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Revisiting “Frankenstein” (1931)

IT’S ALIVE!!!

IT’S ALIVE!!!

For my latest entry where I cover the Universal 100th series, I am going to take a look at a film where (finally!) I have read at least one of the sources upon which the story is based.  Although known primarily by its Gothic novel by Mary Shelley, the film is actually based on the stage play written by Peggy Webling. This is similar to the film (and earlier ILC entry) Dracula.

For those unfamiliar with the story, I suggest you read the story. Dr. Frankenstein (portrayed in this film by Colin Clive), is obsessed with reanimation, the recreation of life. In order to achieve this, he and his assistant Fritz (Dwight Frye) harvest body parts, all in the hope of creating life through electricity. Unbeknownst to them, one of the parts they have collected (the brain) comes from a criminally psychotic man. You can guess where this is leading …

For me the most moving and touching scene is when The Monster (Boris Karloff) is on the run and he starts playing with the little girl. In fact this scene leads into probably the most iconic scene of them all – the marching of the townspeople hell-bent on revenge tragedy involving the village girl, when the townspeople are in pursuit. It is a sequence which has remained with me all these years later.

If I were to choose between the two monster movies (Dracula or Frankenstein), I would say that this is by some measure my preferred film.

Check out this original trailer for the movie:

Along with a couple of my favorite scenes:

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Revisiting “Dracula”

The latest installment in my continuing series celebrating Universal Studio’s 100th Anniversary.

Poor Bela Lugosi. When asked to transfer his stage success the silver screen by starring in Tod Browning’s  Dracula (apparently he was NOT even the first choice), little did he know that this would be the role that would define his career (and life).

While not the first filmed version of Bram Stoker’s ‘undead’ (most notable in my mind the nightmarish Nosferatu), it is the Dracula imprinted on our collective memory. Lugosi’s portrayal of the Count is that of a haunting, seductive bloodsucking nightwalker.

Today’s cinemagoers will probably not be convinced by the stagey nature of the film and its performances, but that does not make it any more impactful. First of all it should be noted that while this is based on Stoker’s source material, the direct text, etc. is taken from the aforementioned stage play Dracula. Second and most importantly, I imagine what also terrified audiences at the time was down to the cadence of Lugosi’s delivery and the deliberate pacing of his movements. As a child I remember mimicking him, walking around saying, “I vaunt to suck your blood!” It has been a while now so I am not even sure those exact words are even uttered in the film.

One element that I never fully resolved myself was the fact that while many of the characters are wearing contemporary clothes, they traverse the landscape in horse-drawn carriages. It is possible that automobiles have not reach Carpathian Mountains; anyone have a clue?

In 2000, Dracula was selected for preservation in the National Film Registry. (Source: Wikipedia)

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Revisiting “Out of Africa”

For this latest installment of commemorating the 100th anniversary of Universal Studios is Sydney Pollack’s 1985 romantic drama Out of Africa starring Robert Redford and Meryl Streep.

This was always a film that I thought was “too grown up for me,” it being a proper adult film and all. So it was several years before I mustered up the resources to catch it.

Based on actual events, Out of Africa is the account of Danish writer Karen Blixen’s (pen name: Isak Dinesen, portrayed by Streep) life in Kenya from her loveless marriage to the philandering Baron Bror von Blixen (portrayed in the film by Klaus Maria Brandauer) to her friendship and romantic relationship with game hunter Denys Finch Hatton (Redford).

As to my personal response to the film, I think the critical consensus provided by Rotten Tomatoes says it all:

Though lensed with stunning cinematography and featuring a pair of winning performances from Meryl Streep and Robert Redford, Out of Africa suffers from excessive length and glacial pacing.

EXACTLY, could not have said it better myself. The film is absolutely beautiful and breathtaking and greatly benefits from a sweeping soundtrack from legendary composer John Barry. I addition, I really connected with the title performances.

But in the end, watching the film was a tedious experience. With a running time of 161 minutes, there were moments I thought about switching it off but reconsidered in the hope that the action (as it were) would eventually pick up.

One thing that may have been picked up in your reading of this piece is that I describe Redford’s character as “British.” Robert Redford? British? Alas, he does not don a British accent in the film although at least from my perspective, it is greatly implied that Denys is of British extraction.

One final note: I guess it is worth mentioning that one of the most memorable scenes in the film is the moment Redford washes Streep’s hair along the riverside. This is one of those moments that I never fully understood the romantic significance of. Let me know what you think (as a bonus, the clip gives a hint of Streep’s Danish accent):

AWARDS AND RECOGNITION

This film had awards lobbed at it. Let’s start with the Academy Awards – Out of Africa received 11 nods and won 7, including:

  • Best Picture
  • Best Director
  • Best Art Direction
  • Best Cinematography
  • Best Adapted Screenplay
  • Best Original Score
  • Best Sound
The film also won 3 Golden Globes.

FUN FACT: Another of Karen Blixen’s noted works, Babette’s Feast, was turned into an Academy-Award winning film of its own.

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