaker 2: you could almost never mistake them for an actual interior space,

648
00:35:49,800 --> 00:35:51,680
Speaker 2: you know, like this doesn't you know, this is not

649
00:35:51,719 --> 00:35:55,759
Speaker 2: a location, this is a set. But they also don't

650
00:35:55,800 --> 00:35:59,680
Speaker 2: feel surreal like they can. You can look at them

651
00:35:59,680 --> 00:36:01,319
Speaker 2: and be like, Okay, you know, I'm buying this as

652
00:36:01,360 --> 00:36:04,879
Speaker 2: a physical space. But again, it's if you start thinking

653
00:36:04,880 --> 00:36:06,839
Speaker 2: too hard about like what kind of room is this,

654
00:36:06,960 --> 00:36:11,400
Speaker 2: Like what are these twin balconies, like eagle shaped balconies

655
00:36:11,400 --> 00:36:13,560
Speaker 2: over the dinner table and so forth.

656
00:36:13,719 --> 00:36:16,840
Speaker 3: Yeah, the breakfast room with the turrets in it.

657
00:36:16,960 --> 00:36:20,800
Speaker 2: Yeah, yeah, it's it's amazing. It's highly effective, very dramatic.

658
00:36:20,640 --> 00:36:23,160
Speaker 3: And some of this all, some of this weird architecture

659
00:36:23,680 --> 00:36:27,239
Speaker 3: is also done with shadows where you would place So

660
00:36:27,640 --> 00:36:30,600
Speaker 3: you might have a room with a fairly normal logical

661
00:36:30,680 --> 00:36:33,880
Speaker 3: staircase in it, but the placement of lights in the

662
00:36:33,960 --> 00:36:37,600
Speaker 3: room causes the shadow of that staircase to to like

663
00:36:37,760 --> 00:36:40,480
Speaker 3: fall crazily up the side of the wall in a

664
00:36:40,520 --> 00:36:42,799
Speaker 3: way that it never would in a real dwelling. But

665
00:36:43,000 --> 00:36:45,080
Speaker 3: just because you've got the light source in such an

666
00:36:45,080 --> 00:36:50,320
Speaker 3: odd place, the shadows are are extremely unusual and create

667
00:36:50,360 --> 00:36:53,600
Speaker 3: that expression this feeling again. But anyway, so we open

668
00:36:53,719 --> 00:36:56,399
Speaker 3: on this locale and we zoom in on the gate

669
00:36:56,480 --> 00:36:59,960
Speaker 3: here and it reads engong ver boat and entry pit,

670
00:37:01,120 --> 00:37:04,800
Speaker 3: and above that in wraught iron letters, it says Frankenstein.

671
00:37:05,040 --> 00:37:08,040
Speaker 3: And then we pan over to a broken window nearby

672
00:37:08,120 --> 00:37:10,719
Speaker 3: and see somebody looming in the window. Who is that?

673
00:37:10,920 --> 00:37:12,959
Speaker 3: Is that bela Lugosi staring out?

674
00:37:13,320 --> 00:37:15,920
Speaker 2: Yeah, that's Igor creeping. He does a lot of creeping.

675
00:37:16,000 --> 00:37:16,880
Speaker 2: He's a great creep.

676
00:37:17,160 --> 00:37:21,359
Speaker 3: Oh yeah. So a gaggle of cringing, benighted villagers come

677
00:37:21,440 --> 00:37:24,280
Speaker 3: up the hill. They're like literally kind of like hunched

678
00:37:24,320 --> 00:37:26,960
Speaker 3: over and looking up in terror, as if like, you know,

679
00:37:27,080 --> 00:37:29,120
Speaker 3: dragon's gonna come out of the sky at any moment.

680
00:37:29,560 --> 00:37:32,680
Speaker 3: They're they're bringing a wooden cart piled with sticks with

681
00:37:32,719 --> 00:37:35,239
Speaker 3: them up the hill. And two of the villagers are

682
00:37:35,320 --> 00:37:38,960
Speaker 3: young boys. They're full of mischief and bravado, and one

683
00:37:38,960 --> 00:37:40,520
Speaker 3: of them is like, are you afraid? And the other

684
00:37:40,560 --> 00:37:43,520
Speaker 3: one says, of old Igor nah, And then they're gonna

685
00:37:43,600 --> 00:37:45,960
Speaker 3: chuck a rock through the window, But as soon as

686
00:37:46,000 --> 00:37:48,520
Speaker 3: they look up and see Igor peering down at them,

687
00:37:48,600 --> 00:37:52,160
Speaker 3: they just scream and run away. Soon after, on a

688
00:37:52,280 --> 00:37:55,480
Speaker 3: dark night with rain pouring down. We join the proceedings

689
00:37:55,520 --> 00:37:58,480
Speaker 3: of a town council of some kind. There is a

690
00:37:58,520 --> 00:38:01,560
Speaker 3: guy who looks like a judge at a raised bench.

691
00:38:01,680 --> 00:38:03,960
Speaker 3: I think this guy might be the character called the

692
00:38:03,960 --> 00:38:08,600
Speaker 3: Burgomeister sort of. I think that means basically like the mayor,

693
00:38:08,680 --> 00:38:12,279
Speaker 3: you know, the master of the Burg. Then you've got

694
00:38:12,320 --> 00:38:16,239
Speaker 3: several old men wearing ceremonial hats, a police inspector with

695
00:38:16,280 --> 00:38:19,480
Speaker 3: a monocle, this is Lionel atwell, and a handful of

696
00:38:19,520 --> 00:38:22,400
Speaker 3: assorted Hrumphy codgers puffing on pipes.

697
00:38:22,880 --> 00:38:25,760
Speaker 2: Yeah, some of these guys were in previous Frankenstein films.

698
00:38:25,760 --> 00:38:31,400
Speaker 2: But yeah, the number of great, great looking character actors

699
00:38:31,400 --> 00:38:34,760
Speaker 2: in here, a lot of big heads and elongated heads.

700
00:38:34,920 --> 00:38:36,239
Speaker 2: It's a fun crowd, a.

701
00:38:36,120 --> 00:38:39,880
Speaker 3: Lot of I never yeah. Yes. So the situation of

702
00:38:39,920 --> 00:38:43,160
Speaker 3: this meeting is that the old Baron Henry Frankenstein has

703
00:38:43,320 --> 00:38:47,120
Speaker 3: died of natural causes, it seems, and left everything to

704
00:38:47,280 --> 00:38:52,040
Speaker 3: his adult son, the now Baron Wolf von Frankenstein, who

705
00:38:52,080 --> 00:38:56,640
Speaker 3: is abroad in America. So Wolf has inherited the dank

706
00:38:56,760 --> 00:39:00,120
Speaker 3: and miserable castle looming over the Burg. But also so

707
00:39:00,200 --> 00:39:03,040
Speaker 3: it seems a lot of paperwork and the Burgomeister says

708
00:39:03,080 --> 00:39:05,800
Speaker 3: there's a chest of documents that he has to deliver

709
00:39:05,920 --> 00:39:11,360
Speaker 3: to the surviving Frankenstein upon his arrival, and the fen

710
00:39:12,040 --> 00:39:14,960
Speaker 3: so wolf On Frankenstein and his family are currently bound

711
00:39:15,040 --> 00:39:18,440
Speaker 3: for this little hamlet by train. He's traveling with his wife,

712
00:39:18,440 --> 00:39:22,719
Speaker 3: Elsa and his son Peter. Now, quick, quick background check.

713
00:39:22,760 --> 00:39:25,160
Speaker 3: I'm pretty sure I'm right about this. But they are

714
00:39:25,200 --> 00:39:27,840
Speaker 3: supposed to be originally coming from America, right, did you

715
00:39:27,880 --> 00:39:28,239
Speaker 3: get that?

716
00:39:28,320 --> 00:39:29,480
Speaker 2: That was my impression?

717
00:39:29,560 --> 00:39:33,560
Speaker 3: Yes, yeah. So let's see what else do we learn

718
00:39:33,600 --> 00:39:36,480
Speaker 3: from this town meeting scene. Well, we learned that a

719
00:39:36,480 --> 00:39:39,239
Speaker 3: lot of these old guys are not happy to have

720
00:39:39,280 --> 00:39:43,960
Speaker 3: another Frankenstein coming to town. They blame the elder Frankenstein

721
00:39:44,400 --> 00:39:46,520
Speaker 3: for the ruin of their village, which I think is

722
00:39:46,600 --> 00:39:49,400
Speaker 3: called Frankenstein by the way, So I think it's the

723
00:39:49,440 --> 00:39:53,640
Speaker 3: Baron Frankenstein, the Frankenstein Castle, and the Frankenstein village or town.

724
00:39:54,600 --> 00:39:54,719
Speaker 4: Uh.

725
00:39:55,040 --> 00:39:57,760
Speaker 3: And so they say that his family is the reason

726
00:39:57,960 --> 00:40:00,600
Speaker 3: that a traveler never wants to stop. I don't know.

727
00:40:00,600 --> 00:40:02,600
Speaker 3: Maybe they tried and failed to get a little tourism

728
00:40:02,640 --> 00:40:05,960
Speaker 3: industry going, but this place is just considered cursed.

729
00:40:06,360 --> 00:40:09,000
Speaker 2: Yeah, it was spelled the end of the Frankenstein Frankfest.

730
00:40:10,120 --> 00:40:11,400
Speaker 2: Nobody wants to come here.

731
00:40:11,280 --> 00:40:14,759
Speaker 3: Now, and this is all because, of course, Henry Frankenstein

732
00:40:14,840 --> 00:40:18,000
Speaker 3: created a monster in the devil's own image, which is

733
00:40:18,080 --> 00:40:21,200
Speaker 3: not what you want. So they all subscribe to the

734
00:40:21,239 --> 00:40:23,520
Speaker 3: idea that like the sins of the father, should be

735
00:40:23,560 --> 00:40:27,000
Speaker 3: held against the son. And we also learned that the

736
00:40:27,040 --> 00:40:29,840
Speaker 3: Frankenstein Castle is a blight. They believe it to be

737
00:40:29,880 --> 00:40:32,720
Speaker 3: cursed as well. And the only person in the village

738
00:40:33,000 --> 00:40:36,839
Speaker 3: who will stay there is quote that crazy Egor with

739
00:40:36,880 --> 00:40:40,880
Speaker 3: his broken neck, and this is bel Legosi. There's also

740
00:40:41,160 --> 00:40:44,600
Speaker 3: some acknowledgment that they've had this conversation a million times before,

741
00:40:44,719 --> 00:40:47,200
Speaker 3: so it seems like they just sit around every Saturday

742
00:40:47,280 --> 00:40:49,920
Speaker 3: night with a pipe and some cordials complaining about the

743
00:40:49,920 --> 00:40:57,520
Speaker 3: Frankenstein family. Recreational complaining not an uncommon activity. Yes, Anyway,

744
00:40:57,560 --> 00:41:00,160
Speaker 3: they resolve they're going to deliver the younger Frankenstein his

745
00:41:00,160 --> 00:41:03,239
Speaker 3: inheritance as prescribed by law, but they will show him

746
00:41:03,320 --> 00:41:06,840
Speaker 3: no hospitality. The family is going to get no warm

747
00:41:06,840 --> 00:41:10,480
Speaker 3: reception from them. So then we cut to a train

748
00:41:10,640 --> 00:41:13,879
Speaker 3: where we meet the Frankenstein family in the flesh. Here

749
00:41:13,960 --> 00:41:17,600
Speaker 3: again we've got Basil Rathbone as wolf Josephine Hutchinson as

750
00:41:17,640 --> 00:41:21,440
Speaker 3: Elsa and Donnie Dunnaghan as their young son Peter. Now

751
00:41:21,640 --> 00:41:27,160
Speaker 3: from Wolf, here we cut right into frankenstein apologetics. Elsa

752
00:41:27,239 --> 00:41:30,239
Speaker 3: tucks Peter into bed, comes into the next train compartment,

753
00:41:30,640 --> 00:41:32,760
Speaker 3: and Wolf is like, you know, it wasn't my father's

754
00:41:32,760 --> 00:41:36,040
Speaker 3: fault that his half witted assistant Fritz retrieved a criminal's

755
00:41:36,080 --> 00:41:38,600
Speaker 3: brain when he was supposed to just get a normal brain,

756
00:41:40,360 --> 00:41:43,040
Speaker 3: so we can kind of see where his head's at. Immediately,

757
00:41:43,800 --> 00:41:47,360
Speaker 3: also in the scene, Elsa looks out the window and comments.

758
00:41:47,600 --> 00:41:50,640
Speaker 3: She says, what a strange looking country, which I thought

759
00:41:50,680 --> 00:41:53,719
Speaker 3: was funny because the scene that is passing outside the

760
00:41:53,719 --> 00:41:56,640
Speaker 3: train window looks more than strange. It looks like an

761
00:41:56,640 --> 00:42:00,279
Speaker 3: illustration from Scary Stories to tell in the dark. It's

762
00:42:00,360 --> 00:42:05,480
Speaker 3: just gloom and gnarl to infinity, dead black, leafless trees

763
00:42:05,560 --> 00:42:08,560
Speaker 3: that look like giant witch fingers curling out of the ground.

764
00:42:08,760 --> 00:42:13,719
Speaker 3: It's not nice, no, But then Wolf is like, it's

765
00:42:13,719 --> 00:42:17,040
Speaker 3: so exciting, isn't it. I guess he likes this kind

766
00:42:17,040 --> 00:42:21,280
Speaker 3: of thing. He's clearly thrilled to have quit his university job.

767
00:42:21,400 --> 00:42:24,279
Speaker 3: He's gloating about, you know, no more students, no more

768
00:42:24,320 --> 00:42:29,040
Speaker 3: faculty meetings, Hurrah, and together they fantasize about the cliches

769
00:42:29,080 --> 00:42:32,319
Speaker 3: of Gothic horror. They're excited about the castle. Will the

770
00:42:32,360 --> 00:42:34,719
Speaker 3: castle have a moat? Will it have a haunted room?

771
00:42:35,040 --> 00:42:37,880
Speaker 3: Elsa is into this idea. I think she's she's a

772
00:42:37,920 --> 00:42:42,080
Speaker 3: little bit ghost curious. And anyway, this year segues into

773
00:42:42,080 --> 00:42:44,680
Speaker 3: Wolf ranting about how his father did nothing wrong and

774
00:42:44,719 --> 00:42:47,880
Speaker 3: he's been unfairly blamed for the tragedy that unfolded.

775
00:42:48,840 --> 00:42:53,200
Speaker 2: Yeah, there's a tremendously funny bit of dialogue here from

776
00:42:53,560 --> 00:42:56,359
Speaker 2: Baron Wolf that I have to have to to read

777
00:42:56,880 --> 00:42:59,359
Speaker 2: because it's like, it's kind of a metajoke, and it's

778
00:42:59,360 --> 00:43:02,919
Speaker 2: also just a nice bit of comedy. So he's saying,

779
00:43:03,000 --> 00:43:05,000
Speaker 2: he's continuing to Rand. He says, his name has become

780
00:43:05,000 --> 00:43:08,200
Speaker 2: synonymous with horror and monsters. Why nine out of ten

781
00:43:08,239 --> 00:43:11,560
Speaker 2: people call that misshapen creature of my father's experiments. And

782
00:43:11,560 --> 00:43:14,680
Speaker 2: then he's interrupted by the train conductor, who says Frankenstein.

783
00:43:16,719 --> 00:43:19,840
Speaker 2: And so you know, this is of course obviously alluding

784
00:43:19,880 --> 00:43:24,880
Speaker 2: to the fact that many people call the monster Frankenstein,

785
00:43:25,000 --> 00:43:28,120
Speaker 2: as if that is the monster's name, and then this

786
00:43:28,239 --> 00:43:32,240
Speaker 2: leads other people to correct these folks and say, actually,

787
00:43:32,600 --> 00:43:35,160
Speaker 2: Frankenstein is the name of the doctor and not the monster,

788
00:43:35,680 --> 00:43:39,920
Speaker 2: and so forth and so forth. But I honestly had

789
00:43:39,920 --> 00:43:43,840
Speaker 2: never looked into when this exactly took hold, And clearly

790
00:43:43,880 --> 00:43:45,960
Speaker 2: the answer is, I guess during the nineteen thirties.

791
00:43:46,800 --> 00:43:50,520
Speaker 3: Yeah, okay, Well, to be clear, just speaking for myself,

792
00:43:50,560 --> 00:43:53,080
Speaker 3: I'm aware of the distinction. I've read the book. I

793
00:43:53,160 --> 00:43:56,200
Speaker 3: know that the creature is not literally named Frankenstein, but

794
00:43:56,280 --> 00:43:58,640
Speaker 3: I just call it a Frankenstein. When you see a Frankenstein,

795
00:43:58,640 --> 00:44:01,600
Speaker 3: you could just call it a Frankenstein. That's okay, shorthand,

796
00:44:02,080 --> 00:44:02,600
Speaker 3: it's okay.

797
00:44:02,719 --> 00:44:07,520
Speaker 2: Yeah, But clearly there were there there were nerd battles

798
00:44:07,520 --> 00:44:10,080
Speaker 2: over this back in the day as well. I guess

799
00:44:10,320 --> 00:44:12,239
Speaker 2: maybe nerd a little bit hard nerds, a little bit

800
00:44:12,280 --> 00:44:16,160
Speaker 2: literary nerds that were saying, no, you're referring to the

801
00:44:16,200 --> 00:44:17,000
Speaker 2: monster incorrect.

802
00:44:17,400 --> 00:44:28,680
Speaker 3: Yeah, okay. So there's a scene where the Frankenstein family

803
00:44:28,760 --> 00:44:31,959
Speaker 3: arrives at the train station. Once again, it is pouring rain,

804
00:44:32,120 --> 00:44:35,279
Speaker 3: and they receive a very cold welcome from the Bergomeister

805
00:44:35,400 --> 00:44:38,400
Speaker 3: and the leaders of the town. The Bergomeister hands Wolf

806
00:44:38,520 --> 00:44:40,600
Speaker 3: his things and the keys to the castle, and then

807
00:44:40,600 --> 00:44:42,840
Speaker 3: they tell him that they are not going to be friends.

808
00:44:43,640 --> 00:44:46,080
Speaker 3: Wolf tries to make a speech to the assembled crowd,

809
00:44:46,120 --> 00:44:48,120
Speaker 3: but it does not go over very well. They give

810
00:44:48,160 --> 00:44:52,440
Speaker 3: him the cold shoulder. Also. The speech again, it's defensive.

811
00:44:53,360 --> 00:44:56,560
Speaker 3: It's very I'm sorry that my father, through no fault

812
00:44:56,560 --> 00:44:58,520
Speaker 3: of his own, came to be hated by all of you,

813
00:45:00,160 --> 00:45:03,160
Speaker 3: which is funny. It's one of those non apology apologies,

814
00:45:03,160 --> 00:45:05,919
Speaker 3: except he's not apologizing for anything he did. It's about

815
00:45:05,920 --> 00:45:06,840
Speaker 3: his dad anyway.

816
00:45:06,920 --> 00:45:11,640
Speaker 2: Yeah, and like the lack of quality labor in this area,

817
00:45:11,719 --> 00:45:15,120
Speaker 2: he's like yes, he's like, I really, we're mad at you, Like,

818
00:45:15,280 --> 00:45:18,120
Speaker 2: couldn't you have have produced some labor that could have

819
00:45:18,120 --> 00:45:20,240
Speaker 2: gotten him a proper brain for his creation.

820
00:45:21,040 --> 00:45:23,960
Speaker 3: Anyway, the family gets into a car they are transported

821
00:45:24,000 --> 00:45:27,479
Speaker 3: to the castle. There's a happy reunion between little Peter

822
00:45:27,640 --> 00:45:30,200
Speaker 3: and one of the castle servants, a woman named Amelia.

823
00:45:30,320 --> 00:45:32,560
Speaker 3: Peter was asking about her earlier on the train. They're

824
00:45:32,560 --> 00:45:35,920
Speaker 3: apparently close, which is kind of strange because I understood

825
00:45:35,960 --> 00:45:38,480
Speaker 3: that understood the story to be that they'd never been

826
00:45:38,520 --> 00:45:41,440
Speaker 3: to this castle before, So maybe these are servants they

827
00:45:41,480 --> 00:45:44,840
Speaker 3: already knew already from somewhere, and they traveled ahead to

828
00:45:44,880 --> 00:45:45,960
Speaker 3: the castle or something.

829
00:45:46,120 --> 00:45:48,920
Speaker 2: I guess such. These must be servants they brought with them.

830
00:45:49,239 --> 00:45:51,600
Speaker 3: But once we go inside the castle again we get

831
00:45:51,640 --> 00:45:57,040
Speaker 3: these bizarre counterintuitive angles on the shadows, activating the expressionist

832
00:45:57,080 --> 00:46:01,040
Speaker 3: geometry motif one of my favorite things. This big central

833
00:46:01,120 --> 00:46:03,720
Speaker 3: room in the castle, with the staircase and the shadow

834
00:46:03,760 --> 00:46:06,600
Speaker 3: of the stairs is just wild. And we meet all

835
00:46:06,640 --> 00:46:10,320
Speaker 3: the servants. Wolf is ecstatic about the castle. He finds

836
00:46:10,400 --> 00:46:13,880
Speaker 3: the dankness exhilarating, and Elsa is trying to put on

837
00:46:13,920 --> 00:46:16,479
Speaker 3: a happy face, but obviously she is not a fan.

838
00:46:17,080 --> 00:46:19,800
Speaker 3: And everybody goes about settling in in their various ways.

839
00:46:19,840 --> 00:46:22,759
Speaker 3: Wolf has a brandy in the library and grouses some

840
00:46:22,800 --> 00:46:25,440
Speaker 3: more about how his father made a miraculous discovery and

841
00:46:25,480 --> 00:46:29,200
Speaker 3: now everybody's being so unfair to him. And then he

842
00:46:29,280 --> 00:46:32,479
Speaker 3: goes on to read a letter left to him by

843
00:46:32,560 --> 00:46:35,640
Speaker 3: his father, the late Baron. And this letter has some

844
00:46:35,760 --> 00:46:37,719
Speaker 3: nice phrasings in it, so I wanted to read it.

845
00:46:37,719 --> 00:46:42,239
Speaker 3: It says, my son, herein lies my faiths, my beliefs,

846
00:46:42,320 --> 00:46:47,000
Speaker 3: and my unfoldments, a complete diary of my experiments, charts

847
00:46:47,000 --> 00:46:50,840
Speaker 3: and secret formulas. In short, the sum total of my knowledge,

848
00:46:51,040 --> 00:46:54,000
Speaker 3: such as it is. Perhaps you will regard my work

849
00:46:54,040 --> 00:46:57,600
Speaker 3: with ridicule, or even with a distaste. If so, destroy

850
00:46:57,680 --> 00:47:01,200
Speaker 3: these records. But if you like me, burn with the

851
00:47:01,239 --> 00:47:06,360
Speaker 3: irresistible desire to penetrate the unknown. Carry on the path

852
00:47:06,440 --> 00:47:10,840
Speaker 3: is cruel and torturous. Carry on, I put secret after truth.

853
00:47:11,200 --> 00:47:15,320
Speaker 3: You will be hated, blasphemed, and condemned. You have inherited

854
00:47:15,320 --> 00:47:18,400
Speaker 3: the fortune of the Frankensteins. I trust you will not

855
00:47:18,520 --> 00:47:23,919
Speaker 3: inherit their fate. So he's leaving all of the apparatus

856
00:47:23,920 --> 00:47:26,440
Speaker 3: of his work to his son, and it is up

857
00:47:26,440 --> 00:47:29,920
Speaker 3: to him if he wants to continue that work or not. Meanwhile,

858
00:47:29,920 --> 00:47:32,440
Speaker 3: we see Igor outside the window in the rain, just

859
00:47:32,480 --> 00:47:36,720
Speaker 3: looking in with this devilish grin. Now here's the scene

860
00:47:36,760 --> 00:47:40,200
Speaker 3: where we had Peter saying his prayers before bed. This

861
00:47:40,239 --> 00:47:42,960
Speaker 3: is one where he's like amen, he says in the

862
00:47:43,200 --> 00:47:45,120
Speaker 3: one part of the prayers is like help me be

863
00:47:45,239 --> 00:47:50,400
Speaker 3: a good little boy. Oh, I love it. Oh. And

864
00:47:50,719 --> 00:47:53,480
Speaker 3: Peter also says, I think they're trying to close the curtains,

865
00:47:53,480 --> 00:47:56,600
Speaker 3: and he's like, please don't close the curtains. I like lightning.

866
00:47:58,920 --> 00:48:01,920
Speaker 3: So let's see. Later that night, they get a visit

867
00:48:01,960 --> 00:48:04,759
Speaker 3: at the castle from the police inspector Krogue. This is

868
00:48:04,800 --> 00:48:07,200
Speaker 3: again Lionel Atwill. He comes out of the rain to

869
00:48:07,239 --> 00:48:10,120
Speaker 3: meet with Wolf, and this is where we learn about

870
00:48:10,120 --> 00:48:13,480
Speaker 3: one of his arms being mechanical. He sort of uses

871
00:48:13,640 --> 00:48:17,360
Speaker 3: his remaining arm to manipulate the mechanical arm, so holding

872
00:48:17,440 --> 00:48:20,440
Speaker 3: it up into a salute, for instance. And he's very

873
00:48:20,680 --> 00:48:24,680
Speaker 3: he's very proper and observant of decorum. He's very mannered,

874
00:48:24,920 --> 00:48:27,480
Speaker 3: and he explains his business by saying that he wants

875
00:48:27,560 --> 00:48:31,000
Speaker 3: to protect Frankenstein from the fear and wrath of the

876
00:48:31,080 --> 00:48:34,600
Speaker 3: villagers in the town below. But then he begins to

877
00:48:34,680 --> 00:48:36,920
Speaker 3: ask about the monster. He's also sort of doing a

878
00:48:36,920 --> 00:48:40,279
Speaker 3: bit of fact finding here. He's asking about whether the

879
00:48:40,320 --> 00:48:44,879
Speaker 3: monster possibly still lives because there has been a there's

880
00:48:44,920 --> 00:48:49,040
Speaker 3: been a string of murders, sort of unexplained murders in

881
00:48:49,080 --> 00:48:53,080
Speaker 3: the years since the monster was supposedly destroyed, and Krogue

882
00:48:53,160 --> 00:48:56,600
Speaker 3: says that there that in every case the murder had

883
00:48:56,640 --> 00:48:59,480
Speaker 3: the same weird features, a bruise at the base of

884
00:48:59,520 --> 00:49:04,360
Speaker 3: the skull and an exploded heart inside the chest. Could

885
00:49:04,400 --> 00:49:08,680
Speaker 3: the creature be alive and still dangerous? Hmm, good question. Now,

886
00:49:08,760 --> 00:49:11,520
Speaker 3: I thought this was an interesting detail because I may

887
00:49:11,560 --> 00:49:13,920
Speaker 3: have missed it but I don't recall him ever explaining

888
00:49:14,040 --> 00:49:18,680
Speaker 3: how exactly this exploding heart murder method works. The best

889
00:49:18,680 --> 00:49:22,200
Speaker 3: I could make of it is that, like the appearance

890
00:49:22,200 --> 00:49:25,080
Speaker 3: of the creature is so terrifying that when people see him,

891
00:49:25,120 --> 00:49:26,239
Speaker 3: their hearts explode.

892
00:49:26,880 --> 00:49:28,600
Speaker 2: I was thinking that maybe it was like some sort

893
00:49:28,600 --> 00:49:32,719
Speaker 2: of weird heart punch where Punch Frankenstein punches you in

894
00:49:32,760 --> 00:49:35,560
Speaker 2: the base of the skull so hard to your heart explodes.

895
00:49:36,400 --> 00:49:38,359
Speaker 3: That's the best thing I can come up with. It's

896
00:49:38,400 --> 00:49:39,560
Speaker 3: like a special kung.

897
00:49:39,400 --> 00:49:42,040
Speaker 2: Fu move Bodha thinker.

898
00:49:42,320 --> 00:49:48,080
Speaker 3: Yes. Anyway, after this, Wolf goes on a rant about how, yes,

899
00:49:48,120 --> 00:49:50,680
Speaker 3: my father did manage to create life from death, but

900
00:49:51,320 --> 00:49:55,000
Speaker 3: surely those stories of the monstrousness of the monster must

901
00:49:55,040 --> 00:49:58,120
Speaker 3: be greatly exaggerated. At one point, he says, do you

902
00:49:58,239 --> 00:50:02,719
Speaker 3: honestly know of one truly committed by this creature? And

903
00:50:02,840 --> 00:50:04,759
Speaker 3: Krog is like, well, yeah, when I was a kid,

904
00:50:04,800 --> 00:50:09,279
Speaker 3: he ripped my arm off. Oh okay. I like the

905
00:50:09,320 --> 00:50:12,319
Speaker 3: way the scene is just a very blunt check on

906
00:50:12,400 --> 00:50:17,240
Speaker 3: Basil Rathbones sort of defensive delusions about his family legacy.

907
00:50:17,960 --> 00:50:21,360
Speaker 3: But anyway, Krog still he Krog really does not seem

908
00:50:21,360 --> 00:50:25,160
Speaker 3: to be holding this against the Frankensteins. He's not out

909
00:50:25,160 --> 00:50:28,160
Speaker 3: for revenge. He's offering them help. He says, when you

910
00:50:28,239 --> 00:50:30,239
Speaker 3: need help, you have but to ring the alarm bell

911
00:50:30,280 --> 00:50:32,360
Speaker 3: in the tower, and wherever I shall be, I shall

912
00:50:32,400 --> 00:50:34,320
Speaker 3: hasten to your assistance.

913
00:50:34,760 --> 00:50:38,200
Speaker 2: He is so lawful. Good. Yeah, to a fault.

914
00:50:38,960 --> 00:50:41,200
Speaker 3: And then there's a very nice moment I thought between

915
00:50:41,239 --> 00:50:43,560
Speaker 3: Wolf and Elsa where they're looking out the window into

916
00:50:43,560 --> 00:50:46,759
Speaker 3: the stark landscape and the thunder and Elsa says, what

917
00:50:46,840 --> 00:50:51,279
Speaker 3: a dreadful storm and awful lightning, and Wolf says, it's magnificent.

918
00:50:51,480 --> 00:50:55,800
Speaker 3: Nothing in nature is terrifying when one understands it. Darling,

919
00:50:55,880 --> 00:50:58,880
Speaker 3: my father drew that very lightning from heaven and forced

920
00:50:58,920 --> 00:51:01,279
Speaker 3: it for his own will to bring life to a

921
00:51:01,320 --> 00:51:04,520
Speaker 3: being he created with his own hands. Why should we

922
00:51:04,640 --> 00:51:05,480
Speaker 3: fear anything?

923
00:51:06,120 --> 00:51:10,640
Speaker 2: Yeah, Yeah, some more of that Frankensteinian optimism.

924
00:51:10,040 --> 00:51:13,880
Speaker 3: There, and a lot of affinity for lightning, Like multiple

925
00:51:13,920 --> 00:51:16,800
Speaker 3: members of the family, the Sun and Wolf, they're looking

926
00:51:16,800 --> 00:51:19,080
Speaker 3: at the lightning and they're like, just makes me feel good.

927
00:51:19,120 --> 00:51:19,680
Speaker 3: I like it.

928
00:51:20,080 --> 00:51:22,160
Speaker 2: Yeah, there's a lot of build up with the lightning here.

929
00:51:22,400 --> 00:51:25,279
Speaker 2: I'll come back to this more as we touch on

930
00:51:25,320 --> 00:51:26,000
Speaker 2: more examples.

931
00:51:26,440 --> 00:51:30,160
Speaker 3: All Right, the next morning, we see Peter again. This

932
00:51:30,200 --> 00:51:32,319
Speaker 3: is the scene where they're having breakfast, and then Peter

933
00:51:32,440 --> 00:51:35,439
Speaker 3: comes up on this ledge overlooking the breakfast table. He's

934
00:51:35,440 --> 00:51:39,480
Speaker 3: got a toy shotgun with him and he's like, well hello,

935
00:51:40,320 --> 00:51:45,400
Speaker 3: and there's some general goofy dialogue about how oh. He

936
00:51:45,520 --> 00:51:47,839
Speaker 3: like points to a scary head mounted on the wall

937
00:51:47,880 --> 00:51:49,680
Speaker 3: and he's like, what's that and they say that's a

938
00:51:49,719 --> 00:51:53,920
Speaker 3: bore and he goes like ant Fanny and they say, no, Darling, no,

939
00:51:54,000 --> 00:51:56,120
Speaker 3: not like aunt Fanny. That's a wild boar. I think

940
00:51:56,160 --> 00:52:00,680
Speaker 3: they're joking about bore. And then he's I hope I

941
00:52:00,719 --> 00:52:02,879
Speaker 3: don't have teeth like that. It would be too hard

942
00:52:02,880 --> 00:52:03,560
Speaker 3: to clean them.

943
00:52:04,360 --> 00:52:08,560
Speaker 2: Yeah, this film is intentionally comedic. There are a number

944
00:52:08,560 --> 00:52:11,400
Speaker 2: of gags. They don't all work, but a number of

945
00:52:11,440 --> 00:52:12,319
Speaker 2: them work very well.

946
00:52:12,560 --> 00:52:16,640
Speaker 3: Yeah. So later that day, Wolf goes investigating the ruins

947
00:52:16,640 --> 00:52:20,720
Speaker 3: of his father's laboratory, and here's where things really start

948
00:52:20,719 --> 00:52:24,680
Speaker 3: to cook. So as he's looking around, he runs into Egor.

949
00:52:24,880 --> 00:52:28,440
Speaker 3: Igor Is creeping on him from above, like in a skylight,

950
00:52:28,520 --> 00:52:32,560
Speaker 3: peeking through a hole in the roof, and Wolf at

951
00:52:32,600 --> 00:52:34,560
Speaker 3: one point he finds a big hole in the floor,

952
00:52:34,680 --> 00:52:38,360
Speaker 3: looks down inside it far below, and there is a boiling,

953
00:52:38,640 --> 00:52:43,880
Speaker 3: bubbling pit of some horrible liquid. Wolf sniffs and concludes

954
00:52:43,920 --> 00:52:47,359
Speaker 3: that it is sulfur. You know, so your new house

955
00:52:47,400 --> 00:52:50,680
Speaker 3: has a boiling sulfur pit. No big deal. And then

956
00:52:50,680 --> 00:52:54,640
Speaker 3: Igor from the roof tries to kill Wolf by dropping

957
00:52:54,640 --> 00:52:57,080
Speaker 3: a boulder on him, but Wolf dodges out of the way,

958
00:52:57,840 --> 00:53:01,200
Speaker 3: and then they have a confrontation. Frankstein trains a gun

959
00:53:01,239 --> 00:53:03,759
Speaker 3: on Igor and starts to interrogate him. He's like, why

960
00:53:03,760 --> 00:53:06,080
Speaker 3: did you try to kill me? And Igor says, I

961
00:53:06,120 --> 00:53:12,160
Speaker 3: thought you came here to kill me, and Rathbone says, well,

962
00:53:12,200 --> 00:53:14,680
Speaker 3: it's all well and good for you people to hate me,

963
00:53:14,760 --> 00:53:17,680
Speaker 3: but attempted murder is another matter. So this is the

964
00:53:17,719 --> 00:53:20,600
Speaker 3: first scene where we really get any dialogue with Igor,

965
00:53:21,120 --> 00:53:25,360
Speaker 3: and again Bella Lugosi's energy is just off the charts.

966
00:53:25,400 --> 00:53:26,680
Speaker 3: He is wonderful.

967
00:53:27,520 --> 00:53:32,480
Speaker 2: Yeah, And it's worth noting that Igor in like just

968
00:53:32,480 --> 00:53:35,360
Speaker 2: sort of like very loose terms, becomes this kind of

969
00:53:35,440 --> 00:53:39,000
Speaker 2: horror staple often depicted as kind of like a hunchback,

970
00:53:39,360 --> 00:53:42,360
Speaker 2: even though Igor in this film is not a hunchback.

971
00:53:42,440 --> 00:53:46,440
Speaker 2: He has a a broken neck because he was, as

972
00:53:46,480 --> 00:53:51,400
Speaker 2: we'll find out, he was previously hanged for Robin Graves

973
00:53:51,440 --> 00:53:55,600
Speaker 2: allegedly survive, but I think is still considered lee. He's

974
00:53:55,600 --> 00:54:01,360
Speaker 2: on the books, he's legally dead. So even though Igor

975
00:54:01,400 --> 00:54:05,359
Speaker 2: would become this kind of like Staple Hinchman in sort

976
00:54:05,400 --> 00:54:11,320
Speaker 2: of like the Scooby dooification of universal horror at the time,

977
00:54:11,640 --> 00:54:16,560
Speaker 2: this character is a new creation based on nothing from

978
00:54:16,719 --> 00:54:20,080
Speaker 2: the Frankenstein novel. But I guess kind of an evolution

979
00:54:20,320 --> 00:54:22,719
Speaker 2: of the concept we see with the character Fritz who

980
00:54:22,800 --> 00:54:26,120
Speaker 2: alluded to earlier, played by Dwight Frye in the first

981
00:54:26,120 --> 00:54:27,360
Speaker 2: Frankenstein film.

982
00:54:27,280 --> 00:54:29,640
Speaker 3: Who's also not in the novel. I mean, in fact,

983
00:54:30,280 --> 00:54:35,640
Speaker 3: the victor Frankenstein's work in the novel is specifically portrayed

984
00:54:35,719 --> 00:54:39,399
Speaker 3: as very lonely and solitary work. He is working by

985
00:54:39,640 --> 00:54:43,960
Speaker 3: himself and consulting with no one. I think that's almost

986
00:54:44,280 --> 00:54:46,440
Speaker 3: sort of the point of that part of the story

987
00:54:46,560 --> 00:54:48,399
Speaker 3: is that he's just in his own head. He has

988
00:54:48,480 --> 00:54:49,799
Speaker 3: nobody else to relate to.

989
00:54:50,160 --> 00:54:54,760
Speaker 2: Yeah, it's lonesome work that is tearing apart is sanity,

990
00:54:55,120 --> 00:54:57,320
Speaker 2: and he's having to dig all those graves and scoop

991
00:54:57,320 --> 00:55:00,000
Speaker 2: all those brains himself. But again, as I alluded to earlier,

992
00:55:00,080 --> 00:55:04,040
Speaker 2: Igor is no mirror. Hinchman in this no mere cookie

993
00:55:04,160 --> 00:55:07,160
Speaker 2: character like he is, as we'll see, essentially the primary

994
00:55:07,520 --> 00:55:12,239
Speaker 2: and antagonist of the picture, a satanic tempter and manipulator.

995
00:55:12,280 --> 00:55:13,239
Speaker 2: And he's tremendous.

996
00:55:13,600 --> 00:55:16,440
Speaker 3: Yeah, this introduction scene is so good. There's this moment

997
00:55:16,440 --> 00:55:20,439
Speaker 3: where he like he knocks on the bones sticking out

998
00:55:20,440 --> 00:55:23,560
Speaker 3: of his neck and he's like, oh, it's all right,

999
00:55:24,040 --> 00:55:30,120
Speaker 3: it's okay, and he reveals a secret passage in the

1000
00:55:30,160 --> 00:55:33,520
Speaker 3: wall and takes Wolf down. This leads to a crypt

1001
00:55:33,560 --> 00:55:37,200
Speaker 3: with two sarcopha guy it's got his grandfather there, but

1002
00:55:37,280 --> 00:55:42,400
Speaker 3: also his father, Henry Frankenstein, where someone has vandalized his

1003
00:55:42,520 --> 00:55:47,680
Speaker 3: epitaph on his sarcophagus. I think it says Henry Frankenstein

1004
00:55:47,719 --> 00:55:51,200
Speaker 3: carved in and someone has written in chalk Maker of Monsters.

1005
00:55:52,120 --> 00:55:56,000
Speaker 3: And then beyond that, Igor leads Wolf to a shocking surprise,

1006
00:55:56,480 --> 00:56:01,120
Speaker 3: which is the comatose body of the monster. This reveal

1007
00:56:01,280 --> 00:56:06,080
Speaker 3: is great in terms of its cinematic effect, except I

1008
00:56:06,120 --> 00:56:08,520
Speaker 3: don't want to be too critical, but it's just lying

1009
00:56:08,600 --> 00:56:10,600
Speaker 3: out in the open in the middle of the room

1010
00:56:10,680 --> 00:56:14,280
Speaker 3: where Wolf already was, and it's revealed to the audience

1011
00:56:14,320 --> 00:56:17,920
Speaker 3: simply by the camera pulling back to bring it into frame.

1012
00:56:18,440 --> 00:56:20,560
Speaker 3: So it's kind of difficult to believe that Wolf was

1013
00:56:20,640 --> 00:56:23,680
Speaker 3: already in the room but didn't see Boris Karloff lying

1014
00:56:23,680 --> 00:56:26,719
Speaker 3: there in full makeup until just now. But that's okay,

1015
00:56:26,880 --> 00:56:27,520
Speaker 3: let it slide.

1016
00:56:27,840 --> 00:56:28,880
Speaker 2: Yeah, still a great moment.

1017
00:56:29,440 --> 00:56:32,399
Speaker 3: Igor reveals that the creature has been there for quite

1018
00:56:32,480 --> 00:56:37,680
Speaker 3: some time now. Igor says he's my friend. He does

1019
00:56:38,080 --> 00:56:41,600
Speaker 3: things for me, and then he says this place is

1020
00:56:41,640 --> 00:56:44,800
Speaker 3: a place of the dead. We are all dead here,

1021
00:56:45,360 --> 00:56:50,320
Speaker 3: again referring to himself having been unsuccessfully hanged and somehow

1022
00:56:50,360 --> 00:56:54,680
Speaker 3: having this legal death status even though he is obviously

1023
00:56:54,719 --> 00:56:59,960
Speaker 3: still alive. So the question is why was the monster comatose?

1024
00:57:00,760 --> 00:57:03,879
Speaker 3: Igor says that he was injured by lightning while out

1025
00:57:03,920 --> 00:57:06,920
Speaker 3: in a storm, and Igor brought him back here and

1026
00:57:06,920 --> 00:57:10,720
Speaker 3: he's been asleep ever since. And from this point Igor

1027
00:57:10,960 --> 00:57:15,040
Speaker 3: basically hectors Wolf into helping revive him. Maybe Wolf doesn't

1028
00:57:15,080 --> 00:57:18,560
Speaker 3: need all that much encouragement, like he's curious about this himself,

1029
00:57:18,800 --> 00:57:20,600
Speaker 3: but Igor is putting the pressure.

1030
00:57:20,240 --> 00:57:22,640
Speaker 2: On, that's right, He's laying it on pretty thick.

1031
00:57:23,320 --> 00:57:28,280
Speaker 3: And this is the scene where Egor starts to introduce

1032
00:57:28,360 --> 00:57:31,160
Speaker 3: this framework that you know, really in a way, this

1033
00:57:32,040 --> 00:57:36,200
Speaker 3: creature was your father's other son. And Wolf says, you

1034
00:57:36,280 --> 00:57:40,120
Speaker 3: mean to imply that this this is my brother and

1035
00:57:40,240 --> 00:57:44,440
Speaker 3: Igor is like, yes, but his mother was lightning. Ooh,

1036
00:57:44,560 --> 00:57:45,200
Speaker 3: good line.

1037
00:57:46,320 --> 00:57:49,240
Speaker 2: Yeah, it's a great line. Again, more building up of

1038
00:57:49,280 --> 00:57:51,400
Speaker 2: the lightning and treatment of the lightning here.

1039
00:57:52,160 --> 00:57:55,600
Speaker 3: So Wolf commits to making his father's creation walk again again.

1040
00:57:55,960 --> 00:57:58,080
Speaker 3: So at this point he doesn't have to make life

1041
00:57:58,080 --> 00:58:01,160
Speaker 3: from death. The creature is already a but he's going

1042
00:58:01,240 --> 00:58:04,640
Speaker 3: to use his medical knowledge to resuscitate him from his

1043
00:58:04,680 --> 00:58:07,760
Speaker 3: coma and make him walk again. And he goes and

1044
00:58:07,800 --> 00:58:11,920
Speaker 3: he amends the graffiti, he amends the vandalism of his

1045
00:58:11,920 --> 00:58:15,520
Speaker 3: father's epitaph and changes it from maker of Monsters to

1046
00:58:15,640 --> 00:58:19,480
Speaker 3: Maker of men. And here's a very clean Act one break.

1047
00:58:19,520 --> 00:58:21,880
Speaker 3: And this is clearly like, here's where we are now

1048
00:58:22,320 --> 00:58:34,560
Speaker 3: the action really starts. Yeah, So Act two we get

1049
00:58:34,640 --> 00:58:37,800
Speaker 3: the town council and the Bergemeister getting antsy about all

1050
00:58:37,840 --> 00:58:40,960
Speaker 3: of the activity they're noticing around Frankenstein's lab. People are

1051
00:58:41,120 --> 00:58:44,560
Speaker 3: coming and going bringing big crates, and so they decide

1052
00:58:44,560 --> 00:58:46,880
Speaker 3: they're going to get Igor to come in and testify

1053
00:58:46,920 --> 00:58:50,680
Speaker 3: to them about what's going on. Now, there's some really

1054
00:58:50,720 --> 00:58:54,640
Speaker 3: funny moments here that one is like Basil Rathbone working

1055
00:58:54,720 --> 00:58:58,320
Speaker 3: in the laboratory. He's hauling chains and pulleys around and

1056
00:58:58,360 --> 00:59:01,240
Speaker 3: doing this heavy work and this bus room and he's

1057
00:59:01,240 --> 00:59:05,280
Speaker 3: still wearing his three piece suit and tiem hm. Meanwhile,

1058
00:59:05,280 --> 00:59:07,640
Speaker 3: all the work is going on in the lab Egor

1059
00:59:07,720 --> 00:59:09,520
Speaker 3: is trying hard to keep it a secret from the

1060
00:59:09,560 --> 00:59:14,240
Speaker 3: other servants. So the only other servant I think who

1061
00:59:14,320 --> 00:59:17,840
Speaker 3: really unders who knows what's going on, is Wolfe's right

1062
00:59:17,840 --> 00:59:21,600
Speaker 3: hand man, Benson. So Benson is there like making notes

1063
00:59:21,680 --> 00:59:25,400
Speaker 3: while they're making observations about the monster, saying things like, wow,

1064
00:59:25,440 --> 00:59:28,120
Speaker 3: look at his blood pressure. It's three times the normal

1065
00:59:28,160 --> 00:59:31,040
Speaker 3: blood pressure. Wow, he's got two bullets in his heart,

1066
00:59:31,080 --> 00:59:33,960
Speaker 3: and yet it still pumps blood. I've never seen blood

1067
00:59:34,000 --> 00:59:36,880
Speaker 3: like that before. They say that his blood cells seem

1068
00:59:36,920 --> 00:59:39,280
Speaker 3: to be battling one another, as if they had a

1069
00:59:39,320 --> 00:59:40,760
Speaker 3: conscious life of their own.

1070
00:59:42,520 --> 00:59:44,520
Speaker 2: Second week in a row, where we have some very

1071
00:59:44,880 --> 00:59:49,760
Speaker 2: puzzling anatomical details from analysis of the monster.

1072
00:59:50,200 --> 00:59:53,520
Speaker 3: Yeah yeah, interesting. But oh from here we go onto

1073
00:59:53,560 --> 00:59:56,640
Speaker 3: the scene where the Bergomeister and associates get Igor on

1074
00:59:56,680 --> 01:00:00,800
Speaker 3: the stand to testify about what's going on on. So

1075
01:00:01,560 --> 01:00:05,160
Speaker 3: this interrogation scene is supposed to be about what Frankenstein

1076
01:00:05,280 --> 01:00:08,040
Speaker 3: is up to in his lab. But it's so funny

1077
01:00:08,040 --> 01:00:10,960
Speaker 3: how it ends up being mostly about the legal loophole

1078
01:00:11,040 --> 01:00:14,600
Speaker 3: that makes Igor immune to the death sentence. Yeah, and

1079
01:00:15,240 --> 01:00:19,560
Speaker 3: then also just going around the room reconfirming the identities

1080
01:00:19,600 --> 01:00:21,720
Speaker 3: of all the jurors who voted to hang him the

1081
01:00:21,720 --> 01:00:25,560
Speaker 3: first time. Yes, this scene is so good.

1082
01:00:25,800 --> 01:00:27,600
Speaker 2: Yeah, I mean he has him dead to rights here, like,

1083
01:00:27,680 --> 01:00:29,760
Speaker 2: you can't hang me by the neck until dead a

1084
01:00:29,840 --> 01:00:34,040
Speaker 2: second time, I'm already officially dead. And yeah, there's just

1085
01:00:34,080 --> 01:00:36,640
Speaker 2: a lot of fun back and forth. Bell Lugosi gets

1086
01:00:36,840 --> 01:00:41,440
Speaker 2: really hammered up as Igor here number of number of

1087
01:00:41,440 --> 01:00:46,600
Speaker 2: funny lines and hilarious mannerisms, while also staying true to

1088
01:00:46,640 --> 01:00:49,640
Speaker 2: the character being devilish and intimidating as well.

1089
01:00:49,920 --> 01:00:52,440
Speaker 3: There's a really funny moment where he coughs in one

1090
01:00:52,480 --> 01:00:55,240
Speaker 3: of their faces and the guy's like, oh, he spit

1091
01:00:55,400 --> 01:01:02,440
Speaker 3: on me, and Lekosi's like, I'm sorry, cough, phone stuck

1092
01:01:02,480 --> 01:01:09,520
Speaker 3: in my throat. Great saint, great saint, amazing. It's so good. Then,

1093
01:01:09,680 --> 01:01:12,440
Speaker 3: also in other scenes around this time, we see Wolf,

1094
01:01:12,520 --> 01:01:14,920
Speaker 3: Igor and Benson trying to get the creature revived in

1095
01:01:14,960 --> 01:01:18,280
Speaker 3: the lab with electricity, but it fails. At one point,

1096
01:01:18,600 --> 01:01:21,200
Speaker 3: Wolf loses hope. He thinks he will never succeed in

1097
01:01:21,240 --> 01:01:24,080
Speaker 3: waking him from his coma. Also, somewhere around here they

1098
01:01:24,120 --> 01:01:27,880
Speaker 3: discovered that the secret of life is cosmic rays. Okay,

1099
01:01:28,880 --> 01:01:32,680
Speaker 3: now it seems that Inspector Krogue just keeps visiting the

1100
01:01:32,760 --> 01:01:35,440
Speaker 3: castle at various times, Like there's a scene of him

1101
01:01:35,520 --> 01:01:39,440
Speaker 3: having tea with Elsa and Wolf joins them, and Krogue

1102
01:01:39,720 --> 01:01:42,040
Speaker 3: here learns that Wolf has been up to his ears

1103
01:01:42,080 --> 01:01:45,720
Speaker 3: and experiments in the old laboratory, which the villagers call

1104
01:01:45,960 --> 01:01:50,200
Speaker 3: the monster's home. And they say, oh, don't the sulfur

1105
01:01:50,240 --> 01:01:53,040
Speaker 3: fumes bother you? And Rathbones like, no, no, no, not

1106
01:01:53,120 --> 01:01:57,200
Speaker 3: at all. They say that this place to be used

1107
01:01:57,240 --> 01:01:59,840
Speaker 3: to be an ancient Roman health spa. But then the

1108
01:02:00,080 --> 01:02:04,040
Speaker 3: ulfer got more intense, and I believe the inspector says,

1109
01:02:04,080 --> 01:02:07,120
Speaker 3: even the stoutest Roman couldn't venture into that today without

1110
01:02:07,120 --> 01:02:10,720
Speaker 3: being par boiled to the bones. And then Rathbone says

1111
01:02:10,760 --> 01:02:13,600
Speaker 3: to the inspector, I'll have you come there sometime and

1112
01:02:13,680 --> 01:02:14,520
Speaker 3: par boil you.

1113
01:02:16,600 --> 01:02:18,160
Speaker 2: Not very good, not very good.

1114
01:02:18,280 --> 01:02:18,600
Speaker 4: No.

1115
01:02:18,600 --> 01:02:22,280
Speaker 3: No, here we get some more wonderful Peter comments where

1116
01:02:22,280 --> 01:02:26,280
Speaker 3: he comes in he's like saying, I'm a soldier, I'm

1117
01:02:26,360 --> 01:02:30,400
Speaker 3: a hunting all day long. And then Peter goes into

1118
01:02:30,400 --> 01:02:32,680
Speaker 3: a story about how in the middle of his nap

1119
01:02:32,880 --> 01:02:36,160
Speaker 3: a giant woke him up, but Peter gave the giant

1120
01:02:36,160 --> 01:02:39,440
Speaker 3: a picture book and he went away, bum bum bum.

1121
01:02:40,120 --> 01:02:43,560
Speaker 3: This clearly is significant to Wolf, He's like, oh, what's

1122
01:02:43,600 --> 01:02:48,240
Speaker 3: going on. But it's also significant to Krogue. So Wolf

1123
01:02:48,320 --> 01:02:50,640
Speaker 3: is trying to hide this from Krogue, but he becomes

1124
01:02:50,680 --> 01:02:53,840
Speaker 3: convinced that the creature has awakened and actually went into

1125
01:02:53,880 --> 01:02:56,560
Speaker 3: Peter's room, so he rushes off to his lab and

1126
01:02:56,600 --> 01:03:00,960
Speaker 3: he finds Igor in the creature both missing. So he

1127
01:03:01,080 --> 01:03:03,200
Speaker 3: is in the middle of arming himself with a knife

1128
01:03:03,240 --> 01:03:05,360
Speaker 3: and mixing up some concoction. I don't know if he's

1129
01:03:05,400 --> 01:03:08,240
Speaker 3: trying to make a drug or something. But then the

1130
01:03:08,280 --> 01:03:10,560
Speaker 3: creature comes up behind him. This is the first time

1131
01:03:10,560 --> 01:03:13,200
Speaker 3: we see the creature walking in the film, and they

1132
01:03:13,320 --> 01:03:16,880
Speaker 3: meet face to face, and so there's this is the

1133
01:03:16,920 --> 01:03:20,240
Speaker 3: scene we were talking about earlier where we at least

1134
01:03:20,280 --> 01:03:22,959
Speaker 3: I feel like Karloff is trying to add something here.

1135
01:03:23,320 --> 01:03:26,959
Speaker 3: The creature doesn't speak, doesn't say anything. I don't think

1136
01:03:27,000 --> 01:03:29,600
Speaker 3: he ever speaks in this film, does he ever say anything?

1137
01:03:31,560 --> 01:03:34,320
Speaker 2: If he does, it's so little, Like at one point,

1138
01:03:34,440 --> 01:03:37,760
Speaker 2: I think a previous version of the script had considerable

1139
01:03:37,760 --> 01:03:39,640
Speaker 2: well I don't know abo considerable, but it certainly had

1140
01:03:39,680 --> 01:03:43,200
Speaker 2: dialogue from the monster, and at some point they cut

1141
01:03:43,240 --> 01:03:46,960
Speaker 2: all or most of it out, So yeah, we don't

1142
01:03:46,960 --> 01:03:49,240
Speaker 2: really get anything from the monster here. At one point

1143
01:03:49,240 --> 01:03:52,160
Speaker 2: they also considered doing this in color, but apparently they

1144
01:03:52,160 --> 01:03:54,800
Speaker 2: didn't really like the way that the monster makeup looked

1145
01:03:54,800 --> 01:03:57,320
Speaker 2: when shot in color, and I think, yeah, you don't

1146
01:03:57,320 --> 01:03:58,960
Speaker 2: want to see this film in color, like it's so

1147
01:03:59,040 --> 01:03:59,920
Speaker 2: beautiful and black and.

1148
01:04:00,600 --> 01:04:03,080
Speaker 3: Yeah, so this seems in keeping with the sort of

1149
01:04:03,160 --> 01:04:06,880
Speaker 3: reduction of the monster's consciousness and humanity from where he

1150
01:04:07,040 --> 01:04:10,040
Speaker 3: was in Bride, because in Bride he learns to speak.

1151
01:04:10,120 --> 01:04:12,760
Speaker 3: Remember that's like a big part of the story. He

1152
01:04:12,800 --> 01:04:14,880
Speaker 3: doesn't speak a lot, but he says some things.

1153
01:04:15,280 --> 01:04:17,240
Speaker 2: Yeah, in a way, it's like the monster in this

1154
01:04:17,320 --> 01:04:21,200
Speaker 2: film is here to serve purely as the metaphor for technology,

1155
01:04:21,680 --> 01:04:24,000
Speaker 2: which is valid. I mean that's a key part of

1156
01:04:24,040 --> 01:04:26,680
Speaker 2: the original novel as well. But it's kind of like

1157
01:04:27,320 --> 01:04:32,120
Speaker 2: once technology is created, once there's been some advancement, you

1158
01:04:32,160 --> 01:04:36,120
Speaker 2: can't abandon it. You can abandon it, but then other

1159
01:04:36,160 --> 01:04:38,960
Speaker 2: people are going to take that technology up, and do

1160
01:04:39,000 --> 01:04:43,120
Speaker 2: you trust them because the people who take up that

1161
01:04:43,200 --> 01:04:46,480
Speaker 2: technology may be the likes of Igor here, and he

1162
01:04:46,560 --> 01:04:48,800
Speaker 2: is not going to use it for the betterment of man.

1163
01:04:49,160 --> 01:04:52,600
Speaker 2: He's going to use this technology to get revenge on

1164
01:04:52,680 --> 01:04:54,960
Speaker 2: his enemies, to murder his way through his enemies list,

1165
01:04:55,000 --> 01:04:58,120
Speaker 2: which is exactly what Igor has been doing and plans

1166
01:04:58,160 --> 01:05:00,440
Speaker 2: to do again if he gets this monster up in running,

1167
01:05:00,600 --> 01:05:01,640
Speaker 2: which now he has.

1168
01:05:01,920 --> 01:05:05,240
Speaker 3: That's right. So when Basil Rathbone and the monster first

1169
01:05:05,480 --> 01:05:09,360
Speaker 3: meet face to face, the monster seems to maybe be

1170
01:05:09,640 --> 01:05:12,680
Speaker 3: used to reacting with violence when it meets people, so

1171
01:05:13,120 --> 01:05:15,720
Speaker 3: he reaches his hands up as if maybe he's going

1172
01:05:15,720 --> 01:05:18,160
Speaker 3: to choke him, but then sort of decides against it,

1173
01:05:19,240 --> 01:05:22,680
Speaker 3: and so it's an interesting psychological little moment. But then

1174
01:05:22,760 --> 01:05:26,520
Speaker 3: Igor returns and Igor seems to have control over the monster.

1175
01:05:26,640 --> 01:05:29,520
Speaker 3: It obeys his commands, I think because they've been together

1176
01:05:29,560 --> 01:05:33,960
Speaker 3: for so long they are friends. So who you know

1177
01:05:34,160 --> 01:05:37,720
Speaker 3: they talk now a Basil Rathbone and Bella Legosi talk.

1178
01:05:38,040 --> 01:05:41,920
Speaker 3: Who knows the monster is awake? Igor says, only you

1179
01:05:42,480 --> 01:05:47,800
Speaker 3: and Benson Man, and Wrathbone's like, well, Benson will never tell,

1180
01:05:48,120 --> 01:05:55,680
Speaker 3: and Igor says, no, he will never tell. Now Here,

1181
01:05:55,760 --> 01:05:59,240
Speaker 3: Wolf says, well, we may have made the creature physically well,

1182
01:05:59,280 --> 01:06:01,480
Speaker 3: but he's not in the mind yet. We need to

1183
01:06:01,560 --> 01:06:03,640
Speaker 3: keep working on him to heal him up, to make

1184
01:06:03,680 --> 01:06:06,760
Speaker 3: him well in the mind. And Igor says he's well

1185
01:06:06,880 --> 01:06:12,000
Speaker 3: enough for me. So, of course, here the monster murder

1186
01:06:12,040 --> 01:06:14,920
Speaker 3: missions resume. I was gonna say begin, but it seems

1187
01:06:14,920 --> 01:06:20,080
Speaker 3: they've been ongoing for some time before the film started. Now,

1188
01:06:20,680 --> 01:06:24,200
Speaker 3: there's a scene of revenge against a character named Neimula,

1189
01:06:24,360 --> 01:06:27,320
Speaker 3: one of the jurors who convicted Igor. There's like a

1190
01:06:27,440 --> 01:06:29,920
Speaker 3: murder shown on a He's out on a horse drawn

1191
01:06:30,000 --> 01:06:32,880
Speaker 3: wagon out going out along the cliffs. He's riding between

1192
01:06:32,880 --> 01:06:36,160
Speaker 3: the rocks, and then the monster reaches out from behind

1193
01:06:36,200 --> 01:06:38,720
Speaker 3: a rock and grabs him, and then stages the murder

1194
01:06:38,760 --> 01:06:40,400
Speaker 3: to look like a wagon accident.

1195
01:06:40,800 --> 01:06:43,080
Speaker 2: This is the true crime portion of the picture here.

1196
01:06:43,320 --> 01:06:48,040
Speaker 3: Yeah, So after this, we're at the castle. The Frankenstein's

1197
01:06:48,040 --> 01:06:52,160
Speaker 3: are having dinner with an incredibly suspicious looking krogue, and

1198
01:06:52,400 --> 01:06:56,360
Speaker 3: they are interrupted by news of the death of Neimula. Also,

1199
01:06:56,480 --> 01:06:59,640
Speaker 3: Benson disappears somewhere around here. Everybody's asking where he is,

1200
01:07:00,040 --> 01:07:04,120
Speaker 3: but he knows there are more monster revenge murders on

1201
01:07:04,200 --> 01:07:07,520
Speaker 3: Igor's command. We see Igor going around like marking doors

1202
01:07:07,560 --> 01:07:10,280
Speaker 3: in town with an ex to show the monster who

1203
01:07:10,320 --> 01:07:13,680
Speaker 3: to get. There's also the recurring scene we get here

1204
01:07:13,720 --> 01:07:17,040
Speaker 3: of Igor playing his instrument in the gatehouse window. At

1205
01:07:17,040 --> 01:07:19,680
Speaker 3: first I thought it was maybe to summon the monster home,

1206
01:07:20,240 --> 01:07:24,840
Speaker 3: but I later interpreted this as he's like playing music

1207
01:07:24,880 --> 01:07:27,280
Speaker 3: out in public view so that he can never be

1208
01:07:27,360 --> 01:07:28,600
Speaker 3: blamed for the murders.

1209
01:07:29,040 --> 01:07:31,400
Speaker 2: Yeah. Yeah. And then also there's a sense too that

1210
01:07:31,440 --> 01:07:33,840
Speaker 2: it's almost like he's like you the Pied Piper or something.

1211
01:07:33,880 --> 01:07:37,400
Speaker 2: You know, It's like he's pulling the strings if you will.

1212
01:07:37,760 --> 01:07:41,400
Speaker 3: Yeah. Yeah. So you know, you can't have a Frankenstein

1213
01:07:41,440 --> 01:07:44,680
Speaker 3: movie without a Pitchfork mob. So Pitchfork mo mob gathers

1214
01:07:44,680 --> 01:07:46,880
Speaker 3: in the town square. Because of the murders, they lay

1215
01:07:46,920 --> 01:07:50,000
Speaker 3: siege to the castle. It isn't safe to leave. Inspector

1216
01:07:50,040 --> 01:07:53,400
Speaker 3: Krogue is in the castle with the family, claiming that

1217
01:07:53,440 --> 01:07:58,200
Speaker 3: he's there to guarantee their protection, and at one point,

1218
01:07:58,360 --> 01:08:02,320
Speaker 3: Peter the Sun he shows Inspector Kroge a gift that

1219
01:08:02,400 --> 01:08:06,280
Speaker 3: his friend the Giant gave him. It's a watch, and

1220
01:08:06,360 --> 01:08:08,480
Speaker 3: krog looks at it. It's a pocket watch with an

1221
01:08:08,480 --> 01:08:13,440
Speaker 3: engraving that says like two benson. Yeah, so obviously something

1222
01:08:13,520 --> 01:08:16,760
Speaker 3: is going wrong here. Later, there's a confrontation in the

1223
01:08:16,880 --> 01:08:20,479
Speaker 3: lab between Wolf and Egor over the monster. Wolf tries

1224
01:08:20,520 --> 01:08:24,000
Speaker 3: to banish Egor from his lab, and Igor confesses to

1225
01:08:24,280 --> 01:08:26,960
Speaker 3: ordering all the murders of the jurors who convicted him.

1226
01:08:27,240 --> 01:08:29,400
Speaker 3: When he says he will not leave, he says, the

1227
01:08:29,400 --> 01:08:34,519
Speaker 3: monster belongs to me, not to you. Now in between here,

1228
01:08:34,680 --> 01:08:37,160
Speaker 3: it's funny that, like the stakes are coming up, you know,

1229
01:08:37,200 --> 01:08:40,679
Speaker 3: we have the mob who are ready to attack the castle.

1230
01:08:41,120 --> 01:08:43,680
Speaker 3: We have Egor and the monster doing murderers, we have

1231
01:08:43,720 --> 01:08:46,479
Speaker 3: the inspector on the case, and yet we get these

1232
01:08:46,520 --> 01:08:49,519
Speaker 3: little scenes where Wolf and the inspector are just like

1233
01:08:49,640 --> 01:08:52,439
Speaker 3: playing darts and having brandy while they're I don't know,

1234
01:08:52,600 --> 01:08:53,439
Speaker 3: biding their time.

1235
01:08:54,160 --> 01:08:57,080
Speaker 2: Oh man, So there's so much brandy drinking in this picture,

1236
01:08:57,840 --> 01:09:01,200
Speaker 2: to the point that on the i am dB parental

1237
01:09:01,360 --> 01:09:03,720
Speaker 2: page someone decided to put a warning in there. It's

1238
01:09:03,720 --> 01:09:09,400
Speaker 2: like warning adults drink brandy. This characters. Yeah, there's a

1239
01:09:08,720 --> 01:09:11,000
Speaker 2: lot of a lot of reaching for the brandy here

1240
01:09:11,040 --> 01:09:13,120
Speaker 2: and then a lot of dart throwing, and it gets

1241
01:09:13,240 --> 01:09:17,320
Speaker 2: it gets pretty furious the dart throwing here, Frankenstein's really

1242
01:09:17,360 --> 01:09:22,240
Speaker 2: working out some issues regarding his legacy and the legacy

1243
01:09:22,280 --> 01:09:23,759
Speaker 2: of his father here via darts.

1244
01:09:24,040 --> 01:09:28,680
Speaker 3: Yeah, historical brandy use. Yeah. But in these scenes it

1245
01:09:28,760 --> 01:09:31,920
Speaker 3: comes out that Krogue suspects the monster is once again

1246
01:09:31,960 --> 01:09:34,559
Speaker 3: alive and afoot and he wants to know the truth,

1247
01:09:34,600 --> 01:09:39,960
Speaker 3: and of course Frankenstein is you know, he's very offended

1248
01:09:40,000 --> 01:09:42,640
Speaker 3: by this. He's like, so, I suppose I whipped him

1249
01:09:42,720 --> 01:09:47,559
Speaker 3: up as a cook whips up an omelet. And Wolf

1250
01:09:47,640 --> 01:09:50,880
Speaker 3: tries to put suspicion onto Egor instead of himself, but

1251
01:09:51,080 --> 01:09:53,519
Speaker 3: krog says it can't be Igor who did the monster

1252
01:09:53,680 --> 01:09:55,920
Speaker 3: is because he was being watched during all the murders.

1253
01:09:55,960 --> 01:09:57,519
Speaker 3: This is what I was talking about with the window.

1254
01:10:00,080 --> 01:10:03,240
Speaker 3: So eventually there is a confrontation between Igor and Wolf

1255
01:10:03,320 --> 01:10:07,040
Speaker 3: in the laboratory. Igor he had that bloody hammer. He

1256
01:10:07,400 --> 01:10:10,040
Speaker 3: tries to get Wolf with a hammer, but Wolf shoots him,

1257
01:10:10,560 --> 01:10:13,200
Speaker 3: and there is the discovery by the inspector of a

1258
01:10:13,240 --> 01:10:17,439
Speaker 3: secret passageway in the wall where he finds Benson's body. Meanwhile,

1259
01:10:17,439 --> 01:10:21,200
Speaker 3: in the lab the monster finds Igor's body and Igor

1260
01:10:21,280 --> 01:10:25,280
Speaker 3: remember was his only friend, so This leads to monster rage,

1261
01:10:25,320 --> 01:10:27,519
Speaker 3: and we get a number of scenes of monster rage

1262
01:10:27,720 --> 01:10:31,280
Speaker 3: where he's just smashing things, busting everything up, throwing it

1263
01:10:31,320 --> 01:10:34,680
Speaker 3: all into the sulfur pit. Now, eventually the monster, in

1264
01:10:34,760 --> 01:10:38,599
Speaker 3: his rage, decides to kidnap Peter, and so he takes

1265
01:10:38,600 --> 01:10:41,400
Speaker 3: Peter away to the laboratory and all of the good

1266
01:10:41,479 --> 01:10:45,960
Speaker 3: characters give Chase, Elsa, Amelia, Wolf and Krogue. They all

1267
01:10:46,000 --> 01:10:49,200
Speaker 3: pursue the monster into the laboratory for the final showdown.

1268
01:10:49,240 --> 01:10:51,559
Speaker 3: And here we do get to the swashbuckling. Finally.

1269
01:10:52,160 --> 01:10:55,080
Speaker 2: Yeah, there's of course the expected payoff with the prosthetic arm.

1270
01:10:55,439 --> 01:10:58,040
Speaker 2: It gets ripped off in a fight there between the

1271
01:10:58,040 --> 01:11:01,880
Speaker 2: inspector and the monster, and then the inspector's shooting at

1272
01:11:01,920 --> 01:11:03,880
Speaker 2: the monster, and I think the monster is kind of

1273
01:11:03,880 --> 01:11:08,960
Speaker 2: deflecting the shots with the prosthetic by accident. And then yeah,

1274
01:11:09,040 --> 01:11:14,320
Speaker 2: here comes Basil rathbone buckling some swash swinging on that

1275
01:11:14,439 --> 01:11:17,120
Speaker 2: rope and doing a rope assisted kick to the monster.

1276
01:11:17,479 --> 01:11:21,439
Speaker 2: Since the monster flying off the edge down into that

1277
01:11:21,560 --> 01:11:25,120
Speaker 2: boiling sulfur pit. That boiling sulfur pit that we knew

1278
01:11:25,200 --> 01:11:28,400
Speaker 2: from the very moment it was introduced was going to

1279
01:11:28,840 --> 01:11:31,160
Speaker 2: eat up a monster or some other characters. You know,

1280
01:11:31,160 --> 01:11:32,599
Speaker 2: somebody's going into that sulfur pit.

1281
01:11:33,160 --> 01:11:35,080
Speaker 3: So yeah, so there's payoff there. But you know what

1282
01:11:35,120 --> 01:11:38,840
Speaker 3: there's never payoff on is a wolf's threat to par

1283
01:11:38,960 --> 01:11:42,080
Speaker 3: boil the inspector and nothing happens there. Yeah, they're friends

1284
01:11:42,160 --> 01:11:42,639
Speaker 3: at the end.

1285
01:11:43,439 --> 01:11:45,280
Speaker 2: Yeah, it was just like a terrible joke. I guess

1286
01:11:45,360 --> 01:11:48,040
Speaker 2: it's like we wouldn't get enough sleep. They're not all

1287
01:11:48,040 --> 01:11:50,200
Speaker 2: going to be zingers, especially if you don't have enough sleep.

1288
01:11:50,560 --> 01:11:54,479
Speaker 3: Yeah, now we get a actually quite happy ending. I

1289
01:11:54,520 --> 01:11:57,160
Speaker 3: don't know if it's really earned this happy of an ending,

1290
01:11:57,240 --> 01:11:58,920
Speaker 3: but it's like it's all going to be okay.

1291
01:11:59,720 --> 01:12:03,640
Speaker 2: Yeah, the baron and family signed the castle and the

1292
01:12:03,720 --> 01:12:06,920
Speaker 2: lab over to the locals and take the first train

1293
01:12:06,960 --> 01:12:09,040
Speaker 2: out of town, so all is forgiven. I don't know.

1294
01:12:09,120 --> 01:12:14,120
Speaker 2: Maybe all of the townspeople that were killed off by

1295
01:12:14,160 --> 01:12:17,240
Speaker 2: the monster recently were all crooked and corrupt. I don't know,

1296
01:12:17,560 --> 01:12:22,080
Speaker 2: Like maybe essentially Igor cleansed the town of corruption. I'm

1297
01:12:22,080 --> 01:12:22,559
Speaker 2: not sure.

1298
01:12:23,160 --> 01:12:26,559
Speaker 3: Also, the last time we see Igor's body, after he

1299
01:12:26,600 --> 01:12:30,839
Speaker 3: has supposedly been shot and killed, he is obviously breathing.

1300
01:12:31,000 --> 01:12:33,400
Speaker 3: You can see his chest like rising and falling up

1301
01:12:33,439 --> 01:12:35,719
Speaker 3: and down, and I don't know if that's a goof

1302
01:12:35,920 --> 01:12:38,599
Speaker 3: or if that's to lay the groundwork that Igor could

1303
01:12:38,640 --> 01:12:40,160
Speaker 3: come back in another sequel.

1304
01:12:40,479 --> 01:12:43,400
Speaker 2: Igor will return, and he does he.

1305
01:12:43,360 --> 01:12:48,040
Speaker 3: Does, to be clear. So are we gonna do House

1306
01:12:48,040 --> 01:12:48,800
Speaker 3: of Frankenstein.

1307
01:12:49,520 --> 01:12:51,800
Speaker 2: I think we may have to. That one is very

1308
01:12:51,840 --> 01:12:54,240
Speaker 2: interesting as well, has an interesting cast, so.

1309
01:12:55,040 --> 01:12:57,519
Speaker 3: I think not supposed to be quite as good as

1310
01:12:57,680 --> 01:13:02,840
Speaker 3: The Son of frank But amusing i've read.

1311
01:13:03,120 --> 01:13:07,200
Speaker 2: I would continue the journey. Oh, one more comment on this.

1312
01:13:07,240 --> 01:13:09,080
Speaker 2: We had, we have so much great stuff with the lightning.

1313
01:13:09,160 --> 01:13:11,919
Speaker 2: You know, his mother was lightning the fierce lightning storms

1314
01:13:11,960 --> 01:13:15,680
Speaker 2: in the region, you know, as if Zeus is just

1315
01:13:15,760 --> 01:13:20,200
Speaker 2: constantly lashing out against the countryside. And then this is

1316
01:13:20,240 --> 01:13:23,400
Speaker 2: something my wife pointed out. When the monsters actually revived,

1317
01:13:24,000 --> 01:13:26,240
Speaker 2: are they they're using some sort of generator or something.

1318
01:13:26,439 --> 01:13:29,400
Speaker 2: They're not doing what you think they're going to do,

1319
01:13:29,520 --> 01:13:33,360
Speaker 2: which is, let's capture the lightning like Frankenstein Senior did.

1320
01:13:33,439 --> 01:13:35,640
Speaker 2: Instead it's some other means, And I don't know if

1321
01:13:35,640 --> 01:13:38,200
Speaker 2: that's intentional, if that's supposed to be. You know, some

1322
01:13:38,280 --> 01:13:42,280
Speaker 2: commentary on like the mode of interaction with the technology

1323
01:13:42,520 --> 01:13:45,719
Speaker 2: that is taking place in this next generation. It's less

1324
01:13:46,040 --> 01:13:50,439
Speaker 2: Heaven sent and more technology. Speaking to technology, I'm not

1325
01:13:50,479 --> 01:13:53,840
Speaker 2: sure interesting. I hadn't thought about that, but yeah, that's

1326
01:13:53,840 --> 01:13:56,240
Speaker 2: a good point. Yeah, I might be overthinking it there,

1327
01:13:56,280 --> 01:13:58,320
Speaker 2: but that's what I love about a film like this,

1328
01:13:58,360 --> 01:13:59,519
Speaker 2: you know, you get to enjoy it on so many

1329
01:13:59,520 --> 01:14:00,000
Speaker 2: different level.

1330
01:14:00,640 --> 01:14:03,080
Speaker 3: Yeah. So once again I had a fantastic time with

1331
01:14:03,160 --> 01:14:07,880
Speaker 3: Son of Frankenstein. This movie greatly exceeded my expectations. Highly entertaining.

1332
01:14:08,200 --> 01:14:11,160
Speaker 3: So yeah, great pick. And I couldn't recommend this one enough.

1333
01:14:11,320 --> 01:14:12,080
Speaker 3: Really really fun.

1334
01:14:12,720 --> 01:14:15,320
Speaker 2: Absolutely, yeah, this one. This one was a lot of fun.

1335
01:14:16,280 --> 01:14:19,160
Speaker 2: All right. Well, we're gonna go ahead and close out

1336
01:14:19,280 --> 01:14:22,240
Speaker 2: this episode of Weird House Cinema. As always, we would

1337
01:14:22,280 --> 01:14:24,439
Speaker 2: love to hear from everyone out there. If you have,

1338
01:14:25,520 --> 01:14:28,280
Speaker 2: you know, experiences with this film, thoughts on this film,

1339
01:14:28,640 --> 01:14:32,400
Speaker 2: on other Frankenstein pictures, write in and you know we

1340
01:14:32,520 --> 01:14:34,759
Speaker 2: will try and include some of those on a future

1341
01:14:35,080 --> 01:14:37,920
Speaker 2: installment of Listener Mail, which comes out do you know

1342
01:14:37,960 --> 01:14:40,320
Speaker 2: me about once a month these days. Stuff to Blow

1343
01:14:40,320 --> 01:14:42,640
Speaker 2: Your Mind is primarily a science and culture podcast with

1344
01:14:42,640 --> 01:14:45,640
Speaker 2: core episodes on Tuesdays and Thursdays, but on Fridays we

1345
01:14:45,680 --> 01:14:47,880
Speaker 2: set aside most serious concerns to just talk about a

1346
01:14:47,880 --> 01:14:50,439
Speaker 2: weird Film here on Weird House Cinema. If you want

1347
01:14:50,479 --> 01:14:52,200
Speaker 2: to see a complete list of all the movies we've

1348
01:14:52,240 --> 01:14:54,240
Speaker 2: watched over the year as well, you can go over

1349
01:14:54,280 --> 01:14:56,439
Speaker 2: to letterbox dot com. That's L E T T E

1350
01:14:56,600 --> 01:14:59,200
Speaker 2: R B O x D dot com. Our username is

1351
01:14:59,240 --> 01:15:00,960
Speaker 2: weird House and we have a nice list of all

1352
01:15:01,000 --> 01:15:04,040
Speaker 2: the films we've covered. Sometimes there's a hint at what's

1353
01:15:04,080 --> 01:15:07,600
Speaker 2: coming up next, and let's see. If you're on Instagram,

1354
01:15:07,760 --> 01:15:11,160
Speaker 2: STBYM podcast is our handle there, you can follow us there.

1355
01:15:11,200 --> 01:15:13,559
Speaker 2: It's got some good links as well, including links to

1356
01:15:14,000 --> 01:15:16,200
Speaker 2: our t shirt shop where, hey, if you need a

1357
01:15:16,240 --> 01:15:18,640
Speaker 2: sticker or T shirt with the stuff to Blow your

1358
01:15:18,640 --> 01:15:22,360
Speaker 2: Mind logo on it, or perhaps the Weird House Cinema logo,

1359
01:15:22,400 --> 01:15:24,880
Speaker 2: well that's where you can get it. And I'm not

1360
01:15:24,920 --> 01:15:26,799
Speaker 2: sure we might end up having We had a Halloween

1361
01:15:26,840 --> 01:15:30,519
Speaker 2: shirt come out last year, and we might have something

1362
01:15:30,560 --> 01:15:32,160
Speaker 2: else come out this year, so I don't know. Keep

1363
01:15:32,160 --> 01:15:34,200
Speaker 2: an eye on that space in case there's a new

1364
01:15:34,240 --> 01:15:36,640
Speaker 2: design that drops and that's what you're looking for.

1365
01:15:37,200 --> 01:15:41,000
Speaker 3: Huge thanks as always to our excellent audio producer JJ Posway.

1366
01:15:41,360 --> 01:15:43,000
Speaker 3: If you would like to get in touch with us

1367
01:15:43,000 --> 01:15:45,479
Speaker 3: with feedback on this episode or any other. To suggest

1368
01:15:45,520 --> 01:15:47,679
Speaker 3: a topic for the future, or just to say hello,

1369
01:15:48,120 --> 01:15:50,760
Speaker 3: you can email us at contact at stuff to Blow

1370
01:15:50,760 --> 01:15:55,200
Speaker 3: your Mind dot com.

1371
01:15:55,760 --> 01:15:58,720
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1372
01:15:58,800 --> 01:16:01,559
Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app,

1373
01:16:01,720 --> 01:16:04,479
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.