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

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Speaker 1: Today's episode originally published ten eleven, twenty twenty four. It

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Speaker 1: is our episode in the nineteen thirty nine universal horror

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Speaker 1: picture Son of Frankenstein. This is a classic. This one's

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Speaker 1: a lot of fun and it's you know, revisiting this

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Speaker 1: episode is perhaps necessary because this Friday we'll be discussing

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Speaker 1: Frankenstein meets the Wolfman, you know, another classic universal horror

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Speaker 1: picture from the same time period. So without further ado,

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Speaker 1: let's jump right in.

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Speaker 2: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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Speaker 1: Hey, welcome to Weird House Cinema. This is Rob Lamb,

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Speaker 1: and this is Joe McCormick.

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Speaker 3: And hey friends, if I sound a little bit unusual today,

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Speaker 3: I am record 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 1: Rob, Yeah, this is a lot This film is a

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Speaker 1: lot of fun and for Weird House Cinema, it's our

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Speaker 1: return to the nineteen thirties. This is only the fourth

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Speaker 1: film from the nineteen thirties that we've talked about on

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Speaker 1: the show. We previously talked about nineteen thirty five's Mad Love,

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Speaker 1: then nineteen thirty two's Doctor X, and then most recently

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Speaker 1: last year, I believe nineteen thirty five's Bride of Frankenstein.

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Speaker 1: 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: loved 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 exp 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 1: Yeah, it's really quite a testament to how good it is,

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Speaker 1: you know, because we've talked about the problem with sequels,

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Speaker 1: the challenge of sequels in the past, like how do

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Speaker 1: you capture that magic? And like most most films don't

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Speaker 1: work the first time around, But then to actually strike

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Speaker 1: gold and then come back and equal or exceed the

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Speaker 1: previous film, like that's quite an accomplishment. And then to

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Speaker 1: have the gall to come back and do a third one,

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Speaker 1: you know, the odds are not with you. So I

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Speaker 1: have heard from a lot of people that have said, yeah,

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Speaker 1: this one is better than the original Frankenstein and it's

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Speaker 1: more fun or whatever, you know, caveats you want to

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Speaker 1: put on it. But yeah, I would agree it doesn't

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Speaker 1: really top the glory of Bride. But and then at

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Speaker 1: the same time, it also, you know, it doesn't really

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Speaker 1: do much in the way of digging back through unused

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Speaker 1: morsels from Mary Shelley's novel. It doesn't dive too deep

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Speaker 1: into the themes of the original work, but we do

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Speaker 1: end up with a very entertaining, at times very comedic,

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Speaker 1: but also weird, fresh film that is still a logical

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Speaker 1: continuation of the series, full of great sets, great cinematography,

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Speaker 1: 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 in 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.

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Speaker 3: Like having been a Bela Lagosi fan, I don't know

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

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Speaker 3: one of his best ever.

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Speaker 1: Absolutely just terrific performance. And it's not the only scene

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Speaker 1: stealing performance in this picture. Really, my only complaint, and

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Speaker 1: it's a small one, concerning Son of Frankenstein, is that

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Speaker 1: it maybe feels a bit long for a nineteen thirties

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Speaker 1: monster film. It clocks in at an hour and thirty

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Speaker 1: nine minutes, whereas the original Frankenstein was an hour in

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Speaker 1: ten and Bride was an hour and fifteen. As my

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Speaker 1: wife observed, she watched it with me, as did my son.

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Speaker 1: They could have maybe done with a few cuts to

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Speaker 1: the many hatch and door opening scenes and maybe got

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Speaker 1: that runtime down just a 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 1: Right, and it is a great hatch. Just what this discuss? Yeah,

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Speaker 1: quick schedule change. Note you might be some of you

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Speaker 1: might be wondering why are y'all talking about this nineteen

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Speaker 1: thirties horror movie. Aren't you supposed to be talking about

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Speaker 1: a nineteen nineties Cthulhu movie. Well, we had to switch

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Speaker 1: up in the schedule, but don't worry, and we'll come

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Speaker 1: back in the future with some other Cthulhu mythos movie

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Speaker 1: to make up for it. All right, So let's get

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Speaker 1: back into Son of Frankenstein. Am My elevator pitch for

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Speaker 1: 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 1: Hmmm, that's a great question. We'll have to chew on

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Speaker 1: that one as we received. All right, let's hear just

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Speaker 1: a little bit of that classic trailer audio. I think

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Speaker 1: we have some fun narration in this.

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Speaker 4: Years ago in the barony of Frankenstein, a monster created

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Speaker 4: by man stalk to the country, ming and killing. In time, Frankenstein,

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Speaker 4: maker of the monster, died, the monster disappeared. Now after

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Speaker 4: twenty years, the son of Frankenstein returns and fear grips

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Speaker 4: the village. And you, a man tainted by the blood

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Speaker 4: of his father, can forget his human soul and carry

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Speaker 4: on the diabolical work of the Frankenstein.

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Speaker 5: As a man, I should destroy him, but as a scientist,

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Speaker 5: I should do everything in my power to bring him

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Speaker 5: back to conscious life.

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Speaker 3: Benson Town on the generator.

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Speaker 1: All right, So if you're excited for this one, now,

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Speaker 1: if you've never seen Son of Frankenstein and you want

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Speaker 1: to watch it, or you want to rewatch it before

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Speaker 1: getting into the rest of this episode, well we encourage

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Speaker 1: you to do so. This is a universal monster movie,

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Speaker 1: so it is widely available in physical and digital formats

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Speaker 1: of all kind, including Universals Frankenstein Complete Legacy Collection box

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Speaker 1: set that's eight movies plus extras. For folks looking to

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Speaker 1: stream it in the States, I believe it's currently on Peacock,

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Speaker 1: but you know, check that out for yourself and see

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Speaker 1: 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 1: Okay, all right, I watched this one on the big screen,

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Speaker 1: which is pretty exciting. I don't think I've actually done

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Speaker 1: that for a weird house cinema before. I saw it

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Speaker 1: with friends and family at Atlanta's Historic Plaza Theater, presented

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Speaker 1: as part of the Silver Screens Spook Show series. It's

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Speaker 1: pretty great in two major ways. So first of all,

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Speaker 1: Professor Morte and company come out and they do this

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Speaker 1: fun pre show full of gags and puppets and terrible jokes,

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Speaker 1: a whole lot of fun. And we caught them the matinee,

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Speaker 1: so it was all kid friendly, very halloweeny. And second

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Speaker 1: late it's a real I thought it was just a

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Speaker 1: real treat to see a nineteen thirty nine film in

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Speaker 1: a movie theater that opened in nineteen thirty nine.

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Speaker 3: Oh wow.

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Speaker 1: Yeah, I'm not sure if Son of Frankenstein ever played

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Speaker 1: at the Plaza Back in thirty nine, I looked around.

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Speaker 1: I couldn't find any really good resources for this kind

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Speaker 1: of research. But I'll tell you in twenty twenty four,

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Speaker 1: it looked just tremendous on the big screen, Like it's

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Speaker 1: just such a well shot picture and the film quality,

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Speaker 1: and 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 1: Yeah, and so yeah, if you're visiting Atlanta or you

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Speaker 1: live here, go check out the Plaza. Check them out

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Speaker 1: at Plaza Atlanta dot com. They have lots of fun programming,

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Speaker 1: including Silver screamspook shows. There's also Plaza Drome that's a

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Speaker 1: partnership that they have with Video Drome. And next week alone,

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Speaker 1: the week following the original publication of this episode, they're

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Speaker 1: playing a mc Brothers Bollywood horror film and Beyond the

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Speaker 1: Black Rainbow. So it's you know, if you like our

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Speaker 1: show and you have access to this theater, there are

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Speaker 1: 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 1: I know they they won't they really won't be back

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Speaker 1: in I'm going to get back in alright. Shall we

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Speaker 1: 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 Whale? Yeah?

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Speaker 1: I think that that is one of the things that's

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Speaker 1: often pointed out in at least reviews, if not criticism

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Speaker 1: of the film is we have to move on from

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Speaker 1: James Whale at this point, and it's another director taking

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Speaker 1: the film. It is Roland V. Lee, who lived eighteen

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Speaker 1: ninety one through nineteen seventy five, an American director and

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Speaker 1: an established name at this point, having directed since I

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Speaker 1: Believe nineteen twenty and written, produced nearly and produced nearly

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Speaker 1: as long. This was his only horror film, however, coming

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Speaker 1: off of a number of historical adventures and comedies, including

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Speaker 1: nineteen thirty fours The Count of Monte Cristo, nineteen thirty

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Speaker 1: seven's Love from a Stranger that would starred Basil Rathbone

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Speaker 1: as well, nineteen thirty nine's Tower of London, which had

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Speaker 1: both Rathbone and Carloff in it, and his last directorial

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Speaker 1: credit was nineteen forty five's Captain Kidd, after which he

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Speaker 1: retired to run a ranch. But I believe he returned

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Speaker 1: at one point in nineteen fifty nine to produce and

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Speaker 1: do some writing on a film called The Big Fisherman.

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Speaker 1: Also 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 1: Yeah, And it's all the more amazing when you read

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Speaker 1: a little bit about the problems with the screenplay and

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Speaker 1: the challenges with the screenplay running into this. So the

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Speaker 1: screenplay is credited to Willis Cooper, who lived eighteen ninety

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Speaker 1: nine through nineteen fifty five. This is a guy who

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Speaker 1: created an old time radio horror show called lights Out

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Speaker 1: that ran from thirty four through forty seven. His other story,

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Speaker 1: screenwriting and dialogue credits include a few Mister Moto movies

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Speaker 1: and the nineteen thirty nine serial The Phantom Creeps. Now Again,

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Speaker 1: son of Frankenstein apparently had a lot of script problems.

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Speaker 1: Cooper's initial script was rejected, and Lee had numerous issues

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Speaker 1: with the script as production proceeded. Apparently even as they

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Speaker 1: were shooting it. They were apparently still writing pages minutes

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Speaker 1: before the film rolled, and Lee himself was in there

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Speaker 1: doing some of the writing uncredited. So I mean that

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Speaker 1: in some pictures that would be a recipe for chaos

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Speaker 1: and disaster. But it works here, and we'll get into

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Speaker 1: some of the ways that it works really well as

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Speaker 1: we proceed' wild.

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

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Speaker 3: tight and well considered, and all the scenes feel constructed

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

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Speaker 1: Yeah, and it could be based on what I was reading,

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Speaker 1: it could be that, like, it wasn't a situation where

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Speaker 1: they necessarily threw everything out. They kind of kept to

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Speaker 1: the basic bones. They'd shift characters, they'd change characters, but

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Speaker 1: you know they maybe they were making just very deliberate

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Speaker 1: choices every time they changed something and made sure that

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Speaker 1: they weren't just completely jackknifing the vehicle.

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Speaker 3: I'm seriously impressed.

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Speaker 1: We'll mention in passing here that, of course, this is

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Speaker 1: ultimately based on the work of Mary Shelley, who lived

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Speaker 1: seventeen ninety seven through eighteen fifty one, the English writer

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Speaker 1: responsible for a good seven novels and multiple short stories.

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Speaker 1: But her first eighteen eighteens, Frankenstein or The Modern Prometheus,

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Speaker 1: this is the one that made her a legend. This

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Speaker 1: is the book that kind of gave birth to so

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Speaker 1: much in gothic horror and certainly science fiction. It's almost

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Speaker 1: impossible to overstate the importance of this book in general.

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Speaker 1: And of course without this book we wouldn't have this movie.

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Speaker 3: Yeah, and we talk at link 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: gonna be rerunning soon, isn't it.

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Speaker 1: Yes, it is rerunning this October. I'm not sure where

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Speaker 1: it's gonna fall on either side of this publication, but

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Speaker 1: look out for it. You don't have to do too

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Speaker 1: much of digging in order to listen to our Bride

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Speaker 1: episode again.

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

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Speaker 1: Yeah, it's a tremendous book. If you haven't read it,

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Speaker 1: you don't be afraid of that publication date. It stands

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Speaker 1: the test of time, all right. There are a number

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Speaker 1: of other names that we have discussed on the show before,

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Speaker 1: some in Bride of Frankenstein, and of course the big

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Speaker 1: one literally is the monster himself, played by Boris Karloff,

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Speaker 1: who lived eighteen eighty seven through nineteen sixty nine. I

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Speaker 1: won't go into as much detail here since we have

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Speaker 1: covered Karloff multiple times for different films that he's appeared in,

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Speaker 1: but British actor born William Henry Pratt Boris Karloff was

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Speaker 1: his stage name. His credits go all the way back

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Speaker 1: to nineteen nineteen, and he already had a long filmography

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Speaker 1: by the time of nineteen thirty one S Frankenstein came around,

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Speaker 1: which of course really put him on the map in

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Speaker 1: the horror genre and helped make him a legend. And

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Speaker 1: he appeared in various other horror films as well, which

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Speaker 1: is nineteen thirty four's The Black Cat, nineteen thirty two

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Speaker 1: is The Mummy. This, of course is the last time

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Speaker 1: that he appears as Frankenstein's Monster in a feature film.

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Speaker 1: I think he would do like a little one offs

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Speaker 1: here for TV a handful, but this is the last

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Speaker 1: time he truly 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 when 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 1: Yeah, I absolutely agree. So we don't see any of

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Speaker 1: these moments. Aside from the scene you highlighted, there aren't

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Speaker 1: really any scenes of like real transcendence with the creature.

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Speaker 1: Both of the previous films had some really haunting moments

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Speaker 1: that you might forget if you haven't seen the film

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Speaker 1: in a while. I'll also note that the other big

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Speaker 1: difference with the Monster this time around still looks great.

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Speaker 1: Makeup still is tremendous, Karloff still shines through. But the

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Speaker 1: monster also has this big furry coat on which, you know,

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Speaker 1: it's a different look.

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Speaker 3: It's he's winnerized, he's he's dressed like Trumpy from Pod People. Yeah,

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Speaker 3: you know, he's got that that furry coat.

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Speaker 1: All right. Next up, we have Baron Wolf von Frankenstein.

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Speaker 1: This is the titular son of Frankenstein, played by Basil Rathbone.

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

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Speaker 3: because Basil Rathbone plays the son of Henry Frankenstein. Henry

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Speaker 3: 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 son. So

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Speaker 3: is the monster Basil Rathbone's brother. So it's just a

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Speaker 3: SunFest Sons Abound.

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Speaker 1: They could have called it Sons of Frankenstein and that

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Speaker 1: would that would have been a great title. I don't know. Yeah,

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Speaker 1: So anyway, this is this is the biological son of

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Speaker 1: the original Frankenstein again, Barren Wolf von Frankenstein played by

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Speaker 1: Basil Rathbone. Basil Rathbone lived eighteen ninety two through nineteen

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Speaker 1: sixty seven. Famed British actor who we've previously discussed on

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Speaker 1: the show for his roles in nineteen sixty two's The

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Speaker 1: Magic Sword in nineteen sixty six is Queen of Blood.

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Speaker 1: But that's a that's a much older Basil Rathbone that

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Speaker 1: we were talking about there. Here we get to see

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Speaker 1: him in his prime, you know, coming off of a

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Speaker 1: lot of like swashbuckling stuff. You know, he's even got

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Speaker 1: that nice pencil thin mustache going on. Yeah, and he

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Speaker 1: gets to buckle some swash late in the picture, you

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Speaker 1: know he does he swings yeah, so it you know,

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Speaker 1: it's it's impossible not to compare his performance to, of course,

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Speaker 1: that of Colin Clive in the previous two films who

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Speaker 1: played the original Victor Frankenstein.

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Speaker 3: Clive of course was movies.

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Speaker 1: Yes, sorry. Colin Clive was tremendous. He had just such

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Speaker 1: amazing frantic energy. But Basil Rathbone, I think that's a

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Speaker 1: pretty great job getting somewhere near that level without being

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Speaker 1: because he's also not supposed to completely embrace the madness

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Speaker 1: of his father, or at least not immediately, Like that's

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Speaker 1: part of the substance of the film. It's like, to

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Speaker 1: what extent are you going to step into your father's

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Speaker 1: shoes and be the man he was for you know,

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Speaker 1: good or for bad?

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Speaker 3: M Besil Rathbone does well with this role because it's

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Speaker 3: written in a way that you might say contains contradictions.

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

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

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

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

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

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

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

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

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Speaker 3: as even vainglorious to some ext and yet in the

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Speaker 3: end you don't think of him as one of those

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Speaker 3: protagonist villains. Ultimately you're on his side.

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Speaker 1: Yeah, yeah, and he you know, there's a nice lead

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Speaker 1: up to him doing any mad science. You know, it

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Speaker 1: starts off more as a gentlemanly curiosity about these things,

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Speaker 1: and then it becomes increasingly personal and obsessive. Yeah all,

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Speaker 1: but oh, as we previously alluded to, this film also

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Speaker 1: features the legendary Bela Lagosi, who lived eighteen eighty two

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Speaker 1: through nineteen fifty six. This, of course, is the Hungarian

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Speaker 1: American actor and classic horror icon, best known for his

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Speaker 1: portrayal of Dracula in the nineteen thirty one Universal Horror film,

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Speaker 1: which of course came on the heels of a Broadway

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Speaker 1: play based on the novel Dracula from I Believe twenty seven,

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Speaker 1: and his success as Draca led to a number of

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Speaker 1: additional horror films. This is interesting though. One of the

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Speaker 1: things about Legosi's career though, of course, is there's often

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Speaker 1: an une than an even downward trajectory. You know, there

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Speaker 1: are a number of issues that kind of derailed his career,

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Speaker 1: especially late in life, and in fact, this film apparently

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Speaker 1: occurs at a point of decline as well. His part

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Speaker 1: in this apparently wasn't even in the original screenplay, and

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Speaker 1: when the character of Igor that's with a why was

380
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Speaker 1: initially added, it was a very small part for apparently

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Speaker 1: little pay, almost an insulting level of pay, many thought,

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Speaker 1: for someone of Lagosi's stature and his talent. And so

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Speaker 1: the director the story goes Lee here stood up for Legosi,

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Speaker 1: and as much of the shooting script was again being

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Speaker 1: written and prepared last minute, he was able to continually

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Speaker 1: beef up Legosi's role, giving him more and more dialogue,

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Speaker 1: making his character more and more important, because ultimately, instead

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Speaker 1: of getting like just a Toady or a Hinchman here,

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Speaker 1: or just a you know, sort of like the crazy

390
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Speaker 1: old hermit character, instead we end up positioning Bella Lugosi's

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Speaker 1: 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

395
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Speaker 3: would just light up, like, Oh, here he is again.

396
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Speaker 3: I'm so excited. And his scenes are great again. It

397
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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 4: Yeah.

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Speaker 1: Yeah, and I mean it even brings up some deeper

402
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Speaker 1: concepts about the overarching themes of Frankenstein, which we'll get into. Yeah.

403
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Speaker 1: He's yeah, so he has some of the trappings of henchman,

404
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Speaker 1: but he's also like a satanic antagonist, a tempter that

405
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Speaker 1: is luring Barren Wolf von Frankenstein into deeper experimentation with

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Speaker 1: his father's legacy.

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Speaker 3: Yeah. And there are just so many moments where it's

408
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Speaker 3: the perfect pairing of an ominous, understated line in terms

409
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Speaker 3: of the words with Legosi's predatory delivery, like that part

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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 1: Those things are murder, as we will learn.

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

414
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Speaker 3: don't know demeaned or depressed about this role. It does

415
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Speaker 3: not come through in the movie. He seems like he

416
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Speaker 3: is having a ball.

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Speaker 1: Yeah, that's my understanding is that he he was greatly

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Speaker 1: appreciative of everything that Lee did for him here and

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Speaker 1: giving him more to work with and letting him go

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Speaker 1: beyond just mere you know, villain stuff, getting into comedy,

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Speaker 1: Like there's there's some really funny moments from this character

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Speaker 1: and yeah, us 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 1: Apparently in the earlier versions of the script, the inspector

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Speaker 1: was the primary antagonist.

427
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Speaker 3: Hmm, that's funny because the Inspector comes off quite honorable

428
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Speaker 3: in the final telling.

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Speaker 1: Yes, and is also just a tremendous scene stealing performance

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Speaker 1: as well. This is Inspector Krogue, played by the great

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Speaker 1: Lionel Atwell, who lived eighteen eighty five through nineteen forty six.

432
00:24:22,359 --> 00:24:25,080
Speaker 1: This is an English and American actor of stage and

433
00:24:25,119 --> 00:24:27,960
Speaker 1: screen who is perhaps best remembered today for his roles

434
00:24:27,960 --> 00:24:30,879
Speaker 1: in various horror films, because he was in some pretty

435
00:24:30,920 --> 00:24:34,000
Speaker 1: notable ones, including nineteen thirty two's Doctor x, which we

436
00:24:34,040 --> 00:24:37,240
Speaker 1: talked about on the show, The original nineteen thirty three,

437
00:24:37,280 --> 00:24:42,160
Speaker 1: The Mystery of the Wax Museum, as well as assorted Frankenstein, Dracula,

438
00:24:42,760 --> 00:24:45,560
Speaker 1: and Sherlock Holmes movies of the era. He even got

439
00:24:45,560 --> 00:24:48,639
Speaker 1: to play Professor Moriarty at one point. He was active

440
00:24:48,680 --> 00:24:52,119
Speaker 1: in Universal Horror for quite a bit there. The personal

441
00:24:52,200 --> 00:24:56,399
Speaker 1: scandal ended up relegating him to mostly smaller roles in

442
00:24:56,440 --> 00:24:59,160
Speaker 1: smaller pictures for the last several years of his life

443
00:24:59,200 --> 00:25:03,480
Speaker 1: and career. But he's great here portraying this proud and

444
00:25:03,600 --> 00:25:07,400
Speaker 1: proper inspector who lost an arm to the monster as

445
00:25:07,440 --> 00:25:11,040
Speaker 1: a child. And this is one of those performances where

446
00:25:11,080 --> 00:25:13,760
Speaker 1: every scene involving the character is worth watching for all

447
00:25:13,800 --> 00:25:17,439
Speaker 1: sorts of just little performance details, like little momentary shifts

448
00:25:17,440 --> 00:25:20,920
Speaker 1: in his facial expression, as well as all these grandiose

449
00:25:21,000 --> 00:25:25,040
Speaker 1: manipulations of his prosthetic arm. So between this performance and

450
00:25:25,359 --> 00:25:30,600
Speaker 1: Legosi's Igor performance, oh man, it's just this is such

451
00:25:30,640 --> 00:25:31,119
Speaker 1: a feast.

452
00:25:31,520 --> 00:25:35,440
Speaker 3: Yeah, packing in the oddball characters, because again, you might

453
00:25:35,440 --> 00:25:38,320
Speaker 3: get the wrong impression about this guy from the role

454
00:25:38,359 --> 00:25:40,720
Speaker 3: he plays in the plot that he's like the you know,

455
00:25:40,760 --> 00:25:43,600
Speaker 3: the arm of the law. He's the police investigator, and

456
00:25:43,640 --> 00:25:47,920
Speaker 3: he's portrayed as mostly honorable and upright, and yet he

457
00:25:48,520 --> 00:25:51,520
Speaker 3: is eccentric to the max. Like every scene he does

458
00:25:51,560 --> 00:25:52,600
Speaker 3: something really weird.

459
00:25:53,119 --> 00:25:56,840
Speaker 1: Yeah, there are a lot of gags with the prosthetic arm,

460
00:25:56,920 --> 00:26:01,159
Speaker 1: but they're not they're not like super for Goofyure gags,

461
00:26:01,200 --> 00:26:04,080
Speaker 1: like they're all very much in character for this very

462
00:26:04,119 --> 00:26:09,040
Speaker 1: prim and proper man who believes that if not for

463
00:26:09,080 --> 00:26:12,120
Speaker 1: this accident, not an accident, if not for this attack

464
00:26:12,560 --> 00:26:14,800
Speaker 1: that he suffered as a child, he would be a general.

465
00:26:15,000 --> 00:26:17,520
Speaker 1: He would be he would be a man of far

466
00:26:17,560 --> 00:26:20,800
Speaker 1: more importance in the world. But he still holds himself

467
00:26:20,880 --> 00:26:25,199
Speaker 1: up as if he does have this this true purpose

468
00:26:25,240 --> 00:26:25,680
Speaker 1: in life.

469
00:26:25,760 --> 00:26:28,720
Speaker 3: You know, if not for Boris Karloff, I would be

470
00:26:28,840 --> 00:26:33,000
Speaker 3: Napoleon yea. And there are these these little moments, like

471
00:26:33,040 --> 00:26:36,239
Speaker 3: the scene where he does the little heel click at

472
00:26:36,240 --> 00:26:39,080
Speaker 3: Basil Rathbone and Bazil Rathbone tries to do it back

473
00:26:39,119 --> 00:26:41,480
Speaker 3: at him, but he just stares at him because like

474
00:26:41,640 --> 00:26:43,560
Speaker 3: Rathbone didn't do it right, so he has to click

475
00:26:43,600 --> 00:26:44,320
Speaker 3: his heels again.

476
00:26:46,560 --> 00:26:58,680
Speaker 1: So good, all right, let's see Son of Frankenstein also

477
00:26:58,800 --> 00:27:02,480
Speaker 1: has a wife, and this is an American wife. Elsa

478
00:27:02,640 --> 00:27:05,320
Speaker 1: von Frankenstein played by Josephine Hutchinson.

479
00:27:05,720 --> 00:27:09,320
Speaker 3: Elsa von Frankenstein doesn't sound like a character written as

480
00:27:09,400 --> 00:27:10,040
Speaker 3: an American.

481
00:27:10,640 --> 00:27:12,120
Speaker 1: Yeah, it might have. This is one of those things

482
00:27:12,119 --> 00:27:16,119
Speaker 1: that might have changed as they were moving through the

483
00:27:16,119 --> 00:27:21,159
Speaker 1: production process. So she's played by American actress Josephine Hutchinson,

484
00:27:21,240 --> 00:27:23,600
Speaker 1: perhaps best known for supporting roles in nineteen fifty nine

485
00:27:23,640 --> 00:27:26,480
Speaker 1: is North by Northwest, and she'd previously co starred in

486
00:27:26,480 --> 00:27:29,639
Speaker 1: the nineteen thirty four musical Happiness Ahead. That was her

487
00:27:29,680 --> 00:27:33,399
Speaker 1: first feature film. Coming off of stage work. She worked

488
00:27:33,560 --> 00:27:36,639
Speaker 1: a lot on TV up until nineteen seventy four, I believe,

489
00:27:36,680 --> 00:27:39,399
Speaker 1: appearing on such shows as the original Twilight Zone.

490
00:27:39,800 --> 00:27:41,760
Speaker 3: In several scenes throughout the movie, she's sort of the

491
00:27:41,800 --> 00:27:45,480
Speaker 3: presence that is helping to pull Basil Rathbone back from

492
00:27:45,520 --> 00:27:49,400
Speaker 3: the brink from going too far with his experiments. She's

493
00:27:49,400 --> 00:27:53,560
Speaker 3: sort of a voice of goodness and reason, an interest

494
00:27:53,640 --> 00:27:56,119
Speaker 3: for their family at least, though it's interesting also that

495
00:27:56,200 --> 00:28:01,080
Speaker 3: she's portrayed as like not personally being I'm very excited

496
00:28:01,119 --> 00:28:05,120
Speaker 3: about moving to wherever this is Transylvania. It's not Transylvania,

497
00:28:05,200 --> 00:28:07,760
Speaker 3: you know, wherever this is supposed to take place the

498
00:28:07,840 --> 00:28:10,840
Speaker 3: village of Frankenstein, which is just surrounded by this barren,

499
00:28:11,000 --> 00:28:15,199
Speaker 3: horrible landscape of dead trees. And she clearly is not

500
00:28:15,359 --> 00:28:17,639
Speaker 3: excited about that, but she's game, you know, She's like,

501
00:28:17,680 --> 00:28:19,480
Speaker 3: I'm gonna give it a try. We're going to see

502
00:28:19,480 --> 00:28:20,280
Speaker 3: if this works.

503
00:28:20,560 --> 00:28:25,000
Speaker 1: Dead trees and intense lightning storms. Yes, And they've of

504
00:28:25,040 --> 00:28:27,800
Speaker 1: course brought their son. This is son of Frankenstein or

505
00:28:28,119 --> 00:28:31,960
Speaker 1: grandson of Frankenstein's def anyhow you want to describe him.

506
00:28:32,160 --> 00:28:33,560
Speaker 3: This is the son of Frankenstein.

507
00:28:34,400 --> 00:28:38,560
Speaker 1: This is Peter von Frankenstein played by Donnie Dunnagan born

508
00:28:38,640 --> 00:28:41,560
Speaker 1: nineteen thirty four and as of this recording still still

509
00:28:41,960 --> 00:28:45,360
Speaker 1: still very much out there retired now. He was a

510
00:28:45,480 --> 00:28:48,560
Speaker 1: child actor of the late thirties and forties who also

511
00:28:48,560 --> 00:28:52,000
Speaker 1: appeared in Tower of London. He also most famously was

512
00:28:52,080 --> 00:28:55,680
Speaker 1: the voice of young Bambi in the nineteen forty two

513
00:28:55,800 --> 00:29:02,000
Speaker 1: Walt Disney animated film Oh Yeah, Yeah, Okay Yeah. Texas

514
00:29:02,040 --> 00:29:05,240
Speaker 1: born and I believe at the time based out of Memphis, Tennessee.

515
00:29:06,160 --> 00:29:10,320
Speaker 1: Something that becomes very obvious with this performance because his

516
00:29:10,400 --> 00:29:16,040
Speaker 1: father is British his mother is American, but with kind

517
00:29:16,080 --> 00:29:19,120
Speaker 1: of like a what a transatlantic kind of accent going on.

518
00:29:21,160 --> 00:29:25,040
Speaker 1: Little Peter, though, has a very loud and at times

519
00:29:25,080 --> 00:29:28,040
Speaker 1: difficult to understand, thick Southern accent.

520
00:29:29,400 --> 00:29:33,600
Speaker 3: Like what is going on with his accent? There's one

521
00:29:33,640 --> 00:29:36,200
Speaker 3: part where he's saying his prayers before bed and he

522
00:29:36,240 --> 00:29:38,960
Speaker 3: says the word amen, and I don't know how many

523
00:29:39,000 --> 00:29:41,760
Speaker 3: syllables are in the word amen when he says it.

524
00:29:41,760 --> 00:29:46,160
Speaker 3: It's a lot. He is. The accent is is nuts,

525
00:29:46,320 --> 00:29:50,800
Speaker 3: but it but also I love this kid's presence. It's

526
00:29:50,840 --> 00:29:55,440
Speaker 3: like it doesn't really fit realistically, but it's so much

527
00:29:55,480 --> 00:29:57,120
Speaker 3: fun every time he starts talking.

528
00:29:57,600 --> 00:30:01,000
Speaker 1: Yeah, and to be clear, if we're not shame southern accents,

529
00:30:01,240 --> 00:30:04,360
Speaker 1: Lord knows, we sound pretty plenty Southern to many of you.

530
00:30:04,440 --> 00:30:08,640
Speaker 1: I'm sure, yeah, but it just feels wildly out of place.

531
00:30:09,080 --> 00:30:13,360
Speaker 1: And I've read that the actor here, looking back on

532
00:30:13,400 --> 00:30:15,000
Speaker 1: his time, he says like a part of it was

533
00:30:15,040 --> 00:30:17,760
Speaker 1: that the director kept telling him to speak his lines

534
00:30:17,840 --> 00:30:21,280
Speaker 1: louder and these big cavernous sets that they were using,

535
00:30:21,560 --> 00:30:24,160
Speaker 1: and that just ended up enhancing his Southern accent, like

536
00:30:24,200 --> 00:30:26,640
Speaker 1: you just having to act act louder, and that just

537
00:30:26,640 --> 00:30:30,960
Speaker 1: made him more Southern sounding. Yeah, but uh, it's yeah,

538
00:30:31,000 --> 00:30:34,320
Speaker 1: it is a wild performance. It's like that thick Southern

539
00:30:34,360 --> 00:30:37,160
Speaker 1: accent going along with the sort of I guess Shirley

540
00:30:37,240 --> 00:30:41,800
Speaker 1: temple s precociousness of the actor and the character.

541
00:30:41,760 --> 00:30:45,160
Speaker 3: With the super curly hair. So yeah, but yeah, so

542
00:30:45,720 --> 00:30:49,240
Speaker 3: you get these exchanges where it's like Basil Rathbone being like, yes, son,

543
00:30:49,360 --> 00:30:51,240
Speaker 3: what do you what have you been doing? And then

544
00:30:51,280 --> 00:30:53,480
Speaker 3: it's like I've been out hunting there.

545
00:30:54,240 --> 00:30:58,560
Speaker 1: Yeah, yeah, it is alarming. The the the audience in

546
00:30:58,600 --> 00:31:00,800
Speaker 1: the theater didn't didn't know what to make of this

547
00:31:00,880 --> 00:31:01,680
Speaker 1: at times.

548
00:31:02,000 --> 00:31:04,680
Speaker 3: But yeah, Donnie, I wouldn't change it for the world.

549
00:31:04,720 --> 00:31:05,360
Speaker 3: It's amazing.

550
00:31:06,160 --> 00:31:08,280
Speaker 1: But Donnie done again. He apparently had a kind of

551
00:31:08,280 --> 00:31:12,320
Speaker 1: a challenging time after this picture, but ultimately, as an adult,

552
00:31:12,440 --> 00:31:16,320
Speaker 1: ended up joining the Marine Corps, served in Vietnam and

553
00:31:16,440 --> 00:31:21,840
Speaker 1: has since his time as a marine, has done a

554
00:31:21,880 --> 00:31:24,680
Speaker 1: lot of interviews about Bambi, about this film, about his

555
00:31:24,840 --> 00:31:28,600
Speaker 1: time as a child actor, and you know, answered a

556
00:31:28,640 --> 00:31:31,000
Speaker 1: lot of questions about it, and also mentioned that he

557
00:31:31,400 --> 00:31:33,320
Speaker 1: was terrified of letting anybody know that he was the

558
00:31:33,400 --> 00:31:35,440
Speaker 1: voice of Bambi when he was in the Marines, because

559
00:31:35,440 --> 00:31:37,480
Speaker 1: he's like, if they find out, that will be my

560
00:31:37,640 --> 00:31:41,000
Speaker 1: nickname and I just can't have that. Oh no, yeah,

561
00:31:41,280 --> 00:31:42,960
Speaker 1: all right, Well, we mentioned the look of this film

562
00:31:42,960 --> 00:31:45,200
Speaker 1: being so spectacular, so I want to briefly call out

563
00:31:45,280 --> 00:31:48,320
Speaker 1: the director of photography, George Robinson, who lived eighteen ninety

564
00:31:48,320 --> 00:31:52,440
Speaker 1: through nineteen fifty eight. Yeah, he also worked on Tower

565
00:31:52,480 --> 00:31:55,720
Speaker 1: of London, forty two's The Mummies Tomb, various Frankenstein and

566
00:31:55,800 --> 00:31:59,920
Speaker 1: Dracula sequels, and even nineteen fifty five's Tarantula. And likewise,

567
00:32:00,000 --> 00:32:02,720
Speaker 1: we have set decoration by Russell A. Goussman who lived

568
00:32:02,720 --> 00:32:06,000
Speaker 1: eighteen ninety two through nineteen sixty three, who won Oscars

569
00:32:06,040 --> 00:32:08,760
Speaker 1: for his work on nineteen forty four's Phantom of the

570
00:32:08,800 --> 00:32:12,120
Speaker 1: Opera in nineteen sixty one Spartacus. He also worked on

571
00:32:12,600 --> 00:32:15,800
Speaker 1: a number of other major and minor universal horror films.

572
00:32:16,280 --> 00:32:19,360
Speaker 3: Was Tarantula, the spider movie we covered that had a

573
00:32:19,400 --> 00:32:22,360
Speaker 3: spider getting really big and attacking a town, and they

574
00:32:22,400 --> 00:32:25,400
Speaker 3: discovered that the secret to defeating it was explosives.

575
00:32:26,400 --> 00:32:31,320
Speaker 1: Yes, yes, yes, yeah, via Eastwood showing up at the

576
00:32:31,400 --> 00:32:32,440
Speaker 1: end in a jet.

577
00:32:32,280 --> 00:32:34,640
Speaker 3: Yeah, that's right, Clint Eastwood flying a jet fighter.

578
00:32:34,720 --> 00:32:37,960
Speaker 1: Yeah, yeah, let's see. The makeup is once more by

579
00:32:38,000 --> 00:32:40,760
Speaker 1: a Jack P. Pearce who lived eighteen eighty nine through

580
00:32:40,800 --> 00:32:44,560
Speaker 1: nineteen sixty eight, monster makeup legend who worked on all

581
00:32:44,640 --> 00:32:47,520
Speaker 1: so many great films of this era. Twenty eight's The

582
00:32:47,600 --> 00:32:51,000
Speaker 1: Man Who Laughs, thirty one's Dracula, thirty two's The Mummy,

583
00:32:51,040 --> 00:32:54,000
Speaker 1: thirty three is The Invisible Man, nineteen forty one's The Wolfman,

584
00:32:54,080 --> 00:32:57,680
Speaker 1: and so much more so again legend and master of

585
00:32:57,800 --> 00:33:01,440
Speaker 1: the craft. His credits run really deep. And then finally,

586
00:33:01,520 --> 00:33:03,720
Speaker 1: the music is by Frank Skinner, who lived eighteen ninety

587
00:33:03,720 --> 00:33:07,120
Speaker 1: seven through nineteen sixty eight. Five time OSCAR nominated composer.

588
00:33:07,480 --> 00:33:11,440
Speaker 1: His genre scores include The Wolfman, various Mummy and Invisible movies.

589
00:33:11,760 --> 00:33:14,480
Speaker 1: Nineteen fifty five is Revenge of the Creature and more.

590
00:33:15,080 --> 00:33:17,360
Speaker 1: I have to admit, like when I was watching the film,

591
00:33:17,600 --> 00:33:20,280
Speaker 1: I really didn't think much about the music. The music

592
00:33:20,360 --> 00:33:22,240
Speaker 1: just kind of felt like what I expected of a

593
00:33:22,240 --> 00:33:25,720
Speaker 1: picture like this. But we were chatting with my son afterwards,

594
00:33:25,760 --> 00:33:29,200
Speaker 1: who had never seen a Frankenstein movie before and hasn't

595
00:33:29,200 --> 00:33:31,400
Speaker 1: really seen much in the way of I don't think

596
00:33:31,600 --> 00:33:33,880
Speaker 1: he may have never seen a black and white film before,

597
00:33:34,840 --> 00:33:37,680
Speaker 1: so it was a first in many ways. But he

598
00:33:37,840 --> 00:33:40,400
Speaker 1: said that he thought the music made it scarier, so

599
00:33:40,960 --> 00:33:44,280
Speaker 1: kudos to Frank Skinner. It is an effective score.

600
00:33:44,480 --> 00:33:46,280
Speaker 3: Well, you know, there are actually some parts with some

601
00:33:46,360 --> 00:33:49,200
Speaker 3: important diegetic music in the plot because we see Bella

602
00:33:49,320 --> 00:33:53,760
Speaker 3: Lagosi standing in the window playing his whatever instrument this is.

603
00:33:53,800 --> 00:33:57,360
Speaker 3: It looks like a cross between like a clarinet and

604
00:33:57,400 --> 00:33:59,480
Speaker 3: a horn of some kind. I don't know what that is,

605
00:33:59,560 --> 00:34:03,120
Speaker 3: but I think he's standing there playing creepy music as

606
00:34:03,160 --> 00:34:05,760
Speaker 3: an alibi. So he's like always doing that while the

607
00:34:05,800 --> 00:34:08,600
Speaker 3: monster is out killing somebody, so he can't be blamed.

608
00:34:08,960 --> 00:34:11,239
Speaker 1: Oh god, these scenes of what is it he's playing

609
00:34:11,280 --> 00:34:13,240
Speaker 1: like clarinet or some sort.

610
00:34:13,040 --> 00:34:15,319
Speaker 3: Of I don't know, that's what I was saying, some.

611
00:34:15,280 --> 00:34:18,279
Speaker 1: Weird mountain flute. But we get those great scenes of

612
00:34:18,800 --> 00:34:19,680
Speaker 1: Igor playing it.

613
00:34:19,880 --> 00:34:22,240
Speaker 3: Love it. By the way, you mentioned Jack P. Pierce

614
00:34:22,320 --> 00:34:25,680
Speaker 3: doing the makeup effects. I guess it must have been him.

615
00:34:25,760 --> 00:34:29,520
Speaker 3: But whoever did Bella Legosi's teeth in this movie needs

616
00:34:29,560 --> 00:34:33,560
Speaker 3: needed an oscar. These are some good. He almost has

617
00:34:33,640 --> 00:34:36,880
Speaker 3: fangs they or maybe they are fangs, I don't know.

618
00:34:37,400 --> 00:34:40,160
Speaker 1: Yeah, I mean he's he is almost a monster in

619
00:34:40,200 --> 00:34:42,680
Speaker 1: and on himself. He's just like as close to like

620
00:34:42,719 --> 00:34:45,040
Speaker 1: he almost looks like a wolf man like I think

621
00:34:45,080 --> 00:34:47,560
Speaker 1: they realize there's a line we can we can only

622
00:34:47,600 --> 00:34:49,439
Speaker 1: go so far here, and then we're in a two

623
00:34:49,440 --> 00:34:51,839
Speaker 1: monster film and we can only have one monster in

624
00:34:51,880 --> 00:34:54,600
Speaker 1: this picture. But they bring it right up to the

625
00:34:54,600 --> 00:34:56,280
Speaker 1: line with this character design.

626
00:34:56,600 --> 00:34:58,280
Speaker 3: All right, well, do you want to talk about the plot?

627
00:34:58,600 --> 00:34:59,640
Speaker 1: Yeah, let's get into it.

628
00:35:00,320 --> 00:35:02,760
Speaker 3: The very first thing we see is an exterior shot

629
00:35:02,800 --> 00:35:06,160
Speaker 3: of a town square with mountains in the background holding

630
00:35:06,200 --> 00:35:08,759
Speaker 3: a dark castle on top. And then in the foreground

631
00:35:09,080 --> 00:35:13,719
Speaker 3: we see this winding wall topped with spires, gate of

632
00:35:14,520 --> 00:35:17,239
Speaker 3: these vertical posts like a palisade gate, and then a

633
00:35:17,280 --> 00:35:21,239
Speaker 3: gatehouse with a roof that just curves like calligraphy. And

634
00:35:21,280 --> 00:35:24,200
Speaker 3: the columns and the archway surrounding the gate are not

635
00:35:24,400 --> 00:35:28,120
Speaker 3: straight up and down or horizontal. They're tapered and tilted,

636
00:35:28,400 --> 00:35:30,920
Speaker 3: as if the set designer were like a Peter Watts

637
00:35:31,000 --> 00:35:35,200
Speaker 3: vampire allergic to right angles. And this seems to be

638
00:35:35,680 --> 00:35:41,439
Speaker 3: laid out in a style lightly reminiscent of German expressionist

639
00:35:41,480 --> 00:35:44,840
Speaker 3: horror films like The Cabinet of Doctor Kligari, which strives

640
00:35:44,880 --> 00:35:48,400
Speaker 3: not for strict realism and set decoration, but for these

641
00:35:48,480 --> 00:35:52,520
Speaker 3: kind of warped geometries that express feelings and ideas rather

642
00:35:52,600 --> 00:35:56,400
Speaker 3: than the natural forms of real objects. Now, the geometric

643
00:35:56,440 --> 00:35:59,360
Speaker 3: weirdness in Son of Frank is nowhere near as extreme

644
00:35:59,440 --> 00:36:03,440
Speaker 3: as it is in Caligary and other real German expressionist films,

645
00:36:03,480 --> 00:36:07,719
Speaker 3: but we are in for some unusual angles and slopes

646
00:36:07,760 --> 00:36:09,680
Speaker 3: in this bleak world. So I think you might call

647
00:36:09,760 --> 00:36:12,359
Speaker 3: the visual style of this movie somewhere in between your

648
00:36:12,400 --> 00:36:18,000
Speaker 3: classic universal gothic horror cinema cinema style and half expressionist.

649
00:36:18,640 --> 00:36:22,319
Speaker 1: Yeah. Yeah, it's it's really interesting because the sets are gorgeous.

650
00:36:22,520 --> 00:36:26,880
Speaker 1: You could almost never mistake them for an actual interior space,

651
00:36:27,280 --> 00:36:29,160
Speaker 1: you know, like this doesn't you know, this is not

652
00:36:29,200 --> 00:36:33,239
Speaker 1: a location, this is a set. But they also don't

653
00:36:33,280 --> 00:36:36,960
Speaker 1: feel surreal like they they you can you can look

654
00:36:36,960 --> 00:36:38,520
Speaker 1: at it and be like, okay, you know, I'm buying

655
00:36:38,520 --> 00:36:41,840
Speaker 1: this as a physical space. But again, it's if you

656
00:36:41,880 --> 00:36:43,879
Speaker 1: start thinking too hard about like what kind of room

657
00:36:44,000 --> 00:36:47,879
Speaker 1: is this? Like what are these twin balconies, like eagle

658
00:36:47,960 --> 00:36:51,040
Speaker 1: shaped balconies over the dinner table and so forth.

659
00:36:51,200 --> 00:36:54,319
Speaker 3: Yeah, the breakfast room with the turrets in it.

660
00:36:54,440 --> 00:36:58,280
Speaker 1: Yeah, yeah, it's it's amazing. It's highly effective, very dramatic.

661
00:36:58,120 --> 00:37:00,000
Speaker 3: And some of this all some of this weird are

662
00:37:00,080 --> 00:37:04,080
Speaker 3: architecture is also done with shadows where you would place

663
00:37:04,600 --> 00:37:07,520
Speaker 3: So you might have a room with a fairly normal

664
00:37:07,600 --> 00:37:11,279
Speaker 3: logical staircase in it, but the placement of lights in

665
00:37:11,320 --> 00:37:15,080
Speaker 3: the room causes the shadow of that staircase to like

666
00:37:15,239 --> 00:37:17,960
Speaker 3: fall crazily up the side of the wall in a

667
00:37:18,000 --> 00:37:20,279
Speaker 3: way that it never would in a real dwelling. But

668
00:37:20,480 --> 00:37:22,560
Speaker 3: just because you've got the light source in such an

669
00:37:22,560 --> 00:37:27,920
Speaker 3: odd place, the shadows are extremely unusual and create that

670
00:37:28,000 --> 00:37:31,319
Speaker 3: expression this feeling again. But anyway, so we open on

671
00:37:31,440 --> 00:37:34,320
Speaker 3: this locale and we zoom in on the gate here

672
00:37:34,640 --> 00:37:39,319
Speaker 3: and it reads engong verboten, entry prohibited, and above that

673
00:37:39,520 --> 00:37:42,880
Speaker 3: in wrought iron letters, it says Frankenstein. And then we

674
00:37:43,080 --> 00:37:46,480
Speaker 3: pan over to a broken window nearby and see somebody

675
00:37:46,560 --> 00:37:49,080
Speaker 3: looming in the window. Who is that? Is that Bela

676
00:37:49,160 --> 00:37:50,439
Speaker 3: Lugosi staring out?

677
00:37:50,800 --> 00:37:53,400
Speaker 1: Yeah, that's Igor creeping. He does a lot of creeping.

678
00:37:53,480 --> 00:37:54,360
Speaker 1: He's a great creep.

679
00:37:54,640 --> 00:37:58,839
Speaker 3: Oh yeah. So a gaggle of cringing, benighted villagers come

680
00:37:58,920 --> 00:38:01,760
Speaker 3: up the hill. They're like literally kind of like hunched

681
00:38:01,800 --> 00:38:04,440
Speaker 3: over and looking up in terror as if like, you know,

682
00:38:04,560 --> 00:38:06,600
Speaker 3: dragon's gonna come out of the sky at any moment

683
00:38:07,040 --> 00:38:10,160
Speaker 3: they're they're bringing a wooden cart piled with sticks with

684
00:38:10,200 --> 00:38:12,600
Speaker 3: them up the hill. And then two of the villagers

685
00:38:12,600 --> 00:38:16,160
Speaker 3: are young boys. They're full of mischief and bravado, and

686
00:38:16,280 --> 00:38:17,840
Speaker 3: one of them is like, are you afraid? And the

687
00:38:17,880 --> 00:38:20,719
Speaker 3: other one says, of old Igor nah. And then they're

688
00:38:20,719 --> 00:38:23,279
Speaker 3: gonna chuck a rock through the window, But as soon

689
00:38:23,320 --> 00:38:26,000
Speaker 3: as they look up and see Igor peering down at them,

690
00:38:26,080 --> 00:38:29,640
Speaker 3: they just scream and run away. Soon after, on a

691
00:38:29,760 --> 00:38:33,000
Speaker 3: dark night, with rain pouring down, we joined the proceedings

692
00:38:33,000 --> 00:38:35,960
Speaker 3: of a town council of some kind. There is a

693
00:38:36,000 --> 00:38:39,040
Speaker 3: guy who looks like a judge sitting at a raised bench.

694
00:38:39,160 --> 00:38:41,440
Speaker 3: I think this guy might be the character called the

695
00:38:41,440 --> 00:38:46,080
Speaker 3: Burgomeister sort of. I think that means basically like the mayor,

696
00:38:46,160 --> 00:38:49,759
Speaker 3: you know, the master of the burg. Then you've got

697
00:38:49,800 --> 00:38:53,719
Speaker 3: several old men wearing ceremonial hats, a police inspector with

698
00:38:53,760 --> 00:38:56,960
Speaker 3: a monocle. This is Lionel atwell, and a handful of

699
00:38:57,000 --> 00:38:59,840
Speaker 3: assorted hrumphy codgers puffing on pipes.

700
00:39:00,360 --> 00:39:03,240
Speaker 1: Yeah, some of these guys were in previous Frankenstein films.

701
00:39:03,239 --> 00:39:08,880
Speaker 1: But yeah, the number of great, great looking character actors

702
00:39:08,880 --> 00:39:12,240
Speaker 1: in here. A lot of big heads and elongated heads.

703
00:39:12,400 --> 00:39:15,399
Speaker 1: It's a fun crowd, a lot of I never yeah, yes.

704
00:39:16,320 --> 00:39:18,720
Speaker 3: So the situation of this meeting is that the old

705
00:39:18,800 --> 00:39:22,880
Speaker 3: Baron Henry Frankenstein has died of natural causes, it seems,

706
00:39:23,400 --> 00:39:27,520
Speaker 3: and left everything to his adult son, the now baron

707
00:39:27,760 --> 00:39:32,120
Speaker 3: Wolf von Frankenstein, who is abroad in America. So Wolf

708
00:39:32,280 --> 00:39:36,600
Speaker 3: has inherited the dank and miserable castle looming over the Burg.

709
00:39:37,000 --> 00:39:39,400
Speaker 3: But also it seems a lot of paperwork, and the

710
00:39:39,400 --> 00:39:42,680
Speaker 3: burgomeister says there's a chest of documents that he has

711
00:39:42,760 --> 00:39:47,760
Speaker 3: to deliver to the surviving Frankenstein upon his arrival. And

712
00:39:48,160 --> 00:39:52,120
Speaker 3: the so Wolf von Frankenstein and his family are currently

713
00:39:52,160 --> 00:39:55,400
Speaker 3: bound for this little hamlet by train. He's traveling with

714
00:39:55,440 --> 00:40:00,000
Speaker 3: his wife Elsa and his son Peter. Now, quick, quick background.

715
00:40:00,239 --> 00:40:02,640
Speaker 3: I'm pretty sure I'm right about this. But they are

716
00:40:02,680 --> 00:40:05,320
Speaker 3: supposed to be originally coming from America, right, did you

717
00:40:05,360 --> 00:40:05,719
Speaker 3: get that?

718
00:40:05,800 --> 00:40:06,960
Speaker 1: That was my impression?

719
00:40:07,040 --> 00:40:11,040
Speaker 3: Yes? Yeah. So let's see what else do we learn

720
00:40:11,080 --> 00:40:13,960
Speaker 3: from this town meeting scene. Well, we learned that a

721
00:40:13,960 --> 00:40:16,719
Speaker 3: lot of these old guys are not happy to have

722
00:40:16,760 --> 00:40:21,440
Speaker 3: another Frankenstein coming to town. They blame the elder Frankenstein

723
00:40:21,880 --> 00:40:24,000
Speaker 3: for the ruin of their village, which I think is

724
00:40:24,080 --> 00:40:26,880
Speaker 3: called Frankenstein by the way, So I think it's the

725
00:40:26,920 --> 00:40:31,160
Speaker 3: Baron Frankenstein, the Frankenstein Castle, and the Frankenstein village or town.

726
00:40:32,520 --> 00:40:35,240
Speaker 3: And so they say that his family is the reason

727
00:40:35,440 --> 00:40:38,080
Speaker 3: that a traveler never wants to stop by. I don't know,

728
00:40:38,080 --> 00:40:40,080
Speaker 3: maybe they tried and failed to get a little tourism

729
00:40:40,120 --> 00:40:43,440
Speaker 3: industry going, but this place is just considered cursed.

730
00:40:43,840 --> 00:40:46,480
Speaker 1: Yeah, it was spelled the end of the Frankenstein Frankfest.

731
00:40:47,600 --> 00:40:48,960
Speaker 1: Nobody wants to come here now.

732
00:40:49,880 --> 00:40:52,720
Speaker 3: And this is all because, of course, Henry Frankenstein created

733
00:40:52,760 --> 00:40:55,719
Speaker 3: a monster in the devil's own image, which is not

734
00:40:55,760 --> 00:40:59,080
Speaker 3: what you want. So they all subscribe to the idea

735
00:40:59,160 --> 00:41:01,239
Speaker 3: that like the sins of the father, should be held

736
00:41:01,239 --> 00:41:05,200
Speaker 3: against the son. And we also learned that the Frankenstein

737
00:41:05,320 --> 00:41:07,720
Speaker 3: Castle is a blight. They believe it to be cursed

738
00:41:07,760 --> 00:41:10,640
Speaker 3: as well. And the only person in the village who

739
00:41:10,680 --> 00:41:14,440
Speaker 3: will stay there is quote that crazy Egor with his

740
00:41:14,560 --> 00:41:18,719
Speaker 3: broken neck, and this is Beila Legosi. There's also some

741
00:41:18,840 --> 00:41:22,080
Speaker 3: acknowledgment that they've had this conversation a million times before,

742
00:41:22,200 --> 00:41:24,680
Speaker 3: so it seems like they just sit around every Saturday

743
00:41:24,760 --> 00:41:27,400
Speaker 3: night with a pipe and some cordials complaining about the

744
00:41:27,400 --> 00:41:35,000
Speaker 3: Frankenstein family. Recreational complaining not an uncommon activity. Yes, anyway,

745
00:41:35,040 --> 00:41:37,600
Speaker 3: they resolve they're going to deliver the younger Frankenstein his

746
00:41:37,640 --> 00:41:40,719
Speaker 3: inheritance as prescribed by law, but they will show him

747
00:41:40,800 --> 00:41:44,320
Speaker 3: no hospitality. The family is going to get no warm

748
00:41:44,320 --> 00:41:47,960
Speaker 3: reception from them. So then we cut to a train

749
00:41:48,120 --> 00:41:51,359
Speaker 3: where we meet the Frankenstein family in the flesh. Here

750
00:41:51,440 --> 00:41:55,520
Speaker 3: again we've got Basil Rathbone as Wolf, Josephine Hutchinson as Elsa,

751
00:41:55,640 --> 00:41:59,720
Speaker 3: and Donnie Dunnaghan as their young son Peter. Now from Wolf,

752
00:42:00,080 --> 00:42:05,239
Speaker 3: here we cut right into Frankenstein apologetics. Elsa tucks Peter

753
00:42:05,400 --> 00:42:08,560
Speaker 3: into bed, comes into the next train compartment, and Wolf

754
00:42:08,680 --> 00:42:10,680
Speaker 3: is like, you know, it wasn't my father's fault that

755
00:42:10,800 --> 00:42:14,040
Speaker 3: his half witted assistant, Fritz retrieved a criminal's brain when

756
00:42:14,040 --> 00:42:17,960
Speaker 3: he was supposed to just get a normal brain, So

757
00:42:18,000 --> 00:42:20,520
Speaker 3: we can kind of see where his head's at. Immediately.

758
00:42:21,280 --> 00:42:25,080
Speaker 3: Also in the scene, Elsa looks out the window and comments.

759
00:42:25,080 --> 00:42:28,120
Speaker 3: She says, what a strange looking country, which I thought

760
00:42:28,160 --> 00:42:31,200
Speaker 3: was funny because the scene that is passing outside the

761
00:42:31,200 --> 00:42:34,120
Speaker 3: train window looks more than strange. It looks like an

762
00:42:34,120 --> 00:42:37,719
Speaker 3: illustration from Scary Stories to Tell in the dark. It's

763
00:42:37,840 --> 00:42:42,960
Speaker 3: just gloom and gnarl to infinity, dead black, leafless trees

764
00:42:43,040 --> 00:42:46,120
Speaker 3: that look like giant witch fingers curling out of the ground.

765
00:42:46,239 --> 00:42:51,200
Speaker 3: It's not nice. No, But then Wolf is like, it's

766
00:42:51,200 --> 00:42:54,520
Speaker 3: so exciting, isn't it. I guess he likes this kind

767
00:42:54,520 --> 00:42:58,760
Speaker 3: of thing. He's clearly thrilled to have quit his university job.

768
00:42:58,880 --> 00:43:03,400
Speaker 3: He's gloating about no more students, no more faculty meetings, Hurrah.

769
00:43:04,000 --> 00:43:07,520
Speaker 3: And together they fantasize about the cliches of Gothic horror.

770
00:43:08,160 --> 00:43:10,719
Speaker 3: They're excited about the castle. Will the castle have a moat?

771
00:43:10,960 --> 00:43:14,240
Speaker 3: Will it have a haunted room? Elsa is into this idea.

772
00:43:14,320 --> 00:43:18,080
Speaker 3: I think she's a little bit ghost curious. And anyway,

773
00:43:18,160 --> 00:43:21,040
Speaker 3: this year segues into Wolf ranting about how his father

774
00:43:21,120 --> 00:43:23,839
Speaker 3: did nothing wrong and he's been unfairly blamed for the

775
00:43:23,880 --> 00:43:25,400
Speaker 3: tragedy that unfolded.

776
00:43:26,320 --> 00:43:30,680
Speaker 1: Yeah, there's a tremendously funny bit of dialogue here from

777
00:43:31,040 --> 00:43:34,600
Speaker 1: Baron Wolf that I have to have to read because

778
00:43:34,640 --> 00:43:37,040
Speaker 1: it's like, it's kind of a metajoke and it's also

779
00:43:37,160 --> 00:43:40,600
Speaker 1: just a nice bit of comedy. So he's saying he's

780
00:43:40,640 --> 00:43:43,080
Speaker 1: continuing to rant. He says, his name has become synonymous

781
00:43:43,080 --> 00:43:46,040
Speaker 1: with horror and monsters. Why nine out of ten people

782
00:43:46,080 --> 00:43:49,200
Speaker 1: call that misshapen creature of my father's experiments. And then

783
00:43:49,200 --> 00:43:54,359
Speaker 1: he's interrupted by the train conductor, who says Frankenstein. And

784
00:43:54,480 --> 00:43:57,440
Speaker 1: so you know, this is of course obviously alluding to

785
00:43:58,120 --> 00:44:02,640
Speaker 1: the fact that many people call the monster Frankenstein, as

786
00:44:02,640 --> 00:44:06,080
Speaker 1: if that is the monster's name. And then this leads

787
00:44:06,640 --> 00:44:10,759
Speaker 1: other people to correct these folks and say, actually, Frankenstein

788
00:44:10,840 --> 00:44:12,640
Speaker 1: is the name of the doctor and not the monster,

789
00:44:13,160 --> 00:44:17,400
Speaker 1: and so forth and so forth. But I honestly had

790
00:44:17,400 --> 00:44:21,280
Speaker 1: never looked into when this exactly took hold, And clearly

791
00:44:21,360 --> 00:44:23,400
Speaker 1: the answer is, I guess during the nineteen thirties.

792
00:44:24,280 --> 00:44:28,000
Speaker 3: Yeah, okay, Well, to be clear, just speaking for myself,

793
00:44:28,040 --> 00:44:30,600
Speaker 3: I'm aware of the distinction. I've read the book. I

794
00:44:30,640 --> 00:44:33,680
Speaker 3: know that the creature is not literally named Frankenstein, but

795
00:44:33,760 --> 00:44:36,120
Speaker 3: I just call it a Frankenstein. When you see a Frankenstein,

796
00:44:36,120 --> 00:44:39,080
Speaker 3: you could just call it a Frankenstein. That's okay, shorthand

797
00:44:39,560 --> 00:44:40,080
Speaker 3: it's okay.

798
00:44:40,200 --> 00:44:45,000
Speaker 1: Yeah. But clearly there were there there were nerd battles

799
00:44:45,000 --> 00:44:47,600
Speaker 1: over this back in the day as well. I guess

800
00:44:47,600 --> 00:44:49,719
Speaker 1: they maybe a little bit hard nerds, a little bit

801
00:44:49,760 --> 00:44:53,680
Speaker 1: literary nerds that were saying, no, you're referring to the

802
00:44:53,680 --> 00:44:54,480
Speaker 1: monster incorrect.

803
00:44:54,880 --> 00:45:06,160
Speaker 3: Yeah, okay, So there's a scene where the Frankenstein family

804
00:45:06,239 --> 00:45:09,439
Speaker 3: arrives at the train station once again. It is pouring rain,

805
00:45:09,600 --> 00:45:12,719
Speaker 3: and they receive a very cold welcome from the Burgomeister

806
00:45:12,880 --> 00:45:15,880
Speaker 3: and the leaders of the town. The Burgomeister hands Wolf

807
00:45:16,000 --> 00:45:18,080
Speaker 3: his things and the keys to the castle, and then

808
00:45:18,080 --> 00:45:20,320
Speaker 3: they tell him that they are not going to be friends.

809
00:45:21,120 --> 00:45:23,560
Speaker 3: Wolf tries to make a speech to the assembled crowd,

810
00:45:23,600 --> 00:45:25,600
Speaker 3: but it does not go over very well. They give

811
00:45:25,640 --> 00:45:29,920
Speaker 3: him the cold shoulder. Also. The speech again, it's defensive.

812
00:45:30,840 --> 00:45:34,040
Speaker 3: It's very I'm sorry that my father, through no fault

813
00:45:34,040 --> 00:45:36,000
Speaker 3: of his own, came to be hated by all of you,

814
00:45:37,640 --> 00:45:40,640
Speaker 3: which is funny. It's one of those non apology apologies,

815
00:45:40,640 --> 00:45:43,399
Speaker 3: except he's not apologizing for anything he did. It's about

816
00:45:43,400 --> 00:45:44,320
Speaker 3: his dad anyway.

817
00:45:44,400 --> 00:45:48,480
Speaker 1: Yeah, and that like the lack of quality labor in

818
00:45:48,520 --> 00:45:51,520
Speaker 1: this area, He's like yes, he's like I really, we're

819
00:45:51,520 --> 00:45:54,920
Speaker 1: mad at you, Like, couldn't you have have produced some

820
00:45:55,040 --> 00:45:57,080
Speaker 1: labor that could have gotten him a proper brain for

821
00:45:57,160 --> 00:45:57,720
Speaker 1: his creation.

822
00:45:58,520 --> 00:46:01,440
Speaker 3: Anyway, the family gets into a car. They are transported

823
00:46:01,480 --> 00:46:04,959
Speaker 3: to the castle. There's a happy reunion between little Peter

824
00:46:05,120 --> 00:46:07,680
Speaker 3: and one of the castle servants, a woman named Amelia.

825
00:46:07,800 --> 00:46:10,040
Speaker 3: Peter was asking about her earlier on the train. They're

826
00:46:10,040 --> 00:46:13,400
Speaker 3: apparently close, which is kind of strange because I understood

827
00:46:13,440 --> 00:46:15,960
Speaker 3: that understood the story to be that they'd never been

828
00:46:16,000 --> 00:46:18,920
Speaker 3: to this castle before. So maybe these are servants they

829
00:46:18,960 --> 00:46:22,319
Speaker 3: already knew already from somewhere, and they traveled ahead to

830
00:46:22,360 --> 00:46:23,440
Speaker 3: the castle or something.

831
00:46:23,600 --> 00:46:26,399
Speaker 1: I guess such must be servants they brought with them.

832
00:46:26,719 --> 00:46:29,080
Speaker 3: But once we go inside the castle again, we get

833
00:46:29,120 --> 00:46:34,520
Speaker 3: these bizarre counterintuitive angles on the shadows, activating the expressionist

834
00:46:34,560 --> 00:46:38,120
Speaker 3: geometry motif. One of my favorite things is this big

835
00:46:38,160 --> 00:46:40,400
Speaker 3: central room in the castle with the staircase and the

836
00:46:40,800 --> 00:46:43,919
Speaker 3: shadow of the stairs is just wild. And we meet

837
00:46:43,960 --> 00:46:47,440
Speaker 3: all the servants. Wolf is ecstatic about the castle. He

838
00:46:47,480 --> 00:46:51,279
Speaker 3: finds the dankness exhilarating, and Elsa is trying to put

839
00:46:51,280 --> 00:46:53,959
Speaker 3: on a happy face, but obviously she is not a fan.

840
00:46:54,560 --> 00:46:57,280
Speaker 3: And everybody goes about settling in in their various ways.

841
00:46:57,360 --> 00:47:00,279
Speaker 3: Wolf has a brandy in the library and grouse some

842
00:47:00,320 --> 00:47:02,920
Speaker 3: more about how his father made a miraculous discovery, and

843
00:47:02,960 --> 00:47:06,719
Speaker 3: now everybody's being so unfair to him. And then he

844
00:47:06,760 --> 00:47:09,919
Speaker 3: goes on to read a letter left to him by

845
00:47:10,040 --> 00:47:13,120
Speaker 3: his father, the late Baron. And this letter has some

846
00:47:13,239 --> 00:47:15,200
Speaker 3: nice phrasings in it, so I wanted to read it.

847
00:47:15,200 --> 00:47:19,719
Speaker 3: It says, my son, herein lies my faiths, my beliefs,

848
00:47:19,800 --> 00:47:24,480
Speaker 3: and my unfoldments, A complete diary of my experiments, charts

849
00:47:24,480 --> 00:47:28,320
Speaker 3: and secret formulas. In short, the sum total of my knowledge,

850
00:47:28,520 --> 00:47:31,479
Speaker 3: such as it is. Perhaps you will regard my work

851
00:47:31,520 --> 00:47:35,080
Speaker 3: with ridicule, or even with a distaste. If so, destroy

852
00:47:35,160 --> 00:47:38,680
Speaker 3: these records. But if you, like me, burn with the

853
00:47:38,719 --> 00:47:43,840
Speaker 3: irresistible desire to penetrate the unknown, carry on the path

854
00:47:43,960 --> 00:47:48,360
Speaker 3: is cruel and torturous. Carry on I put secret after truth.

855
00:47:48,680 --> 00:47:52,799
Speaker 3: You will be hated, blasphemed, and condemned. You have inherited

856
00:47:52,800 --> 00:47:55,880
Speaker 3: the fortune of the Frankensteins. I trust you will not

857
00:47:56,000 --> 00:48:01,600
Speaker 3: inherit their fate. Eaving all of the apparatus of his

858
00:48:01,680 --> 00:48:04,200
Speaker 3: work to his son, and it is up to him

859
00:48:04,280 --> 00:48:07,400
Speaker 3: if he wants to continue that work or not. Meanwhile,

860
00:48:07,400 --> 00:48:09,920
Speaker 3: we see Igor outside the window in the rain, just

861
00:48:09,960 --> 00:48:14,200
Speaker 3: looking in with this devilish grin. Now here's the scene

862
00:48:14,239 --> 00:48:17,719
Speaker 3: where we had Peter saying his prayers before bed. This

863
00:48:17,760 --> 00:48:20,319
Speaker 3: is one where he's like a man. He says in

864
00:48:20,360 --> 00:48:22,360
Speaker 3: the one part of the prayers is like help me

865
00:48:22,520 --> 00:48:27,759
Speaker 3: be a good little boy. Oh, I love it. Oh.

866
00:48:27,800 --> 00:48:30,360
Speaker 3: And Peter also says, I think they're trying to close

867
00:48:30,400 --> 00:48:33,040
Speaker 3: the curtains, and he's like, please don't close the curtains.

868
00:48:33,080 --> 00:48:38,680
Speaker 3: I like lightning, so let's see. Later that night, they

869
00:48:38,680 --> 00:48:42,000
Speaker 3: get a visit at the castle from the police inspector Krogue.

870
00:48:42,000 --> 00:48:44,200
Speaker 3: This is again Lionel Atwill. He comes out of the

871
00:48:44,280 --> 00:48:46,920
Speaker 3: rain to meet with Wolf and this is where we

872
00:48:47,000 --> 00:48:50,359
Speaker 3: learn about one of his arms being mechanical. He sort

873
00:48:50,360 --> 00:48:54,239
Speaker 3: of uses his his remaining arm to manipulate the mechanical arm,

874
00:48:54,320 --> 00:48:57,440
Speaker 3: so holding it up into a salute, for instance. And

875
00:48:57,480 --> 00:49:01,399
Speaker 3: he's very he's very proper and observed of decorum. He's

876
00:49:01,480 --> 00:49:04,400
Speaker 3: very mannered. And he explains his business by saying that

877
00:49:04,480 --> 00:49:08,240
Speaker 3: he wants to protect Frankenstein from the fear and wrath

878
00:49:08,280 --> 00:49:11,560
Speaker 3: of the villagers in the town below. But then he

879
00:49:11,600 --> 00:49:14,080
Speaker 3: begins to ask about the monster. He's also sort of

880
00:49:14,120 --> 00:49:17,319
Speaker 3: doing a bit of fact finding here. He's asking about

881
00:49:17,360 --> 00:49:21,520
Speaker 3: whether the monster possibly still lives because there has been

882
00:49:21,680 --> 00:49:25,120
Speaker 3: a there's been a string of murders sort of unexplained

883
00:49:25,239 --> 00:49:29,600
Speaker 3: murders in the years since the monster was supposedly destroyed,

884
00:49:29,960 --> 00:49:33,440
Speaker 3: and Krogue says that there that in every case the

885
00:49:33,560 --> 00:49:36,600
Speaker 3: murder had the same weird features, a bruise at the

886
00:49:36,640 --> 00:49:41,080
Speaker 3: base of the skull and an exploded heart inside the chest.

887
00:49:41,560 --> 00:49:46,160
Speaker 3: Could the creature be alive and still dangerous? Hmm, good question. Now.

888
00:49:46,239 --> 00:49:49,000
Speaker 3: I thought this was an interesting detail because I may

889
00:49:49,040 --> 00:49:51,400
Speaker 3: have missed it, but I don't recall him ever explaining

890
00:49:51,520 --> 00:49:56,160
Speaker 3: how exactly this exploding heart murder method works. The best

891
00:49:56,160 --> 00:49:59,640
Speaker 3: I could make of it is that, like the appearance

892
00:49:59,640 --> 00:50:01,880
Speaker 3: of the cree cure is so terrifying that when people

893
00:50:02,000 --> 00:50:03,719
Speaker 3: see him, their hearts explode.

894
00:50:04,360 --> 00:50:06,080
Speaker 1: I was thinking that maybe it was like some sort

895
00:50:06,120 --> 00:50:10,200
Speaker 1: of weird heart punch where Punch Frankenstein punches you in

896
00:50:10,239 --> 00:50:13,040
Speaker 1: the base of the skull so hard to your heart explodes.

897
00:50:13,880 --> 00:50:15,839
Speaker 3: That's the best thing you can come up with. It's

898
00:50:15,880 --> 00:50:17,359
Speaker 3: like a special kung Fu move.

899
00:50:18,840 --> 00:50:19,560
Speaker 1: Bodha thinker.

900
00:50:19,840 --> 00:50:25,560
Speaker 3: Yes. Anyway, After this, Wolf goes on a rant about how, yes,

901
00:50:25,600 --> 00:50:28,160
Speaker 3: my father did manage to create life from death, but

902
00:50:28,800 --> 00:50:32,479
Speaker 3: surely those stories of the monstrousness of the monster must

903
00:50:32,520 --> 00:50:35,600
Speaker 3: be greatly exaggerated. At one point he says, do you

904
00:50:35,719 --> 00:50:39,720
Speaker 3: honestly know of one crime truly committed by this creature?

905
00:50:40,080 --> 00:50:42,239
Speaker 3: And Krog is like, well, yeah, when I was a kid,

906
00:50:42,280 --> 00:50:46,759
Speaker 3: he ripped my arm off. Oh okay. I like the

907
00:50:46,800 --> 00:50:49,799
Speaker 3: way the scene is just a very blunt check on

908
00:50:49,880 --> 00:50:54,720
Speaker 3: Basil Rathbones sort of defensive delusions about his family legacy.

909
00:50:55,440 --> 00:50:58,840
Speaker 3: But anyway, Krog still he Krog really does not seem

910
00:50:58,840 --> 00:51:02,640
Speaker 3: to be holding this against the Frankensteins. He's not out

911
00:51:02,640 --> 00:51:05,640
Speaker 3: for revenge. He's offering them help. He says, when you

912
00:51:05,719 --> 00:51:07,719
Speaker 3: need help, you have but to ring the alarm bell

913
00:51:07,760 --> 00:51:09,840
Speaker 3: in the tower, and wherever I shall be, I shall

914
00:51:09,880 --> 00:51:11,799
Speaker 3: hasten to your assistance.

915
00:51:12,280 --> 00:51:15,759
Speaker 1: He is so lawful. Good, Yeah to a fault.

916
00:51:16,440 --> 00:51:18,680
Speaker 3: And then there's a very nice moment I thought between

917
00:51:18,719 --> 00:51:21,040
Speaker 3: Wolf and Elsa where they're looking out the window into

918
00:51:21,040 --> 00:51:24,239
Speaker 3: the stark landscape and the thunder and Elsa says, what

919
00:51:24,320 --> 00:51:28,759
Speaker 3: a dreadful storm and awful lightning, and Wolf says it's magnificent.

920
00:51:28,960 --> 00:51:33,280
Speaker 3: Nothing in nature is terrifying when one understands it. Darling,

921
00:51:33,360 --> 00:51:36,360
Speaker 3: my father drew that very lightning from heaven and forced

922
00:51:36,400 --> 00:51:38,759
Speaker 3: it for his own will to bring life to a

923
00:51:38,800 --> 00:51:42,000
Speaker 3: being He created with his own hands. Why should we

924
00:51:42,120 --> 00:51:42,960
Speaker 3: fear anything?

925
00:51:43,600 --> 00:51:48,960
Speaker 1: Yeah? Yeah, some more of that Frankensteinian optimism there, and.

926
00:51:48,960 --> 00:51:51,840
Speaker 3: A lot of affinity for lightning, Like multiple members of

927
00:51:51,880 --> 00:51:54,440
Speaker 3: the family, the Sun and Wolf, they're looking at the

928
00:51:54,560 --> 00:51:56,680
Speaker 3: lightning and they're like, just makes me feel good. I

929
00:51:56,880 --> 00:51:57,160
Speaker 3: like it.

930
00:51:57,560 --> 00:51:59,640
Speaker 1: Yeah, there's a lot of build up with the lightning here.

931
00:52:00,000 --> 00:52:02,759
Speaker 1: I'll come back to this more as we touch on

932
00:52:02,800 --> 00:52:03,480
Speaker 1: more examples.

933
00:52:03,920 --> 00:52:07,640
Speaker 3: All right. The next morning we see Peter again. This

934
00:52:07,680 --> 00:52:09,799
Speaker 3: is the scene where they're having breakfast and then Peter

935
00:52:09,920 --> 00:52:12,919
Speaker 3: comes up on this ledge overlooking the breakfast table. He's

936
00:52:12,920 --> 00:52:17,000
Speaker 3: got a toy shotgun with him and he's like, well hello,

937
00:52:17,800 --> 00:52:22,880
Speaker 3: and there's some general goofy dialog about how oh. He

938
00:52:23,000 --> 00:52:25,319
Speaker 3: like points to a scary head mounted on the wall

939
00:52:25,360 --> 00:52:27,160
Speaker 3: and he's like, what's that and they say that's a

940
00:52:27,239 --> 00:52:31,400
Speaker 3: bore and he goes like ant Fanny and they say, no, Darling, no,

941
00:52:31,480 --> 00:52:33,600
Speaker 3: not like aunt Fanny. That's a wild boar. I think

942
00:52:33,640 --> 00:52:37,680
Speaker 3: they're joking about b o r e. And then's he says,

943
00:52:37,719 --> 00:52:39,839
Speaker 3: I hope I don't have teeth like that. It would

944
00:52:39,840 --> 00:52:41,040
Speaker 3: be too hard to clean them.

945
00:52:41,840 --> 00:52:46,040
Speaker 1: Yeah, this film is intentionally comedic. There are a number

946
00:52:46,040 --> 00:52:48,840
Speaker 1: of gags. They don't all work, but a number of

947
00:52:48,920 --> 00:52:49,799
Speaker 1: them work very well.

948
00:52:50,040 --> 00:52:54,120
Speaker 3: Yeah. So, later that day, Wolf goes investigating the ruins

949
00:52:54,120 --> 00:52:58,200
Speaker 3: of his father's laboratory, and here's where things really start

950
00:52:58,200 --> 00:53:02,160
Speaker 3: to cook. So as he's looking around, he runs into Egor.

951
00:53:02,320 --> 00:53:05,960
Speaker 3: Igor is creeping on him from above, like in a skylight,

952
00:53:06,000 --> 00:53:10,040
Speaker 3: peeking through a hole in the roof, and Wolf at

953
00:53:10,080 --> 00:53:12,040
Speaker 3: one point he finds a big hole in the floor,

954
00:53:12,160 --> 00:53:15,840
Speaker 3: looks down inside it far below and there is a boiling,

955
00:53:16,120 --> 00:53:21,320
Speaker 3: bubbling pit of some horrible liquid. Wolf sniffs and concludes

956
00:53:21,400 --> 00:53:24,839
Speaker 3: that it is sulfur. You know, so your new house

957
00:53:24,880 --> 00:53:28,600
Speaker 3: has a boiling sulfur pit. No big deal. And then Igor,

958
00:53:29,120 --> 00:53:32,200
Speaker 3: from the roof tries to kill Wolf by dropping a

959
00:53:32,239 --> 00:53:34,560
Speaker 3: boulder on him, but Wolf dodges out of the way,

960
00:53:35,320 --> 00:53:38,680
Speaker 3: and then they have a confrontation. Frankenstein trains a gun

961
00:53:38,719 --> 00:53:41,239
Speaker 3: on Egor and starts to interrogate him. He's like, why

962
00:53:41,239 --> 00:53:43,560
Speaker 3: did you try to kill me? And Igor says I

963
00:53:43,600 --> 00:53:49,640
Speaker 3: thought you came here to kill me, And Rathbone says, well,

964
00:53:49,680 --> 00:53:52,160
Speaker 3: it's all well and good for you people to hate me,

965
00:53:52,239 --> 00:53:55,160
Speaker 3: but attempted murder is another matter. So this is the

966
00:53:55,200 --> 00:53:58,080
Speaker 3: first scene where we really get any dialogue with Egor,

967
00:53:58,600 --> 00:54:02,840
Speaker 3: and again Bella Legosi's energy is just off the charts.

968
00:54:02,920 --> 00:54:04,160
Speaker 3: He is wonderful.

969
00:54:05,000 --> 00:54:09,960
Speaker 1: Yeah, and it's worth noting that Igor in like just

970
00:54:09,960 --> 00:54:12,840
Speaker 1: sort of like very loose terms, becomes this kind of

971
00:54:12,920 --> 00:54:16,480
Speaker 1: horror Staple often depicted it's kind of like a hunchback,

972
00:54:16,840 --> 00:54:19,840
Speaker 1: even though Igor in this film is not a hunchback.

973
00:54:19,920 --> 00:54:23,920
Speaker 1: He has a a broken neck because he was as

974
00:54:23,960 --> 00:54:28,880
Speaker 1: we'll find out, he was previously hanged for Robin Graves

975
00:54:28,920 --> 00:54:33,080
Speaker 1: allegedly survived, but I think is still considered lee. He's

976
00:54:33,080 --> 00:54:38,800
Speaker 1: on the books, he's legally dead. So even though Igor

977
00:54:38,880 --> 00:54:42,520
Speaker 1: would become this kind of like Staple Hinchman and you

978
00:54:42,680 --> 00:54:48,319
Speaker 1: sort of like the Scooby dooification of universal horror at

979
00:54:48,360 --> 00:54:53,440
Speaker 1: the time, this character is a new creation based on

980
00:54:53,560 --> 00:54:56,640
Speaker 1: nothing from the Frankenstein novel, but I guess kind of

981
00:54:56,680 --> 00:55:00,000
Speaker 1: an evolution of the concept we see with the character Fritz,

982
00:55:00,080 --> 00:55:03,200
Speaker 1: who he alluded to earlier, played by Dwight Fry in

983
00:55:03,239 --> 00:55:04,880
Speaker 1: the first Frankenstein.

984
00:55:04,280 --> 00:55:07,200
Speaker 3: Film, who's also not in the novel. I mean, in fact,

985
00:55:07,760 --> 00:55:13,120
Speaker 3: the victor Frankenstein's work in the novel is specifically portrayed

986
00:55:13,200 --> 00:55:16,879
Speaker 3: as very lonely and solitary work. He is working by

987
00:55:17,120 --> 00:55:21,440
Speaker 3: himself and consulting with no one. I think that's almost

988
00:55:21,760 --> 00:55:23,920
Speaker 3: sort of the point of that part of the story

989
00:55:24,040 --> 00:55:25,879
Speaker 3: is that he's just in his own head. He has

990
00:55:25,960 --> 00:55:27,279
Speaker 3: nobody else to relate to.

991
00:55:27,680 --> 00:55:32,240
Speaker 1: Yeah, it's lonesome work that is tearing apart his sanity

992
00:55:32,600 --> 00:55:34,800
Speaker 1: and he's having to dig all those graves and scoop

993
00:55:34,800 --> 00:55:37,560
Speaker 1: all those brains himself. But again, as I alluded to earlier,

994
00:55:37,560 --> 00:55:41,560
Speaker 1: Igor is no mere Hinchman in this, no mere cookie

995
00:55:41,640 --> 00:55:44,640
Speaker 1: character like he is, as we'll see, essentially the primary

996
00:55:45,000 --> 00:55:49,719
Speaker 1: and antagonist of the picture, a satanic tempter and manipulator.

997
00:55:49,760 --> 00:55:50,719
Speaker 1: And he's tremendous.

998
00:55:51,080 --> 00:55:53,920
Speaker 3: Yeah, this introduction scene is so good. There's this moment

999
00:55:53,920 --> 00:55:57,919
Speaker 3: where he like he knocks on the bones sticking out

1000
00:55:57,920 --> 00:55:59,480
Speaker 3: of his neck and he's.

1001
00:55:59,360 --> 00:56:06,400
Speaker 6: Like, oh, it's all right, it's okay, And he reveals

1002
00:56:06,400 --> 00:56:09,360
Speaker 6: a secret passage in the wall and takes Wolf down.

1003
00:56:09,960 --> 00:56:13,279
Speaker 3: This leads to a crypt with two sarcopha guy it's

1004
00:56:13,280 --> 00:56:16,600
Speaker 3: got his grandfather there, but also his father, Henry Frankenstein,

1005
00:56:17,400 --> 00:56:23,200
Speaker 3: where someone has vandalized his epitaph on his sarcophagus. I

1006
00:56:23,239 --> 00:56:26,279
Speaker 3: think it says Henry Frankenstein carved in and someone has

1007
00:56:26,280 --> 00:56:30,640
Speaker 3: written in chalk Maker of Monsters. And then beyond that,

1008
00:56:30,960 --> 00:56:35,000
Speaker 3: Igor leads Wolf to a shocking surprise, which is the

1009
00:56:35,040 --> 00:56:39,560
Speaker 3: comatose body of the monster. This reveal is great in

1010
00:56:39,680 --> 00:56:44,000
Speaker 3: terms of its cinematic effect, except I don't want to

1011
00:56:44,040 --> 00:56:46,600
Speaker 3: be too critical, but it's just lying out in the

1012
00:56:46,640 --> 00:56:49,600
Speaker 3: open in the middle of the room where Wolf already was,

1013
00:56:49,840 --> 00:56:52,800
Speaker 3: and it's revealed to the audience simply by the camera

1014
00:56:52,920 --> 00:56:56,239
Speaker 3: pulling back to like bring it into frame. So it's

1015
00:56:56,320 --> 00:56:58,680
Speaker 3: kind of difficult to believe that Wolf was already in

1016
00:56:58,760 --> 00:57:01,440
Speaker 3: the room but didn't see wors Karloff lying there in

1017
00:57:01,480 --> 00:57:05,000
Speaker 3: full makeup until just now. But that's okay, let it slide.

1018
00:57:05,320 --> 00:57:06,400
Speaker 1: Yeah, still a great moment.

1019
00:57:06,920 --> 00:57:09,960
Speaker 3: Igor reveals that the creature has been there for quite

1020
00:57:09,960 --> 00:57:15,160
Speaker 3: some time now. Igor says he's my friend. He does

1021
00:57:15,560 --> 00:57:19,080
Speaker 3: things for me, and then he says this place is

1022
00:57:19,120 --> 00:57:22,240
Speaker 3: a place of the dead. We are all dead here,

1023
00:57:22,840 --> 00:57:27,800
Speaker 3: again referring to himself having been unsuccessfully hanged and somehow

1024
00:57:27,840 --> 00:57:32,160
Speaker 3: having this legal death status even though he is obviously

1025
00:57:32,200 --> 00:57:37,560
Speaker 3: still alive. So the question is why was the monster comatose?

1026
00:57:38,240 --> 00:57:41,360
Speaker 3: Igor says that he was injured by lightning while out

1027
00:57:41,400 --> 00:57:44,400
Speaker 3: in a storm and Igor brought him back here and

1028
00:57:44,400 --> 00:57:48,200
Speaker 3: he's been asleep ever since. And from this point, Igor

1029
00:57:48,440 --> 00:57:52,520
Speaker 3: basically hectors Wolf into helping revive him. Maybe Wolf doesn't

1030
00:57:52,560 --> 00:57:56,080
Speaker 3: need all that much encouragement, like he's curious about this himself.

1031
00:57:56,280 --> 00:57:57,800
Speaker 3: But Igor is putting the pressure on.

1032
00:57:58,480 --> 00:57:59,920
Speaker 1: That's right, he's laying it on pretty THI.

1033
00:58:00,800 --> 00:58:05,760
Speaker 3: And this is the scene where Egor starts to introduce

1034
00:58:05,840 --> 00:58:08,640
Speaker 3: this framework that you know, really, in a way, this

1035
00:58:09,520 --> 00:58:13,680
Speaker 3: creature was your father's other son. And Wolf says, you

1036
00:58:13,760 --> 00:58:17,600
Speaker 3: mean to imply that this this is my brother and

1037
00:58:17,720 --> 00:58:21,920
Speaker 3: Igor is like, yes, but his mother was lightning. Ooh,

1038
00:58:22,040 --> 00:58:22,680
Speaker 3: good line.

1039
00:58:23,800 --> 00:58:26,720
Speaker 1: Yeah, it's a great line. Again, more building up of

1040
00:58:26,760 --> 00:58:28,880
Speaker 1: the lightning and treatment of the lightning here.

1041
00:58:29,640 --> 00:58:33,120
Speaker 3: So Wolf commits to making his father's creation walk again again.

1042
00:58:33,440 --> 00:58:35,560
Speaker 3: So at this point he doesn't have to make life

1043
00:58:35,560 --> 00:58:38,640
Speaker 3: from death. The creature is already alive, but he's going

1044
00:58:38,720 --> 00:58:42,120
Speaker 3: to use his medical knowledge to resuscitate him from his

1045
00:58:42,160 --> 00:58:45,240
Speaker 3: coma and make him walk again. And he goes and

1046
00:58:45,280 --> 00:58:49,400
Speaker 3: he amends the graffiti. He amends the vandalism of his

1047
00:58:49,400 --> 00:58:53,000
Speaker 3: father's epitaph and changes it from maker of monsters to

1048
00:58:53,120 --> 00:58:56,560
Speaker 3: maker of men. And here's a very clean Act one

1049
00:58:56,600 --> 00:58:59,120
Speaker 3: break and this is clearly like here's where we are

1050
00:58:59,520 --> 00:59:11,520
Speaker 3: now the the action really starts. Yeah, So Act two

1051
00:59:11,640 --> 00:59:14,760
Speaker 3: we get the town council and the Bergemeister getting antsy

1052
00:59:14,840 --> 00:59:17,920
Speaker 3: about all of the activity they're noticing around Frankenstein's lab.

1053
00:59:18,040 --> 00:59:21,520
Speaker 3: People are coming and going, bringing big crates, and so

1054
00:59:21,560 --> 00:59:23,520
Speaker 3: they decide they're going to get Egor to come in

1055
00:59:23,600 --> 00:59:27,360
Speaker 3: and testify to them about what's going on. Now, there's

1056
00:59:27,400 --> 00:59:30,720
Speaker 3: some really funny moments here. That one is like Basil

1057
00:59:30,800 --> 00:59:35,360
Speaker 3: Rathbone working in the laboratory. He's hauling chains and pulleys

1058
00:59:35,400 --> 00:59:38,000
Speaker 3: around and doing this heavy work in this busted room,

1059
00:59:38,360 --> 00:59:42,760
Speaker 3: and he's still wearing his three piece suit and tie. Meanwhile,

1060
00:59:42,800 --> 00:59:45,120
Speaker 3: all the work is going on in the lab, Egor

1061
00:59:45,200 --> 00:59:47,000
Speaker 3: is trying hard to keep it a secret from the

1062
00:59:47,040 --> 00:59:51,800
Speaker 3: other servants. So the only other servant, I think, who

1063
00:59:51,800 --> 00:59:55,320
Speaker 3: really understand who knows what's going on, is Wolfe's right

1064
00:59:55,320 --> 00:59:59,080
Speaker 3: hand man, Benson. So Benson is there like making notes

1065
00:59:59,160 --> 01:00:02,880
Speaker 3: while they're making observations about the monster, saying things like, wow,

1066
01:00:02,920 --> 01:00:05,600
Speaker 3: look at his blood pressure. It's three times the normal

1067
01:00:05,640 --> 01:00:08,520
Speaker 3: blood pressure. Wow, he's got two bullets in his heart

1068
01:00:08,560 --> 01:00:11,440
Speaker 3: and yet it still pumps blood. I've never seen blood

1069
01:00:11,480 --> 01:00:14,360
Speaker 3: like that before. They say that his blood cells seem

1070
01:00:14,400 --> 01:00:16,760
Speaker 3: to be battling one another as if they had a

1071
01:00:16,800 --> 01:00:18,240
Speaker 3: conscious life of their own.

1072
01:00:20,000 --> 01:00:22,000
Speaker 1: Second week in a row, where we have some very

1073
01:00:22,360 --> 01:00:27,240
Speaker 1: puzzling anatomical details from analysis of the monster.

1074
01:00:27,680 --> 01:00:31,000
Speaker 3: Yeah, yeah, interesting. But oh, from here we go onto

1075
01:00:31,040 --> 01:00:34,080
Speaker 3: the scene where the Bergomeister and associates get Egor on

1076
01:00:34,160 --> 01:00:39,160
Speaker 3: the stand to testify about what's going on. So this

1077
01:00:39,200 --> 01:00:42,840
Speaker 3: interrogation scene is supposed to be about what Frankenstein is

1078
01:00:42,920 --> 01:00:45,640
Speaker 3: up to in his lab, but it's so funny how

1079
01:00:45,680 --> 01:00:48,600
Speaker 3: it ends up being mostly about the legal loophole that

1080
01:00:48,680 --> 01:00:52,840
Speaker 3: makes Egor immune to the death sentence. Yeah, and then

1081
01:00:52,920 --> 01:00:57,160
Speaker 3: also just going around the room reconfirming the identities of

1082
01:00:57,200 --> 01:01:00,520
Speaker 3: all the jurors who voted to hang him the first time. Yes,

1083
01:01:01,760 --> 01:01:03,040
Speaker 3: this scene is so good.

1084
01:01:03,280 --> 01:01:04,960
Speaker 1: Yeah, I mean he has him dead to rights here,

1085
01:01:04,960 --> 01:01:07,120
Speaker 1: like you can't hang me by the neck until dead

1086
01:01:07,160 --> 01:01:11,360
Speaker 1: a second time, I'm already officially dead. And yeah, there's

1087
01:01:11,440 --> 01:01:13,800
Speaker 1: just a lot of fun back and forth. Bell Lugosi

1088
01:01:13,920 --> 01:01:18,920
Speaker 1: gets really hammered up as Igor here of number of

1089
01:01:18,920 --> 01:01:24,040
Speaker 1: funny lines and hilarious mannerisms, while also staying true to

1090
01:01:24,120 --> 01:01:27,120
Speaker 1: the character being devilish and intimidating as well.

1091
01:01:27,400 --> 01:01:29,960
Speaker 3: There's a really funny moment where he coughs in one

1092
01:01:29,960 --> 01:01:32,720
Speaker 3: of their faces and the guy's like, oh, he spit

1093
01:01:32,880 --> 01:01:39,440
Speaker 3: on me, and Lekosi's like, I'm sorry, I cough, phone

1094
01:01:39,600 --> 01:01:40,800
Speaker 3: stuck in my throat.

1095
01:01:43,200 --> 01:01:44,680
Speaker 1: Great scene, great saint.

1096
01:01:44,880 --> 01:01:48,920
Speaker 3: Amazing, It's so good. Then. Also in other scenes around

1097
01:01:48,920 --> 01:01:51,200
Speaker 3: this time, we see Wolf, Igor and Benson trying to

1098
01:01:51,200 --> 01:01:53,880
Speaker 3: get the creature revived in the lab with electricity, but

1099
01:01:53,960 --> 01:01:57,479
Speaker 3: it fails. At one point, Wolf loses hope. He thinks

1100
01:01:57,480 --> 01:02:00,720
Speaker 3: he will never succeed in waking him from his coma. Also,

1101
01:02:00,760 --> 01:02:03,040
Speaker 3: somewhere around here, they discovered that the secret of life

1102
01:02:03,120 --> 01:02:09,000
Speaker 3: is cosmic rays. Okay, now, it seems that Inspector Krogue

1103
01:02:09,040 --> 01:02:12,320
Speaker 3: just keeps visiting the castle at various times, Like there's

1104
01:02:12,320 --> 01:02:15,440
Speaker 3: a scene of him having tea with Elsa and Wolf

1105
01:02:15,560 --> 01:02:18,600
Speaker 3: joins them, and Krogue here learns that Wolf has been

1106
01:02:18,680 --> 01:02:21,800
Speaker 3: up to his ears and experiments in the old laboratory,

1107
01:02:22,080 --> 01:02:26,800
Speaker 3: which the villagers call the Monster's home, And they say, oh,

1108
01:02:26,840 --> 01:02:30,400
Speaker 3: don't the sulfur fumes bother you? And Rathbone's like no, no, no,

1109
01:02:30,440 --> 01:02:33,640
Speaker 3: not at all. They say that this place used to

1110
01:02:33,720 --> 01:02:36,560
Speaker 3: be a used to be an ancient Roman health spa,

1111
01:02:36,960 --> 01:02:40,680
Speaker 3: but then the sulfur got more intense, and I believe

1112
01:02:40,680 --> 01:02:43,680
Speaker 3: the inspector says, even the stoutest Roman couldn't venture into

1113
01:02:43,680 --> 01:02:47,240
Speaker 3: that today without being par boiled to the bones. And

1114
01:02:47,280 --> 01:02:49,960
Speaker 3: then Rathbone says to the inspector, I'll have you come

1115
01:02:50,000 --> 01:02:52,000
Speaker 3: there sometime and par boil you.

1116
01:02:54,080 --> 01:02:55,640
Speaker 1: Not very good, not very good.

1117
01:02:55,760 --> 01:02:59,480
Speaker 3: No, no, here we get some more wonderful. Peter comments

1118
01:02:59,520 --> 01:03:03,360
Speaker 3: where he comes in. He's like saying, I'm a soldier,

1119
01:03:03,520 --> 01:03:07,640
Speaker 3: I'm a hunting all day long. And then Peter goes

1120
01:03:07,680 --> 01:03:09,680
Speaker 3: into a story about how in the middle of his

1121
01:03:09,880 --> 01:03:13,320
Speaker 3: nap a giant woke him up, but Peter gave the

1122
01:03:13,360 --> 01:03:17,520
Speaker 3: giant a picture book and he went away, bum bum bum.

1123
01:03:17,600 --> 01:03:21,040
Speaker 3: This clearly is significant to Wolf. He's like, oh, what's

1124
01:03:21,080 --> 01:03:25,720
Speaker 3: going on, But it's also significant to Krogue. So Wolf

1125
01:03:25,840 --> 01:03:28,120
Speaker 3: is trying to hide this from Krogue, but he becomes

1126
01:03:28,160 --> 01:03:31,320
Speaker 3: convinced that the creature has awakened and actually went into

1127
01:03:31,360 --> 01:03:34,040
Speaker 3: Peter's room, so he rushes off to his lab and

1128
01:03:34,080 --> 01:03:38,440
Speaker 3: he finds igor In the creature both missing, so he

1129
01:03:38,560 --> 01:03:40,680
Speaker 3: is in the middle of arming himself with a knife

1130
01:03:40,720 --> 01:03:42,840
Speaker 3: and mixing up some concoction. I don't know if he's

1131
01:03:42,880 --> 01:03:45,720
Speaker 3: trying to make a drug or something. But then the

1132
01:03:45,760 --> 01:03:48,040
Speaker 3: creature comes up behind him. This is the first time

1133
01:03:48,080 --> 01:03:50,680
Speaker 3: we see the creature walking in the film, and they

1134
01:03:50,800 --> 01:03:54,640
Speaker 3: meet face to face. And so this is the scene

1135
01:03:54,680 --> 01:03:57,840
Speaker 3: we were talking about earlier where we at least I

1136
01:03:57,880 --> 01:04:00,479
Speaker 3: feel like Karloff is trying to add some thing here.

1137
01:04:00,800 --> 01:04:04,439
Speaker 3: The creature doesn't speak, doesn't say anything. I don't think

1138
01:04:04,480 --> 01:04:07,080
Speaker 3: he ever speaks in this film. Does he ever say anything.

1139
01:04:09,040 --> 01:04:11,800
Speaker 1: If he does, it's so little, Like at one point,

1140
01:04:11,920 --> 01:04:15,200
Speaker 1: I think a previous version of the script had considerable

1141
01:04:15,240 --> 01:04:17,120
Speaker 1: well I don't know about considerable, but it certainly had

1142
01:04:17,200 --> 01:04:20,520
Speaker 1: dialogue from the monster, and at some point they cut

1143
01:04:20,720 --> 01:04:24,439
Speaker 1: all or most of it out. So yeah, we don't

1144
01:04:24,440 --> 01:04:26,640
Speaker 1: really get anything from the monster here. At one point

1145
01:04:26,720 --> 01:04:29,640
Speaker 1: they also considered doing this in color, but apparently they

1146
01:04:29,640 --> 01:04:32,280
Speaker 1: didn't really like the way that the monster makeup looked

1147
01:04:32,280 --> 01:04:34,800
Speaker 1: when shot in color, And I think, yeah, you don't

1148
01:04:34,800 --> 01:04:36,440
Speaker 1: want to see this film in color, like it's so

1149
01:04:36,560 --> 01:04:37,760
Speaker 1: beautiful in black and white.

1150
01:04:38,080 --> 01:04:40,560
Speaker 3: Yeah, So this seems in keeping with the sort of

1151
01:04:40,640 --> 01:04:44,440
Speaker 3: reduction of the monster's consciousness and humanity from where he

1152
01:04:44,520 --> 01:04:47,520
Speaker 3: was in Bride, because in Bride he learns to speak.

1153
01:04:47,600 --> 01:04:50,240
Speaker 3: Remember that's like a big part of the story. He

1154
01:04:50,280 --> 01:04:52,960
Speaker 3: doesn't speak a lot, but he says some things. Yeah.

1155
01:04:53,000 --> 01:04:55,120
Speaker 1: In a way, it's like the monster in this film

1156
01:04:55,280 --> 01:04:58,640
Speaker 1: is here to serve purely as the metaphor for technology,

1157
01:04:59,160 --> 01:05:01,240
Speaker 1: which is valid. I mean that's a key part of

1158
01:05:01,520 --> 01:05:04,160
Speaker 1: the original novel as well. But it's kind of like,

1159
01:05:04,800 --> 01:05:09,600
Speaker 1: once technology is created, once there's been some advancement, you

1160
01:05:09,640 --> 01:05:12,800
Speaker 1: can't abandon it. You can abandon it. But then but

1161
01:05:13,400 --> 01:05:16,320
Speaker 1: other people are going to take that technology up, and

1162
01:05:16,360 --> 01:05:20,280
Speaker 1: do you trust them? Because the people who who take

1163
01:05:20,360 --> 01:05:23,640
Speaker 1: up that technology may be the likes of Igor here,

1164
01:05:23,720 --> 01:05:25,400
Speaker 1: and he is not going to use it for the

1165
01:05:25,440 --> 01:05:29,160
Speaker 1: betterment of man. He's going to use this technology to

1166
01:05:29,320 --> 01:05:31,680
Speaker 1: get revenge on his enemies, to murder his way through

1167
01:05:31,720 --> 01:05:34,440
Speaker 1: his enemies list, which is exactly what Igor has been

1168
01:05:34,480 --> 01:05:36,920
Speaker 1: doing and plans to do again if he gets this

1169
01:05:37,000 --> 01:05:39,080
Speaker 1: monster up and running, which now he has.

1170
01:05:39,400 --> 01:05:42,240
Speaker 3: That's right. So when when Basil Rathbone and the Monster

1171
01:05:42,320 --> 01:05:46,760
Speaker 3: first meet face to face, the monster seems to maybe

1172
01:05:46,800 --> 01:05:49,960
Speaker 3: be used to reacting with violence when it meets people,

1173
01:05:50,040 --> 01:05:52,960
Speaker 3: So he reaches his hands up as if maybe he's

1174
01:05:53,000 --> 01:05:55,640
Speaker 3: going to choke him, but then sort of decides against it,

1175
01:05:56,720 --> 01:06:01,200
Speaker 3: and so it's an interesting psychological little moment. Then Igor returns,

1176
01:06:01,520 --> 01:06:04,200
Speaker 3: and Igor seems to have control over the monster. It

1177
01:06:04,280 --> 01:06:07,160
Speaker 3: obeys his commands. I think because they've been together for

1178
01:06:07,200 --> 01:06:12,520
Speaker 3: so long they are friends. So who you know? They talk?

1179
01:06:12,640 --> 01:06:15,960
Speaker 3: Now a Basil, Rathbone, and Bela Lugosi talk. Who knows

1180
01:06:16,040 --> 01:06:21,200
Speaker 3: the monster is awake? Igor says, only you and Benson Man,

1181
01:06:22,320 --> 01:06:27,200
Speaker 3: and Wrathbone's like, well, Benson will never tell, and Igor says, no,

1182
01:06:27,680 --> 01:06:34,560
Speaker 3: he will never tell. Now Here Wolf says, well, we

1183
01:06:34,720 --> 01:06:37,200
Speaker 3: may have made the creature physically well, but he's not

1184
01:06:37,360 --> 01:06:39,520
Speaker 3: well in the mind. Yet. We need to keep working

1185
01:06:39,600 --> 01:06:41,520
Speaker 3: on him to heal him up, to make him well

1186
01:06:41,600 --> 01:06:46,640
Speaker 3: in the mind. And Igor says he's well enough for me. So,

1187
01:06:46,880 --> 01:06:51,080
Speaker 3: of course, here the monster murder missions resume. I was

1188
01:06:51,120 --> 01:06:53,520
Speaker 3: gonna say begin, but it seems they've been ongoing for

1189
01:06:53,640 --> 01:06:58,840
Speaker 3: some time before the film started. Now there's a scene

1190
01:06:58,880 --> 01:07:02,160
Speaker 3: of revenge against a character named Neimula, one of the

1191
01:07:02,240 --> 01:07:05,680
Speaker 3: jurors who convicted Igor. There's like a murder shown on

1192
01:07:05,800 --> 01:07:08,520
Speaker 3: a He's out on a horse drawn wagon, out going

1193
01:07:08,560 --> 01:07:11,320
Speaker 3: out along the cliffs. He's riding between the rocks, and

1194
01:07:11,400 --> 01:07:14,120
Speaker 3: then the monster reaches out from behind a rock and

1195
01:07:14,240 --> 01:07:16,680
Speaker 3: grabs him and then stages the murder to look like

1196
01:07:16,760 --> 01:07:17,840
Speaker 3: a wagon accident.

1197
01:07:18,280 --> 01:07:20,520
Speaker 1: This is the true crime portion of the picture here.

1198
01:07:20,800 --> 01:07:25,520
Speaker 3: Yeah. So after this, we're at the castle. The Frankenstein's

1199
01:07:25,520 --> 01:07:29,440
Speaker 3: are having dinner with an incredibly suspicious looking krogue and

1200
01:07:29,880 --> 01:07:33,800
Speaker 3: they are interrupted by news of the death of Neimuler. Also,

1201
01:07:33,960 --> 01:07:37,080
Speaker 3: Benson disappears somewhere around here. Everybody's asking where he is,

1202
01:07:37,200 --> 01:07:41,560
Speaker 3: and nobody knows. There are more monster revenge murders on

1203
01:07:41,680 --> 01:07:44,960
Speaker 3: Egor's command. We see Egor going around like marking doors

1204
01:07:45,040 --> 01:07:47,720
Speaker 3: in town with an ex to show the monster who

1205
01:07:47,800 --> 01:07:51,160
Speaker 3: to get. There's also the recurring scene we get here

1206
01:07:51,200 --> 01:07:54,480
Speaker 3: of Igor playing his instrument in the gatehouse window. At

1207
01:07:54,520 --> 01:07:57,120
Speaker 3: first I thought it was maybe to summon the monster home,

1208
01:07:57,720 --> 01:08:01,840
Speaker 3: but I later interpreted this as he he's like playing

1209
01:08:01,960 --> 01:08:04,560
Speaker 3: music out in public view so that he can never

1210
01:08:04,680 --> 01:08:06,040
Speaker 3: be blamed for the murders.

1211
01:08:06,520 --> 01:08:06,720
Speaker 5: Yeah.

1212
01:08:07,040 --> 01:08:09,040
Speaker 1: Yeah. And then also there's a sense too that it's

1213
01:08:09,040 --> 01:08:11,520
Speaker 1: almost like he's like the pied piper or something. You know,

1214
01:08:11,680 --> 01:08:14,800
Speaker 1: It's like he's pulling the strings.

1215
01:08:14,360 --> 01:08:17,800
Speaker 3: If you will, yeah. Yeah, So you know, you can't

1216
01:08:17,840 --> 01:08:21,160
Speaker 3: have a Frankenstein movie without a pitchfork mob. So pitchfork mob.

1217
01:08:21,439 --> 01:08:23,719
Speaker 3: Mob gathers in the town square because of the murders,

1218
01:08:23,960 --> 01:08:26,840
Speaker 3: they lay siege to the castle. It isn't safe to leave.

1219
01:08:27,000 --> 01:08:30,559
Speaker 3: Inspector Krogue is in the castle with the family, claiming

1220
01:08:30,720 --> 01:08:35,479
Speaker 3: that he's there to guarantee their protection, and at one point,

1221
01:08:35,840 --> 01:08:39,760
Speaker 3: Peter the son he shows Inspector Kroge a gift that

1222
01:08:39,880 --> 01:08:43,560
Speaker 3: his friend the Giant gave him. It's a watch, and

1223
01:08:43,840 --> 01:08:45,920
Speaker 3: krog looks at it. It's a pocket watch with an

1224
01:08:45,960 --> 01:08:50,880
Speaker 3: engraving that says like two Benson. Yeah, so obviously something

1225
01:08:51,000 --> 01:08:54,200
Speaker 3: is going wrong here. Later, there's a confrontation in the

1226
01:08:54,360 --> 01:08:57,920
Speaker 3: lab between Wolf and Egor over the monster. Wolf tries

1227
01:08:58,000 --> 01:09:01,479
Speaker 3: to banish Egor from his lab, and Igor confesses to

1228
01:09:01,760 --> 01:09:04,400
Speaker 3: ordering all the murders of the jurors who convicted him.

1229
01:09:04,720 --> 01:09:06,800
Speaker 3: When he says he will not leave, he says, the

1230
01:09:06,880 --> 01:09:11,960
Speaker 3: monster belongs to me, not to you. Now in between here,

1231
01:09:12,160 --> 01:09:14,600
Speaker 3: it's funny that, like the stakes are coming up. You know,

1232
01:09:14,680 --> 01:09:18,120
Speaker 3: we have the mob who are ready to attack the castle.

1233
01:09:18,600 --> 01:09:21,120
Speaker 3: We have Igor and the monster doing murderers. We have

1234
01:09:21,200 --> 01:09:23,960
Speaker 3: the inspector on the case, and yet we get these

1235
01:09:24,000 --> 01:09:26,920
Speaker 3: little scenes where Wolf and the inspector are just like

1236
01:09:27,120 --> 01:09:29,880
Speaker 3: playing darts and having brandy while they're I don't know,

1237
01:09:30,080 --> 01:09:30,880
Speaker 3: biding their time.

1238
01:09:31,640 --> 01:09:34,519
Speaker 1: Oh man. So there's so much brandy drinking in this picture,

1239
01:09:35,320 --> 01:09:39,719
Speaker 1: to the point that on the IMDb parental page someone

1240
01:09:39,800 --> 01:09:41,839
Speaker 1: decided to put a warning in there. It's like, warning,

1241
01:09:42,680 --> 01:09:47,200
Speaker 1: adults drink brandy this characters. Yeah, there's a lot of

1242
01:09:47,240 --> 01:09:49,080
Speaker 1: region for the brandy here, and then a lot of

1243
01:09:49,200 --> 01:09:51,720
Speaker 1: dart throwing, and it gets it gets pretty furious the

1244
01:09:51,840 --> 01:09:57,920
Speaker 1: dart throwing here. Frankenstein's really working out some issues regarding

1245
01:09:58,560 --> 01:10:01,240
Speaker 1: his legacy and the legacy of his here via darts.

1246
01:10:01,520 --> 01:10:03,720
Speaker 3: Yeah, historical brandy use.

1247
01:10:03,880 --> 01:10:04,080
Speaker 5: Yeah.

1248
01:10:05,080 --> 01:10:07,840
Speaker 3: But in these scenes it comes out that Krogue suspects

1249
01:10:07,920 --> 01:10:10,640
Speaker 3: the monster is once again alive and a foot and

1250
01:10:10,720 --> 01:10:15,800
Speaker 3: he wants to know the truth, and of course Frankenstein

1251
01:10:15,960 --> 01:10:18,479
Speaker 3: is you know, he's very offended by this. He's like, so,

1252
01:10:18,680 --> 01:10:21,479
Speaker 3: I suppose I whipped him up as a cook whips

1253
01:10:21,560 --> 01:10:26,559
Speaker 3: up an omelet, and Wolf tries to put suspicion onto

1254
01:10:26,640 --> 01:10:29,640
Speaker 3: Egor instead of himself, but krog says it can't be

1255
01:10:29,800 --> 01:10:32,439
Speaker 3: Igor who did the monsters because he was being watched

1256
01:10:32,520 --> 01:10:34,160
Speaker 3: during all the murders. This is what I was talking

1257
01:10:34,160 --> 01:10:39,200
Speaker 3: about with the window. So eventually there is a confrontation

1258
01:10:39,360 --> 01:10:42,840
Speaker 3: between Egor and Wolf in the laboratory. Egor he had

1259
01:10:42,880 --> 01:10:46,320
Speaker 3: that bloody hammer. He tries to get Wolf with a hammer,

1260
01:10:46,400 --> 01:10:49,960
Speaker 3: but Wolf shoots him, and there is the discovery by

1261
01:10:50,000 --> 01:10:52,599
Speaker 3: the inspector of a secret passageway in the wall where

1262
01:10:52,640 --> 01:10:56,200
Speaker 3: he finds Benson's body. Meanwhile, in the lab the monster

1263
01:10:56,360 --> 01:11:00,280
Speaker 3: finds Igor's body, and Igor remember was his only end.

1264
01:11:00,400 --> 01:11:03,200
Speaker 3: So this leads to monster rage, and we get a

1265
01:11:03,320 --> 01:11:07,040
Speaker 3: number of scenes of monster rage where he's just smashing things,

1266
01:11:07,200 --> 01:11:10,960
Speaker 3: busting everything up, throwing it all into the sulfur pit. Now,

1267
01:11:11,000 --> 01:11:14,400
Speaker 3: eventually the monster, in his rage, decides to kidnap Peter,

1268
01:11:15,120 --> 01:11:17,920
Speaker 3: and so he takes Peter away to the laboratory and

1269
01:11:18,280 --> 01:11:22,080
Speaker 3: all of the good characters give Chase, Elsa, Amelia, Wolf

1270
01:11:22,200 --> 01:11:25,400
Speaker 3: and Krogue. They all pursue the monster into the laboratory

1271
01:11:25,520 --> 01:11:27,680
Speaker 3: for the final showdown, and here we do get to

1272
01:11:27,760 --> 01:11:29,000
Speaker 3: the swashbuckling finally.

1273
01:11:29,640 --> 01:11:32,519
Speaker 1: Yeah, there's of course the expected payoff with the prosthetic arm.

1274
01:11:32,920 --> 01:11:35,479
Speaker 1: It gets ripped off in a fight there between the

1275
01:11:35,520 --> 01:11:39,360
Speaker 1: inspector and the monster, and then the inspector shooting at

1276
01:11:39,400 --> 01:11:41,320
Speaker 1: the monster, and I think the monster is kind of

1277
01:11:41,400 --> 01:11:46,400
Speaker 1: deflecting the shots with the prosthetic by accident. And then yeah,

1278
01:11:46,520 --> 01:11:51,720
Speaker 1: here comes Basil rathbone buckling some swash swinging on that

1279
01:11:51,920 --> 01:11:54,559
Speaker 1: rope and doing a rope assisted kick to the monster,

1280
01:11:54,960 --> 01:11:58,800
Speaker 1: sends the monster flying off the edge down into that

1281
01:11:59,040 --> 01:12:02,840
Speaker 1: boiling sulfur That boiling sulfur pit that we knew from

1282
01:12:02,920 --> 01:12:06,479
Speaker 1: the very moment it was introduced was going to eat

1283
01:12:06,560 --> 01:12:09,040
Speaker 1: up a monster or some other character. You know, somebody's

1284
01:12:09,080 --> 01:12:10,040
Speaker 1: going into that sulfur pit.

1285
01:12:10,640 --> 01:12:12,519
Speaker 3: So yeah, so there's payoff there. But you know what

1286
01:12:12,600 --> 01:12:16,679
Speaker 3: there's never payoff on is Wolfe's threat to par boil

1287
01:12:16,800 --> 01:12:20,040
Speaker 3: the inspector and nothing happens there. They're friends at the end.

1288
01:12:21,080 --> 01:12:23,000
Speaker 1: It was just like a terrible joke. I guess it's

1289
01:12:23,120 --> 01:12:25,640
Speaker 1: like we wouldn't get enough sleep. They're not all going

1290
01:12:25,680 --> 01:12:27,639
Speaker 1: to be zingers, especially if you don't have enough sleep.

1291
01:12:28,040 --> 01:12:31,960
Speaker 3: Yeah, now we get a actually quite happy ending. I

1292
01:12:32,000 --> 01:12:34,599
Speaker 3: don't know if it's really earned this happy of an ending,

1293
01:12:34,720 --> 01:12:36,360
Speaker 3: but it's like it's all going to be okay.

1294
01:12:37,240 --> 01:12:41,080
Speaker 1: Yeah, the baron and family signed the castle and the

1295
01:12:41,200 --> 01:12:44,400
Speaker 1: lab over to the locals and take the first train

1296
01:12:44,439 --> 01:12:46,479
Speaker 1: out of town. So all is forgiven. I don't know.

1297
01:12:46,600 --> 01:12:51,559
Speaker 1: Maybe all of the townspeople that were killed off by

1298
01:12:51,640 --> 01:12:54,240
Speaker 1: the monster recently were all crooked and corrupt.

1299
01:12:54,280 --> 01:12:54,640
Speaker 3: I don't know.

1300
01:12:56,120 --> 01:12:59,880
Speaker 1: Maybe essentially Igor cleansed the town of corruption. I'm not sure.

1301
01:13:00,640 --> 01:13:04,000
Speaker 3: Also, the last time we see Igor's body, after he

1302
01:13:04,080 --> 01:13:08,280
Speaker 3: has supposedly been shot and killed, he is obviously breathing.

1303
01:13:08,479 --> 01:13:10,880
Speaker 3: You can see his chest like rising and falling up

1304
01:13:10,920 --> 01:13:13,160
Speaker 3: and down. And I don't know if that's a goof

1305
01:13:13,400 --> 01:13:16,080
Speaker 3: or if that's to lay the groundwork that Igor could

1306
01:13:16,120 --> 01:13:17,559
Speaker 3: come back in another sequel.

1307
01:13:17,960 --> 01:13:20,479
Speaker 1: Igor will return, and he does.

1308
01:13:20,720 --> 01:13:25,240
Speaker 3: He does, to be clear. So are we gonna do

1309
01:13:25,320 --> 01:13:26,280
Speaker 3: House of Frankenstein.

1310
01:13:27,000 --> 01:13:29,240
Speaker 1: I think we may have to. That one is very

1311
01:13:29,320 --> 01:13:32,559
Speaker 1: interesting as well, has an interesting cast, so I.

1312
01:13:32,600 --> 01:13:35,200
Speaker 3: Think not supposed to be quite as good as The

1313
01:13:35,280 --> 01:13:40,240
Speaker 3: Son of Frank But amusing I've read.

1314
01:13:40,600 --> 01:13:44,600
Speaker 1: I would continue the journey. Oh, one more comment on this.

1315
01:13:44,720 --> 01:13:46,519
Speaker 1: We had we have so much great stuff with the lightning,

1316
01:13:46,600 --> 01:13:49,400
Speaker 1: you know, his mother was lightning the fierce lightning storms

1317
01:13:49,439 --> 01:13:53,120
Speaker 1: in the region. You know, as if Zeus is just

1318
01:13:53,240 --> 01:13:57,680
Speaker 1: constantly lashing out against the countryside and then this is

1319
01:13:57,720 --> 01:14:00,760
Speaker 1: something my wife pointed out. When the monsters actually revived,

1320
01:14:01,479 --> 01:14:03,679
Speaker 1: are they they're using some sort of generator or something.

1321
01:14:03,920 --> 01:14:04,400
Speaker 3: They're not.

1322
01:14:04,800 --> 01:14:07,360
Speaker 1: They're not doing what you think they're gonna do, which is,

1323
01:14:07,760 --> 01:14:11,519
Speaker 1: let's capture the lightning like Frankenstein's senior did. Instead, it's

1324
01:14:11,920 --> 01:14:13,840
Speaker 1: some other means. And I don't know if that's intentional,

1325
01:14:13,960 --> 01:14:16,600
Speaker 1: if that's supposed to be, you know, some commentary on

1326
01:14:17,040 --> 01:14:20,280
Speaker 1: like the mode of interaction with the technology that is

1327
01:14:20,320 --> 01:14:24,120
Speaker 1: taking place in this next generation. It's less heaven sent

1328
01:14:24,320 --> 01:14:28,160
Speaker 1: and more technology speaking to technology, I'm not sure.

1329
01:14:28,920 --> 01:14:31,360
Speaker 3: Interesting. I hadn't thought about that, but yeah, that's a

1330
01:14:31,400 --> 01:14:31,800
Speaker 3: good point.

1331
01:14:32,200 --> 01:14:34,800
Speaker 1: Yeah, I might be overthinking it there, But that's what

1332
01:14:34,840 --> 01:14:36,040
Speaker 1: I love about a film like this, you know, you

1333
01:14:36,120 --> 01:14:38,360
Speaker 1: get to enjoy it on so many different levels. Yeah.

1334
01:14:38,479 --> 01:14:40,800
Speaker 3: So once again, I had a fantastic time with Son

1335
01:14:40,840 --> 01:14:45,280
Speaker 3: of Frankenstein. This movie greatly exceeded my expectations, highly entertaining.

1336
01:14:45,680 --> 01:14:48,599
Speaker 3: So yeah, great pick. And I couldn't recommend this one enough.

1337
01:14:48,800 --> 01:14:49,519
Speaker 3: Really really fun.

1338
01:14:50,200 --> 01:14:52,720
Speaker 1: Absolutely, yeah, this one. This one was a lot of fun.

1339
01:14:53,760 --> 01:14:55,880
Speaker 1: All right, Well, we're going to go ahead and close

1340
01:14:56,439 --> 01:14:59,439
Speaker 1: out this episode of Weird House Cinema. As always, We

1341
01:14:59,479 --> 01:15:01,880
Speaker 1: would love to hear from everyone out there. If you have,

1342
01:15:03,000 --> 01:15:05,719
Speaker 1: you know, experiences with this film, thoughts on this film,

1343
01:15:06,120 --> 01:15:09,800
Speaker 1: on other Frankenstein pictures, write in and you know we

1344
01:15:10,000 --> 01:15:12,200
Speaker 1: will try and include some of those on a future

1345
01:15:12,560 --> 01:15:15,320
Speaker 1: installment of listener Mail, which comes out do you know

1346
01:15:15,439 --> 01:15:17,760
Speaker 1: me about once a month these days. Stuff to Blow

1347
01:15:17,800 --> 01:15:20,080
Speaker 1: your Mind is primarily a science and culture podcast, with

1348
01:15:20,120 --> 01:15:23,080
Speaker 1: core episodes on Tuesdays and Thursdays, but on Fridays we

1349
01:15:23,160 --> 01:15:25,320
Speaker 1: set aside most serious concerns to just talk about a

1350
01:15:25,360 --> 01:15:27,920
Speaker 1: weird film here on weird House Cinema. If you want

1351
01:15:27,960 --> 01:15:29,680
Speaker 1: to see a complete list of all the movies we've

1352
01:15:29,720 --> 01:15:31,680
Speaker 1: watched over the year as well, you can go over

1353
01:15:31,720 --> 01:15:33,640
Speaker 1: to the letterbox dot com. That's L E T T

1354
01:15:33,800 --> 01:15:36,519
Speaker 1: E R B o x d dot com. Our username

1355
01:15:36,600 --> 01:15:38,280
Speaker 1: is weird House and we have a nice list of

1356
01:15:38,320 --> 01:15:41,200
Speaker 1: all the films we've covered. Sometimes there's a hint at

1357
01:15:41,280 --> 01:15:44,960
Speaker 1: what's coming up next, and let's see. If you're on Instagram,

1358
01:15:45,240 --> 01:15:47,920
Speaker 1: st b ym podcast is our handle there, you can

1359
01:15:47,960 --> 01:15:50,080
Speaker 1: follow us there. It's got some good links as well,

1360
01:15:50,200 --> 01:15:53,360
Speaker 1: including links to our t shirt shop where Hey, if

1361
01:15:53,400 --> 01:15:55,360
Speaker 1: you need a sticker or a T shirt with the

1362
01:15:55,400 --> 01:15:58,599
Speaker 1: Stuff to Blow your Mind logo on it, or perhaps

1363
01:15:58,680 --> 01:16:00,479
Speaker 1: the Weird House Cinema logo will, so that's where you

1364
01:16:00,560 --> 01:16:03,080
Speaker 1: can get it. And I'm not sure we might end

1365
01:16:03,160 --> 01:16:05,920
Speaker 1: up having We had a Halloween shirt come out last year,

1366
01:16:06,479 --> 01:16:08,920
Speaker 1: and we might have something else come out this year,

1367
01:16:09,000 --> 01:16:10,439
Speaker 1: so I don't know. Keep an eye on that space

1368
01:16:10,520 --> 01:16:13,320
Speaker 1: in case there's a new design that drops and that's

1369
01:16:13,360 --> 01:16:14,000
Speaker 1: what you're looking for.

1370
01:16:14,680 --> 01:16:18,479
Speaker 3: Huge thanks, as always to our excellent audio producer JJ Posway.

1371
01:16:18,840 --> 01:16:20,400
Speaker 3: If you would like to get in touch with us

1372
01:16:20,479 --> 01:16:22,920
Speaker 3: with feedback on this episode or any other, to suggest

1373
01:16:23,000 --> 01:16:25,160
Speaker 3: a topic for the future, or just to say hello,

1374
01:16:25,600 --> 01:16:28,200
Speaker 3: you can email us at contact at stuff to Blow

1375
01:16:28,280 --> 01:16:29,240
Speaker 3: your Mind dot com.

1376
01:16:33,240 --> 01:16:36,160
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1377
01:16:36,280 --> 01:16:39,000
Speaker 2: more podcasts from my heart Radio, visit the iHeartRadio app,

1378
01:16:39,200 --> 01:16:41,920
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.