The Monster Again

Dominion, Volume 28, Issue 256, 26 July 1935, Page 16

The Monster Again

ALTHOUGH creepy horror Is the keynote of “The Bride of Frankenstein,” which was privately screened in Wellington this week, it contains a more sympathetic note than its prede cessor, “Frankenstein.” The Monster for example, exhibits human feelings and attributes: in fact, as the film pro gresses he becomes more or less a thinking individual for whom the sympathy of the audience is enlisted. The story of this sequel picks up where “Frankenstein” left off—with the Monster in the burning mill surrounded by a horde of triumphant townsfolk His escape from destruction is plausibly ex plained; then, without ado. the film plunges into a further series of macabre adventures in which Colin Clive, as the over-wrought young scientist responsible for the horrid business of bringing the Monster to life, and bis unpleasant associates, succeed in creating a woman monster destined to be a Frankenstein

bride. To reveal the ultimate result of this enterprise would spoil a tale that has an element of surprise, besides hair-raising qualities in plenty, but “Frankenstein” enthusiasts will rejoice to-know that the finale of the picture, in which the Monster blows up himself, his bride, and his enemies, is indeterminate enough to make possible yet another reappearance of this remarkable Boris Karloff characterisation. Besides the two principals named the cast includes a number of excellent players who contribute to the quality of a notable "shocker.” Elsa Lanchester, as the bride herself, is wonderfully made up, and a fittingly gruesome counterpart of Monster No. 1. The direction and camera work of the film are above reproach. and the production as a whole is calculated to rob the most cynical theatregoer of at least one evening’s sane composure.