3.5 It's jarring to see this directly after the original film, as the broadly comic tone (especially Una O'Connor) contrasts so greatly with the tragedy of the 1931 masterpiece. In set design, the house of Frankenstein seems oddly diminished too, as does the complexity of Colin Clive's Henry. Still, Dr. Pretorious is perverse and creepy, the blind hermit is great & you've got to love that underground crypt set.
A sequel so direct, that it actually does more justice to the source material. A monster is turned into a more complex antagonist that loves art, longs for company and enjoys drinks, but it doesn't hold back from killing either. Thanks to the ability to speak, Boris Karloff's performance shines along with striking visuals - making this installment just as good, if not even better than its predecessor.
Eccentric weird characters, witty dialouge, Gothic atmosphere and Karloff giving the monster a tragedy and sadness unparalleled in other Frankenstein films is the highlight of this classic Universal monster movie that few other horror comedies can top even if the housemaid is totally bonkers and over-the-top.
A worthy sequel that can be summed up by its marketing slogan 'the monster demands a mate'. While it lacks the pathos of the original and does get silly at times (Ernest Thesiger's performance and character) it does provide some classic horror moments and a brief but iconic turn by Elsa Lanchester. 'To a new world of gods and monsters!'
3.4 The true Horror of this Classic Horror film is the horrible acting! The glory of it, however, is the amazing set design. They say this is the best of the Frankenstein films. I think that the best has got to be Young Frankenstein but that film seems to be largely a spoof of and inspired by this one more than any of the others. Perhaps Young Frankenstein would not exist if it weren't for Bride of Frankenstein?
Bursting with boldness and creativity, I fully understand why people believe this sequel surpasses the original. While I don't think it succeeds at everything it attempts (some of the humor really kills the mood), the successes are far more resounding than the shortcomings. The story is emotionally satisfying, the technical qualities are exceptional, and Karloff somehow outdoes his performance from the first film.
Widely regarded the best of the Universal monster movies, and I can see why. I haven’t seen the movies predecessor in quite a while, but I have seen Dracula and The Wolf Man fairly recently (both provoking much nostalgia from my early childhood monster phase), and while those films are closer to me, I understand that this is probably the better. That doesn’t make it great or anything, just, you know, pretty good.
I haven't experienced this much raw pleasure from a film in a while. The set/costume design is excellent. Thesiger & Clive compete for the most iconic-looking mad scientist. Overall BRIDE is more visually & emotionally interesting than the 1st film. Particularly fascinating is all the Christ symbolism surrounding Karloff's monster. It felt like Whale was inviting his Christian audience to do a little soul searching.
People say this is better than the original. I completely disagree and side with the director here who didnt want to do a sequel even though the bosses were clamoring for one. As far as sequels go, its def one of the best, and unequivocally the best of all the Universal monster sequels. For me though, the original is a solid 4-4.5 stars, this one maybe 3.5 if Im feeling generous, which I am today. 3.5 stars
This is the the quintessential classic Universal horror film. It also happens to be (along with The Invisible Man, also by James Whale) the most entertaining of the bunch. The effete Dr. Pretorious playing nagging wife to the impotent Henry Frankenstein and the general campiness of the goings on gives the film a culty, gay edge. This is the film that inspired Rocky Horror and led to the creation of comedic horror.
Superior to the 1931 film, however much of a detour it is from Shelley's classic novel. It perfectly plays up the 'What If?' Card regarding the Monster having a companion. This film is a profound exploration of gender politics. No adaptation of the novel has yet surpassed this. PS. Karloff is still the quintessential Monster.
From the opening with Percy Shelley, Byron, and Mary Shelley, to the near-existential ending, this is a sequel every bit better than its predecessor, and the climax of James Whale's horror films. Picks up right where the last one left off, but has such a drastically different tone and feel to it; a delightfully earnest film that may surprise you with its accessibility and low-key beauty.