Bride of Frankenstein

Source: Wikipedia, the free encyclopedia.
This article is about the 1935 film. For the character of the same name, see Bride of Frankenstein (character).

Bride of Frankenstein
Theatrical release poster
Directed byJames Whale
Screenplay byWilliam Hurlbut
Story by
Based onPremise suggested by Frankenstein
1818 novel
by Mary Wollstonecraft Shelley
Produced byCarl Laemmle Jr.
Starring
CinematographyJohn J. Mescall
Edited byTed J. Kent
Music byFranz Waxman
Production
company
Distributed byUniversal Pictures
Release dates
  • April 19, 1935 (1935-04-19) (San Francisco, Seattle)
  • April 20, 1935 (1935-04-20) (United States)
Running time
75 minutes[1]
CountryUnited States
LanguageEnglish
Budget$397,000[2]
Box office$2 million

Bride of Frankenstein is a 1935 American

Oliver Peters Heggie
plays the role of the old blind hermit.

Taking place immediately after the events of the earlier film, it is rooted in a subplot of the original Mary Shelley novel, Frankenstein; or, The Modern Prometheus (1818). Its plot follows a chastened Henry Frankenstein as he attempts to abandon his plans to create life, only to be tempted and finally blackmailed by his old mentor Dr. Pretorius, along with threats from the Monster, into constructing a bride for the Monster.

The preparation to film the sequel began shortly after the premiere of the first film, but script problems delayed the project. Principal photography began in January 1935, with creative personnel from the original returning in front of and behind the camera. Bride of Frankenstein was released to critical and popular acclaim, although it encountered difficulties with some state and national censorship boards. Since its release the film's reputation has grown, and it is now frequently considered one of the greatest sequels ever made; many fans and critics consider it to be an improvement on the original, and it has been hailed as Whale's masterpiece. In 1998, it was selected by the Library of Congress for preservation in the United States National Film Registry, having been deemed "culturally, historically or aesthetically significant".

Plot

In a castle on a stormy night, Percy Bysshe Shelley and Lord Byron praise Mary Shelley for her story of Frankenstein and his Monster. She reminds them that her intention for writing the novel was to impart a moral lesson, the consequences of a mortal man who tries to play God. Mary says she has more of the story to tell. The scene shifts to the close of the 1931 movie Frankenstein, where villagers gathered around the burning windmill cheer the apparent death of the Monster.

Hans, the father of a girl the creature drowned, wants to see the Monster's bones. He falls into a flooded pit underneath the mill, where the Monster—having survived the fire—strangles him. Hauling himself from the pit, the Monster casts Hans' wife to her death. He next encounters Frankenstein's servant Minnie, who flees in terror.

The body of Henry Frankenstein, who is thought to have died at the windmill, is returned to his fiancée Elizabeth at his castle home. Minnie arrives to sound the alarm about the Monster, but her warning goes unheeded. Elizabeth, seeing Henry move, realizes he is still alive. Nursed back to health by Elizabeth, Henry has renounced his creation, but still believes he may be destined to unlock the secret of life and immortality. A hysterical Elizabeth cries that she foresees death.

Henry visits the lab of his former mentor Doctor Septimus Pretorius, where Pretorius shows Henry several homunculi he has created. Pretorius wishes to work with Henry to create a mate for the Monster, with the proposed venture involving Pretorius growing an artificial brain while Henry gathers parts for the mate.

The Monster saves a young shepherdess from drowning. Her screams upon seeing the Monster alert two hunters, who shoot and injure him. The hunters raise a mob that sets out in pursuit. Captured and trussed to a pole, the Monster is hauled to a dungeon and chained. Left alone, he breaks his chains, overpowers the guards, and escapes into the woods.

That night, the Monster encounters an old blind hermit who thanks God for sending him a friend. He teaches the monster words like "friend" and "good" and shares a meal with him. Two lost hunters stumble upon the cottage and recognize the Monster. He attacks them and accidentally burns down the cottage as the hunters lead the hermit away.

Taking refuge from another angry mob in a crypt, the Monster spies Pretorius and his cronies Karl and Ludwig breaking open a grave. The henchmen depart as Pretorius has supper. The Monster reveals himself, eats some of the food, and learns that Pretorius plans to create a mate for him.

Henry and Elizabeth, now married, are visited by Pretorius. Henry expresses his refusal to assist Pretorius, who calls the Monster. The Monster demands Henry's help, to no avail. Pretorius orders the Monster out, secretly signaling him to kidnap Elizabeth. Pretorius guarantees her safe return upon Henry's participation. Henry returns to his tower laboratory and, despite himself, grows excited over his work. After being assured of Elizabeth's safety, Henry completes the Bride's body.

A storm rages as final preparations are made to bring the Bride to life. Her bandage-wrapped body is raised through the roof, where electricity is harnessed from lightning to animate her. Henry and Pretorius lower her and, after realizing their success in bringing her to life, remove her bandages and help her to stand.

The Monster comes down the steps after killing Karl on the rooftop and sees his mate. The Monster reaches out to her and asks: "Friend?" The Bride, screaming, rejects him. He observes: "She hate me! Like others." As Elizabeth races to Henry's side, the Monster rampages through the lab. Before destroying everything, the Monster pauses and tells Henry and Elizabeth: "Go! You live! Go!" To Pretorius and the Bride, he says: "You stay. We belong dead." While Henry and Elizabeth flee, the Bride hisses at the Monster. Shedding a tear, the Monster pulls a lever to trigger the laboratory and tower's destruction.

Cast

Lobby card for the 1953 re-release
PLAY 1935 trailer for Bride of Frankenstein

Production

Boris Karloff as Frankenstein's monster in Bride of Frankenstein.

Universal considered making a sequel to Frankenstein as early as its 1931 preview screenings, following which the film's original ending was changed to allow for Henry Frankenstein's survival.

Carl Laemmle, Jr. realized that Whale was the only possible director for Bride; Whale took advantage of the situation in persuading the studio to let him make One More River.[7] Whale believed the sequel would not top the original, so he decided instead to make it a memorable "hoot".[5] According to a studio publicist, Whale and Universal's studio psychiatrist decided "the Monster would have the mental age of a ten-year-old boy and the emotional age of a lad of fifteen".[5]

Screenwriter

Hays office for review. The script passed its review, but Whale, who by then had been contracted to direct, complained that "it stinks to heaven".[10] L. G. Blochman and Philip MacDonald were the next writers assigned, but Whale also found their work unsatisfactory. In 1934, Whale set John L. Balderston to work on yet another version, and it was he who returned to an incident from the novel in which the creature demands a mate. In the novel Frankenstein creates a mate, but destroys it without bringing it to life. Balderston also created the Mary Shelley prologue. After several months Whale was still not satisfied with Balderston's work and handed the project to playwright William J. Hurlbut and Edmund Pearson. The final script, combining elements of a number of these versions, was submitted for Hays office review in November 1934.[11] Kim Newman reports that Whale planned to make Elizabeth the heart donor for the bride,[12] but film historian Scott MacQueen states that Whale never had such an intention.[8]

Sources report that

Oscar) and Whale's own The Old Dark House. Lanchester had returned alone to London when Whale contacted her to offer her the dual role.[16] Lanchester modeled the Bride's hissing on the hissing of swans. She gave herself a sore throat while filming the hissing sequence, which Whale shot from multiple angles.[17]

Colin Clive and Boris Karloff reprised their roles from Frankenstein as creator and creation, respectively. Hobson recalled Clive's alcoholism had worsened since filming the original, but Whale did not recast the role because his "hysterical quality" was necessary for the film.[15] Karloff strongly objected to the decision to allow the Monster to speak: "Speech! Stupid! My argument was that if the monster had any impact or charm, it was because he was inarticulate – this great, lumbering, inarticulate creature. The moment he spoke you might as well ... play it straight".[18] This decision also meant that Karloff could not remove his dental plate, so now his cheeks did not have the sunken look of the original film.[8] Whale and the studio psychiatrist selected 44 simple words for the Monster's vocabulary by looking at test papers of ten-year-olds working at the studio.[5] Dwight Frye returned to play the doctor's assistant, Karl, having played the hunchback Fritz in the original. Frye also filmed a scene as an unnamed villager and the role of "Nephew Glutz", a man who murdered his uncle and blamed the death on the Monster.[8] Boris Karloff is credited simply as KARLOFF, which was Universal's custom during the height of his career.[19] Elsa Lanchester is credited for Mary Wollstonecraft Shelley, but in a nod to the earlier film, the Monster's bride is credited only as "?" just as Boris Karloff had been in the opening credits of Frankenstein.

The Bride of Frankenstein has black hair with a white streak running through it, is dressed in a white gown, and has a blank expression. She is standing on the left with her left hand elevated. On the right is Frankenstein's monster, standing on the right and smiling. His right hand is below hers. The background includes walls made of stone.
The Bride's lightning-streaked hairdo is an iconic symbol of the character and the film.

Universal makeup artist

iconic hair style,[16] based on Nefertiti.[9] Lanchester's hair was given a Marcel wave over a wire frame to achieve the style.[8] Lanchester disliked working with Pierce, who she said "really did feel that he made these people, like he was a god ... in the morning he'd be dressed in white as if he were in hospital to perform an operation".[9] To play Mary Shelley, Lanchester wore a white net dress embroidered with sequins of butterflies, stars, and moons, which the actress had heard required 17 women 12 weeks to make.[5] Lanchester said of her bride costume: "I drank as little liquid as possible. It was too much of an ordeal to go to the bathroom--all those bandages--and having to be accompanied by my dresser".[20]

rotoscoped and matted onto the rear plate. Diminutive actor Billy Barty is briefly visible from the back in the finished film as a homunculus infant in a high chair, but Whale cut the infant's reveal before the film's release.[8]

Whale met Franz Waxman at a party and asked him to score the picture. Whale told him: "Nothing will be resolved in this picture except the end destruction scene. Would you write an unresolved score for it?"[17] Waxman created three distinctive themes: one for the Monster; one for the Bride; and one for Pretorius. The score closes, at Whale's suggestion, with a powerful dissonant chord, intended to convey the idea that the on-screen explosion was so powerful that the theater where the film was being screened was affected by it.[25] Constantin Bakaleinikoff conducted 22 musicians to record the score in a single nine-hour session.[26]

Shooting began on January 2, 1935,[27] with a projected budget of US$293,750 ($6.53 million as of 2024) – almost exactly the budget of the original – and an estimated 36-day shooting schedule.[28][29] On the first day, Karloff waded in the water below the destroyed windmill wearing a rubber suit under his costume. Air got into the suit and expanded it like an "obscene water lily".[9] Later that day, Karloff broke his hip, necessitating a stunt double.[18] Clive had also broken his leg.[15] Shooting was completed on March 7. The film was ten days over schedule because Whale shut down the picture for ten days until Heggie became available to play the Hermit.[30] With a final cost of $397,023 ($11.1 million as of 2024), Bride was more than $100,000 ($2.22 million as of 2024) over budget.[28][27] As originally filmed, Henry died fleeing the exploding castle. Whale re-shot the ending to allow for their survival, although Clive is still visible on-screen in the collapsing laboratory.[12] Whale completed his final cut, shortening the running time from about 90 to 75 minutes and re-shooting and re-editing the ending, only days before the film's scheduled premiere date.[1]

Censorship

Boris Karloff, director James Whale, and cinematographer John J. Mescall on the set of Bride of Frankenstein (1935).

Bride of Frankenstein was subjected to

Hays office and following its release by local and national censorship boards. Joseph Breen, lead censor for the Hays office, objected to lines of dialogue in the originally submitted script in which Henry Frankenstein and his work were compared to that of God. He continued to object to such dialogue in revised scripts,[31] and to a planned shot of the Monster rushing through a graveyard to a figure of a crucified Jesus and attempting to rescue the figure from the cross.[32] Breen also objected to the number of murders, both seen and implied by the script and strongly advised Whale to reduce the number.[8] The censors' office, upon reviewing the film in March 1935, required a number of cuts. Whale agreed to delete a sequence in which Dwight Frye's "Nephew Glutz"[8] kills his uncle and blames the Monster,[1] and shots of Elsa Lanchester as Mary Shelley in which Breen felt too much of her breasts were visible. Despite his earlier objection, Breen offered no objection to the cruciform imagery throughout the film – including a scene with the Monster lashed Christ-like to a pole – nor to the presentation of Pretorius as a coded homosexual.[31] Bride of Frankenstein was approved by the Production Code office on April 15.[1]

Following its release with the Code seal of approval, the film was challenged by the censorship board in the state of

Henry VIII with tweezers, asserting that it constituted "making a fool out of a king".[31]

Reception

Colin Clive, Elsa Lanchester, Boris Karloff, and Ernest Thesiger.

The film premiered on April 19 in San Francisco, California, at the Orpheum Theater.[34][a] The film went into general release on April 20.[35][36]

Bride of Frankenstein was profitable for Universal, with a 1943 report showing that the film had by then earned approximately $2 million ($35.2 million in 2024 money) for the studio, a profit of about $950,000 ($16.7 million as of 2024).[28][37] The film was critically praised upon its release, although some reviewers did qualify their opinions based on the film's being in the horror genre. The New York World-Telegram called the film "good entertainment of its kind".[38] The New York Post described it as "a grotesque, gruesome tale which, of its kind, is swell".[38] The Hollywood Reporter similarly called the film "a joy for those who can appreciate it".[38]

Variety did not so qualify its review: "[It is] one of those rare instances where none can review it, or talk about it, without mentioning the cameraman, art director, and score composer in the same breath as the actors and director". Variety also praised the cast, writing that "Karloff manages to invest the character with some subtleties of emotion that are surprisingly real and touching ... Thesiger as Dr. Pretorious [is] a diabolic characterization if ever there was one ... Lanchester handles two assignments, being first in a preamble as author Mary Shelley and then the created woman. In latter assignment she impresses quite highly".[39]

In another unqualified review,

Academy Award, for Sound Recording (Gilbert Kurland).[44][45]

The film's reputation has persisted and grown in the decades since its release. In 1998, the film was added to the United States

Empire magazine as one of The 500 Greatest Movies of All Time.[51] Also that year, the Boston Herald named it the second greatest horror film after Nosferatu.[52] In 2016, James Charisma of Playboy ranked the film #7 on a list of 15 Sequels That Are Way Better Than The Originals.[53] Entertainment Weekly considers the film superior to Frankenstein.[54]

On the

weighted average, assigned the film a score of 95 out of 100, based on 16 critics, indicating "universal acclaim".[56]

Interpretations

Christian imagery

Karloff in the trailer.

Christian imagery appears throughout the film. In addition to the scenes of the Monster trussed in a cruciform pose and the crucified figure of Jesus in the graveyard, the hermit has a crucifix on the wall of his hut – which, to Whale's consternation, editor Ted Kent made glow during a fade-out[8] – and the Monster consumes the Christian sacraments of bread and wine at his "last supper" with the hermit. Horror scholar David J. Skal suggests that Whale's intention was to make a "direct comparison of Frankenstein's monster to Christ".[57] Film scholar Scott MacQueen, noting Whale's lack of any religious convictions, disputes the notion that the Monster is a Christ-figure. Rather, the Monster is a "mockery of the divine" since, having been created by Man rather than God, it "lacks the divine spark". In crucifying the Monster, he says, Whale "pushes the audience's buttons" by inverting the central Christian belief of the death of Christ followed by the resurrection. The Monster is raised from the dead first, then crucified.[8]

LGBTQ+ reading

Elsa Lanchester as the Bride of Frankenstein.

In the decades since its release, modern film scholars have noted the possible

bisexual.[58] Although James Curtis, Whale's biographer, rejects the notion that Whale would have identified with the Monster from a homosexual perspective,[59] scholars have perceived a gay subtext suffused through the film, especially a camp sensibility,[60]
particularly embodied in the character of Pretorius and his relationship with Henry.

Gay film historian Vito Russo, in considering Pretorius, stops short of identifying the character as gay, instead referring to him as "sissified",[61] "sissy" itself being Hollywood code for "homosexual". Pretorius serves as a "gay Mephistopheles",[14] a figure of seduction and temptation, going so far as to pull Frankenstein away from his bride on their wedding night to engage in the unnatural act of creating non-procreative life. A novelization of the film published in the United Kingdom made the implication clear, having Pretorius say to Frankenstein: "Be fruitful and multiply. Let us obey the Biblical injunction: you of course, have the choice of natural means; but as for me, I am afraid that there is no course open to me but the scientific way".[62]

The Monster, whose affections for the male hermit and the female Bride he discusses with identical language ("friend") has been read as sexually "unsettled" and bisexual.[58] Gender studies author Elizabeth Young writes: "He has no innate understanding that the male-female bond he is to forge with the bride is assumed to be the primary one or that it carries a different sexual valence from his relationships with [Pretorius and the hermit]: all affective relationships are as easily 'friendships' as 'marriages'".[63] Indeed, his relationship with the hermit has been interpreted as a same-sex marriage that heterosexual society will not tolerate: "No mistake – this is a marriage, and a viable one ... But Whale reminds us quickly that society does not approve. The monster – the outsider – is driven from his scene of domestic pleasure by two gun-toting rubes who happen upon this startling alliance and quickly, instinctively, proceed to destroy it", writes cultural critic Gary Morris for Bright Lights Film Journal.[58] The creation of the Bride scene, Morris continues, is "Whale's reminder to the audience – his Hollywood bosses, peers, and everyone watching – of the majesty and power of the homosexual creator".[58]

Filmmaker Curtis Harrington, a friend and confidant of Whale's, dismissed this as "a younger critic's evaluation. All artists do work that comes out of the unconscious mind and later on you can analyze it and say the symbolism may mean something, but artists don't think that way and I would bet my life that James Whale would never have had such concepts in mind".[64] Specifically in response to the "majesty and power" reading, Harrington stated: "My opinion is that's just pure bullshit. That's a critical interpretation that has nothing to do with the original inspiration".[64] He concludes: "I think the closest you can come to a homosexual metaphor in his films is to identify that certain sort of camp humor".[64] Whale's companion David Lewis stated flatly that Whale's sexual orientation was "not germane" to his filmmaking: "Jimmy was first and foremost an artist, and his films represent the work of an artist – not a gay artist, but an artist".[59]

1930s Universal's art director Karoly Grosz designed this offbeat 1935 advertisement.

Home media

In 1985,

MCA Home Video released Bride of Frankenstein on LaserDisc.[65] In the 1990s, MCA/Universal Home Video released the film on VHS as part of the "Universal Monsters Classic Collection", a series of releases of Universal Classic Monsters films.[66]

In 1999, Universal released Bride of Frankenstein on VHS and

The House of Frankenstein.[69][70]

Boris Karloff in the film's trailer.

In 2012, Bride of Frankenstein was released on

steelbook Blu-ray release with cover artwork by Alex Ross.[76]

Bride of Frankenstein was included in the Universal Classic Monsters: Complete 30-Film Collection Blu-ray box set in August 2018.[77] This box set also received a DVD release.[78]

See also

References

Notes

  1. ^ Film historian Martin F. Norden says the film had its world premiere in Chicago, Illinois.[35]

Citations

  1. ^ a b c d Curtis, p. 250
  2. ^ Brunas, et al., p. 116
  3. ^ "Bride of Frankenstein". Turner Classic Movies. Archived from the original on October 9, 2018. Retrieved March 15, 2016.
  4. ^ Curtis, p. 154
  5. ^ a b c d e Vieria, p. 80
  6. ^ "The Bride of Frankenstein". catalog.afi.com. Archived from the original on December 3, 2021. Retrieved December 3, 2021.
  7. ^ Curtis, p. 234
  8. ^ a b c d e f g h i j k l MacQueen, Scott (2004). DVD commentary, Bride of Frankenstein Legacy Collection edition (DVD). Universal Studios.
  9. ^ a b c d Vieira, p. 85
  10. ^ Curtis, p. 134
  11. ^ Curtis, pp. 234–36
  12. ^ a b Newman, Kim (December 2004). "Rewind Masterpiece #18". Empire. p. 181.
  13. ^ Lennig, p. 92
  14. ^ a b Skal, p. 185
  15. ^ a b c Vieira, p. 82
  16. ^ a b Curtis, pp. 243–44
  17. ^ a b Vieira, p. 86
  18. ^ a b Gifford, p. 55
  19. ^ a b Curtis, p. 237
  20. ISBN 0-14-024002-0
    .
  21. ^ Goldman, p. 165
  22. ^ Goldman, p. 183
  23. ^ Picart, et al., p. 40
  24. ^ Picart, et al., p. 39
  25. ^ Curtis, p. 246
  26. ^ Curtis, p. 249
  27. ^ a b Mank, p. xvii
  28. ^ a b c 1634–1699: McCusker, J. J. (1997). How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States: Addenda et Corrigenda (PDF). American Antiquarian Society. 1700–1799: McCusker, J. J. (1992). How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States (PDF). American Antiquarian Society. 1800–present: Federal Reserve Bank of Minneapolis. "Consumer Price Index (estimate) 1800–". Retrieved February 29, 2024.
  29. ^ Curtis, p. 241
  30. ^ Curtis, pp. 248–49
  31. ^ a b c d Skal, pp. 187–91
  32. ^ Curtis, p. 247
  33. ^ Johnson, p. 166
  34. ISBN 9780786449552; "This Day in History: April 19". The Baltimore Sun. March 31, 2017. Archived
    from the original on April 22, 2022. Retrieved April 21, 2022; "'Bride of Frankenstein' at Orpheum Tomorrow". The San Francisco Examiner. April 18, 1935. p. 12; Hanifin, Ada (April 19, 1935). "'Bride of Frankenstein' Seen at Orpheum Today". The San Francisco Examiner. p. 14.
  35. ^
    ISBN 9781442268326
    .
  36. ^ "Monster to Appear Again". Los Angeles Times. April 19, 1935. p. Part I-1.
  37. ^ Curtis p. 251
  38. ^ a b c Curtis, pp. 250–51
  39. ^ Variety staff (January 1, 1935). "Bride of Frankenstein". Variety. Archived from the original on December 6, 2008. Retrieved January 6, 2008.
  40. ^ "The New Pictures". Time. April 29, 1935. Archived from the original on December 4, 2008. Retrieved January 6, 2008.
  41. ^ Soanes, Wood (May 25, 1935). "Frankenstein stalks again in Roxie play". Oakland Tribune.
  42. ^ "Lyceum screens "Monster" sequel". Winnipeg Free Press. May 24, 1935.
  43. ^ a b c F.S.N. (May 11, 1935). "Bride of Frankenstein At the Roxy". The New York Times. Archived from the original on June 19, 2012. Retrieved February 1, 2009. Mr. Karloff is so splendid in the role that all one can say is 'he is the Monster'. Mr. Clive, Valerie Hobson, Elsa Lanchester, O. P. Heggie, Ernest Thesiger, E. E. Clive, and Una O'Connor fit snugly into the human background before which Karloff moves.
  44. ^ "The 8th Academy Awards (1936) Nominees and Winners". oscars.org. Archived from the original on July 6, 2011. Retrieved August 7, 2011.
  45. Allmovie. Archived
    from the original on March 6, 2019. Retrieved January 9, 2008.
  46. ^ "'Easy Rider' now listed on National Film Registry". CNN. November 17, 1998. Archived from the original on March 19, 2007. Retrieved January 6, 2008.
  47. ^ Klady, Leonard (November 17, 1998). "Nat'l Film Registry adds 25 pix". Variety. Archived from the original on March 12, 2021. Retrieved May 28, 2020.
  48. ^ Graham, Bob (October 9, 1998). "'Bride' Is as Lovely as Ever". San Francisco Chronicle. Archived from the original on February 9, 2009. Retrieved January 8, 2008.
  49. ^ French, Philip (December 2, 2007). "Films of the Day: The Bride of Frankenstein". The Observer.
  50. ^ Corliss, Richard; Schickel, Richard (February 12, 2005). "All-Time 100 Movies". Time. Archived from the original on December 26, 2007. Retrieved January 6, 2008.
  51. ^ "Empire's The 500 Greatest Movies of All Time". Empire. Archived from the original on March 24, 2012. Retrieved July 8, 2010.
  52. ^ Verniere, James (October 27, 2008). "Creepy countdown: The Herald ranks the 10 scariest flicks in film history". Boston Herald. Archived from the original on May 22, 2011. Retrieved October 28, 2008.
  53. ^ Charisma, James (March 15, 2016). "Revenge of the Movie: 15 Sequels That Are Way Better Than The Originals". Playboy. Archived from the original on July 26, 2016. Retrieved July 19, 2016.
  54. ^ The Entertainment Weekly Guide to the Greatest Movies Ever Made. New York: Warner Books. 1996. pp. 99–100.
  55. ^ "Bride of Frankenstein". Rotten Tomatoes. Fandango Media. Archived from the original on November 28, 2020. Retrieved November 26, 2022.
  56. ^ "The Bride of Frankenstein Reviews". Metacritic. Fandom, Inc. Archived from the original on July 4, 2020. Retrieved November 26, 2022.
  57. ^ Skal. p. 189
  58. ^ a b c d Morris, Gary (July 1997). "Sexual Subversion: The Bride of Frankenstein". Bright Lights Film Journal (19). Retrieved January 7, 2008.
  59. ^ a b Curtis, p. 144
  60. ^ Skal, p. 184
  61. ^ Russo, p. 50
  62. ^ Egremont, Michael, quoted in Skal, p. 189
  63. ^ Young, p. 134
  64. ^ a b c Del Valle, David (November 29, 2009). "Curtis Harrington on James Whale". Films in Review. p. 3. Archived from the original on July 18, 2011. Retrieved June 10, 2010.
  65. ^ "Bride of Frankenstein, The (1935)". LaserDisc Database. Archived from the original on September 19, 2020. Retrieved January 23, 2020.
  66. Amazon.com
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  67. ASIN 6300183629
    .
  68. ISBN 078323502X
    .
  69. ^
    Amazon.com. April 27, 2004. Archived
    from the original on October 27, 2019. Retrieved January 19, 2020.
  70. ^ a b Jane, Ian (April 22, 2004). "Frankenstein - The Legacy Collection (Frankenstein / Bride of / Son of / Ghost of / House of)". DVD Talk. Archived from the original on April 18, 2020. Retrieved January 23, 2020.
  71. Amazon.com. October 2, 2012. Archived
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  72. ^
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  73. Amazon.com. September 8, 2015. Archived
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  74. ^ Squires, John (September 13, 2016). "Walmart Releases Universal Monsters Classics With Glow-In-Dark Covers!". iHorror.com. Archived from the original on January 21, 2020. Retrieved January 23, 2020.
  75. Amazon.com. September 13, 2016. Archived
    from the original on November 19, 2019. Retrieved January 19, 2020.
  76. ^ Squires, John (June 27, 2017). "Best Buy Getting Universal Monsters Steelbooks With Stunning Alex Ross Art". Bloody Disgusting. Archived from the original on January 21, 2020. Retrieved January 23, 2020.
  77. Amazon.com. August 28, 2018. Archived
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  78. Amazon.com. September 2, 2014. Archived
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Bibliography

External links
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