Editorials
‘Bride of Frankenstein’: An All-Time Great Horror Sequel Turns 85
Much like John Carpenter and Halloween II, director James Whale felt he’d explored every possible corner in 1931’s Frankenstein and had no more to say. The huge success of the film, however, meant Universal Pictures was eager to recapture that success with a sequel. Once Whale directed The Invisible Man, producer Carl Laemmle Jr. became wholly convinced only Whale could helm the follow-up to Frankenstein. Whale ultimately accepted, while taking full advantage to get other projects he wanted greenlit in the process.
More importantly, he didn’t believe there was any way to top Frankenstein, so he decided to take full creative control to make its sequel, at the very least, entertaining. The move ensured that not only did Bride of Frankenstein offer up one of horror’s most iconic movie monsters, but that it would endure as one of the greatest films of all time.
Released in limited theaters on April 20, 1935, Bride of Frankenstein gathers author Mary Shelley (Elsa Lanchester), Percy Bysshe Shelley (Douglas Walton), and Lord Byron (Gavin Gordon) together on a stormy night. The men praise Shelley for her tale of Frankenstein, and the horror author reveals the saga isn’t over- there’s much more story left to tell for the Monster and his creator. The story then shifts gears, picking up immediately where the previous film ended.
Henry Frankenstein (Colin Clive) lives, and so too does his creation. While Henry is being nursed back to health by Elizabeth (now played by Valerie Hobson), the Monster is on his own path making new friends and evading those that mean him harm. In this sequel, he learns to speak, something actor Boris Karloff hated. The Monster’s arc is one of growth, while Henry becomes eclipsed by an even madder scientist in Dr. Pretorius (Ernest Thesiger).
The Monster’s frequent interactions with all varieties of humanity aren’t just reflected in his newfound speech but his appearance, too. Legendary makeup effects artist Jack Pierce designed various stages for the Monster, altering his look dramatically not only between films but throughout the sequel to show the passage of time. He begins Bride visibly damaged from the fire, which heals over the runtime. More interestingly, the Monster’s hair grows continuously. It’s a subtle yet remarkable detail for the character.
As for the eponymous and scene-stealing monster, the Monster’s Mate only appears in the climax. Similar to Frankenstein, the opening credits list the character as played by a question mark. The closing credits reveal the actor to be Shelley herself, Elsa Lanchester. Pierce co-created her look with Whale, especially her electric hair.
Proving once again how well the Universal Classic Horror films handled empathetic monsters, Frankenstein’s creature longs for connection only to be viciously rejected by an undead mate that also had no say in the matter. A monstrous and heartbreaking morality tale for all. It’s not just the iconic appearance of the Monster’s Mate that sells the horror of this final moment, but Lanchester’s guttural growls, hisses, and physicality. Lanchester emulated her performance after territorial swans from a park she visited on the regular. It’s as much her performance as it is the stunning makeup design that makes the Bride such a lasting character.
In the 85 years since release, Bride of Frankenstein developed a reputation for camp. Particularly due to the eccentricity of Dr. Pretorius. His over the top behavior and his gleeful collection of miniature homunculi in bottles introduce him as a far less serious villain than the previous film’s. The Monster’s revelry in making new friends and his speech further lends a playful tone to the film. In a modern context, Bride of Frankenstein can easily read as camp, but it feels more accurate to perceive the tone as Whale’s imbuing a sequel with humor for entertainment purposes. As much for himself as a director initially reluctant to take on the project as it is for viewers seeking new thrills with old characters.
The humor, the horror, and Whale’s unique and bold direction make for one of the best horror sequels of all time. Or rather, a continuation. Henry and his creation further grow and develop, but they’re matched by more horrific versions of themselves in Dr. Pretorius and the Monster’s Mate. The rich themes and complex story layers only further fuel the lasting legacy of an all-time classic.
Dr. Pretorius said it best, “To a new world of gods and monsters!”
“Elevated Horror.” Of all the combinations in the English language, that one is the most insufferable.
It represents almost a decade of scary movies that, for the most part, took themselves too seriously. Horror responds to the moment, so its “why so serious” lean makes sense as we scuttle through the “worst of times” equation of Charles Dickens’ famous opening lines. But there’s still an opening and a need for a lighter approach; one that not only has fun with its audience but takes the piss out of a genre that is seemingly letting its newfound “respectability” go to its head.
Wes Craven believed devotees see horror films to let out their fears one primal scream at a time. At their core, these movies are roller coasters; they bring us as close to the edge as possible before pulling us back into a safety net of reality. The need for a bigger and badder coaster increases during times when the size of that net decreases.
There’s a thrill that comes from imagining being in a foot race with a madman, or outthinking the hordes of zombies on the other side of the door, plus the scavenger humans coming behind them. There’s even a rush that comes from imagining how one might deal with possession to see good triumph over evil in the end. It’s all about building tension and releasing it through catharsis. That cathartic release usually sounds like screams followed by laughter, which signals relief. Genre heavy hitters over the past 10 years offered very little of that respite when the credits rolled. Films like Hereditary, The Witch, Talk to Me, and even Smile (pick one) keep that tension going after the screen fades to black.
Hereditary
As the genre became obsessed with creating trauma metaphors, that lack of release made sense. Anyone with even a small sample size of traumatic experiences knows those emotions don’t magically resolve themselves in an allotted run time. But how much trauma can one take? Especially when there’s a mess going on outside that few of us can escape from. Movies offer that off-ramp, no matter how short.
Everything can’t be, nor should it be, “elevated.” Audiences need thoughtful explorations of life’s ills via monsters as much as they need murdering masked maniacs with kitchen knives. And no, it doesn’t have to go any deeper than that. Sometimes, a knife is just a knife, and it’s still worth our time and respect. As weird as it sounds, that simplicity is comforting not in spite of the trauma but because of it.
The worst of times should manifest more than just anguish. People need to laugh just as much as they need to think seriously about this moment in time. Even the Scream franchise forgot the meta rock upon which it built its church when the latest foray sacrificed the subtle comedy for serious drama. Scary Movie returned at the perfect moment. It provides the necessary laughs, but it’s not a cure-all.
This isn’t a call for Scary Movie imitators but a return to a mainstream landscape where Killer Klowns from Outer Space sat with The Serpent and the Rainbow, nestled neatly with the latest Nightmare on Elm Street, which took nothing away from The Vanishing.
They Live
Even They Live, John Carpenter’s horror sci-fi satire sandwich, kept its tongue firmly in cheek while discussing serious ideas still relevant in 2026. Yes, a film about aliens taking over the world through subliminal messaging only visible through coded sunglasses is, in fact, a tad silly. Carpenter understood that mainstream horror can’t become so self-important that it never looks itself in the mirror and laughs at that inherent silliness.
The thing is, horror historically excels at poking fun at itself. Most of the Scream franchise, The Cabin in the Woods, or The Blackening show adoration without kowtowing. They recognize tropes and trappings but invert them for an audience already in on the joke, but one that also finds solace in said conventions. This keeps the genre on its toes; once something gets parodied, it’s usually time to evolve. That breeds new ideas and fresh filmmakers, which not only strengthen the genre’s collective voice but also amplify it.
Get Out, as “elevated” as some critics want us to believe it is, is a cathartic, populist scary movie that spoke to an untapped audience rather than speaking down to them. Backrooms is one of the biggest horror hits in years, partially because it’s fine-tuned for modern-day teenagers instead of their parents. Movies like these tell everyone the genre is open for business; open for innovation and, yeah, open for new ways in which people can lovingly poke fun at with a wink and a nudge.
Horror needs dread as much as it needs laughter.
Catharsis is just as important as tension, and pulpy populism has the same merit as more high-brow material. Respectability shouldn’t come at the expense of an experience akin to walking through a haunted house. At a time when joy seems in short supply, horror should look to its past to map out its future, and make things just a tad brighter for audiences.
Backrooms
You must be logged in to post a comment.