(via The Grim Gallery: Exhibit 4268)
O.P. Heggie and Boris Karloff in The Bride of Frankenstein (1935)
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Boris Karloff and O.P. Heggie-the BRIDE OF FRANKENSTEIN (1935)
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BRIDE OF FRANKENSTEIN opened wider in the United States on 20 April 1935, after premiering 19 April, 1935 in San Francisco and in Seattle.
Photo: What fantastic ballyhoo! When theaters really went all-out advertising an attraction!
Universal Pictures. Starring Boris Karloff, Colin Clive, Valerie Hobson, Elsa Lanchester, Ernest Thesiger, E. E. Clive, O.P. Heggie, and Una O’Connor.
Directed by James Whale. Screen story by William Hurlbut and John L. Balderson. Screenplay by William Hurlbut. Inspired by the novel “Frankenstein” by Mary Shelly.
Music by Franz Waxman.
Black and White. 75 minutes.
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Boris Karloff, O.P. Heggie, and John Carradine- the BRIDE OF FRANKENSTEIN (1935)
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Elsa Lanchester and Boris Karloff in Bride of Frankenstein (James Whale, 1935)
Cast: Boris Karloff, Colin Clive, Valerie Hobson, Ernest Thesiger, Elsa Lanchester, Gavin Gordon, Douglas Watson, Una O’Connor, E.E. Clive, Lucien Prival, O.P. Heggie, Dwight Frye. Screenplay: William Hurlbut, John L, Balderston. Cinematography: John J. Mescall. Art direction: Charles D. Hall. Film editing: Ted J. Kent. Music: Franz Waxman.
Funny, campy, occasionally scary, and featuring over-the-top performances by Ernest Thesiger, Dwight Frye, and Una O'Connor, Bride of Frankenstein may also be the saddest of all horror movies. Much has been made of a perceived subtext of the film, based in part on the knowledge that its director, James Whale, and Thesiger were openly gay, and it's possible to see the plight of the monster (Boris Karloff) as analogous to that of the gays of their time, subject to ridicule and repression from a hostile society. Queer subtext aside, the monster is the ultimate outsider, an anomalous and inarticulate being, whatever his sexuality. He briefly finds companionship in the blind hermit (O.P. Heggie) who begins to teach him to speak -- including the word "friend" -- but their relationship is doomed by the intrusion of the world of ordinary humans, a world he can never be part of. In the end, when the mate (Elsa Lanchester) who has been created for him rejects him, his only recourse is self-destruction. "We belong dead!" the monster proclaims. To see Bride of Frankenstein as some sort of parable about gays in society would then be an endorsement of suicide as the only option. Whale was too much of an artist to turn his film into any kind of message, however latent in the fantastic tale he is telling. Better instead to relish Karloff's ability to give a subtle performance that shows through pounds of makeup. Or Lanchester's remarkable control and timing in bringing the bride to life, including the squawks and hisses that she claimed to have developed by watching swans in the park. Or John J. Mescall's classic black-and-white cinematography, Charles D. Hall's set designs, and Franz Waxman's score. Yes, Colin Clive and Valerie Hobson are a most improbable couple as the Frankensteins. Clive was far gone into alcoholism and looks it, but nobody could have delivered the line "She's alive! Alive!" more memorably.
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The Weekly Gravy #91
The Weekly Gravy #91
Midnight (1934) – ***
Although Midnight is best remembered for featuring one of Humphrey Bogart’s first major roles – such that, when the film was later reissued as Call It Murder, his billing was bumped from fifth to first – I was more intrigued by the premise, namely the moral dilemma that Edward Weldon (O.P. Heggie) finds himself caught up in. As the film begins, Weldon is foreman of the jury…
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Boris Karloff as the Frankenstein monster with O.P. Heggie
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