Frankenstein: The Legacy Collection [2 Discs]

MOVIE DESCRIPTION:

The two-disc set Frankenstein: The Legacy Collection contains five different films that feature the creature created by author Mary Shelley. Frankenstein, Bride of Frankenstein, Son of Frankenstein, Ghost of Frankenstein, and House of Frankenstein are each presented in standard full-frame transfers that preserve the original theatrical aspect ratio of 1.33:1. The extras on each film fluctuate in quality and quantity, but do include a commentary from film scholar Rudy Behlmer, featurettes on the making of some of the films, trailers for three of the films, and archival photographs of some of these film's productions. This is a solid release that should please any genre enthusiast. ~ Perry Seibert, Rovi

DVD FEATURES:

• Region: 1
• Number of Discs: 2
• Aspect Ratio: 1.33:1 (Pre-1954 Standard)
• Screen: Black and White
• Audio: Dolby Digital Stereo
• Features:
  • Van Helsing director Stephen Sommers hosts an exclusive behind-the-scenes look at how these original Frankenstein films inspired his motion-picture event
  • "The Frankenstein Files: How Hollywood Made a Monster," an original documentary
  • "She's Alive!": Creating the bride of Frankenstein, an original documentary
  • Film historians provide insightful commentary to Frankenstein (Rudy Behlmer) and Bride of Frankenstein (Scott MacQueen) on an alternate audio track
  • Original theatrical trailers, plus the 1931, 1938, and 1951 reissue trailers for Frankenstein
  • Boo!: A short film
  • Frankenstein and Bride of Frankenstein original poster and photo galleries
  • Newly remastered audio track for maximum clarity

AWARDS

• Academy of Motion Picture Arts and Sciences

•     Nominated Best Sound - 1935 (Gilbert Kurland)

• American Film Institute

•     Won 100 Greatest American Movies - 1998

• Library of Congress

•     Won U.S. National Film Registry - 1998
•     Won U.S. National Film Registry - 1990

• New York Times

•     Won 10 Best Films - 1931

ADDITIONAL INFORMATION:

• Cast:

  
       Basil Rathbone - Baron Wolf von Frankenstein
       Boris Karloff - The Monster
       Bela Lugosi - Ygor
       Elsa Lanchester - Mary Shelley/The Bride
       Anne Gwynne - Rita Hussman
       Donnie Dunagan - Peter von Frankenstein
       Emma Dunn - Amelia
       Barton Yarborough - Dr. Kettering
       Doris Lloyd - Martha
       Lawrence Grant - Burgomaster
       Lionel Belmore - Emil Lang
       Charles Miller - Toberman
       Philip Van Zandt - Inspector Muller
       Gustav von Seyffertitz - Burgher
       Hans Herbert - Meier
       Dick Dickinson - Born
       George Lynn - Gerlach
       Michael Mark - Frederick Strauss
       Olaf Hytten - Hoffman
       Frank Reicher - Ullman
       Brandon Hurst - Dr. Geissler
       Glenn Strange - The Monster
       Anne Darling - Shepherdess

• Director:

  James Whale, Rowland V. Lee, Erle C. Kenton

• Producer:

  Carl Laemmle, Jr., Rowland V. Lee, George Waggner, Paul Malvern

• Screenwriter:

  John L. Balderston, Francis Edwards Faragoh, Robert Florey, Garrett Elsden Fort

• Book Author:

  Mary Shelley

• Play Author:

  Peggy Webling

• Screenwriter:

  William Hurlbut, Willis Cooper

• Screen Story:

  Eric Taylor

• Screenwriter:

  W. Scott Darling, Edward T. Lowe, Curt Siodmak

• Cinematographer:

  Arthur Edeson, John Mescall, George Robinson, Elwood Bredell, Milton Krasner

• Composer (Music Score):

  David Broekman, David Brockman, Franz Waxman

• Musical Direction/Supervision:

  Lionel Newman, Charles Previn

• Composer (Music Score):

  Frank Skinner, Charles Previn, Hans Salter

• Musical Direction/Supervision:

  Hans Salter

• Editor:

  Clarence Kolster, Maurice Pivar, Ted Kent, Phil Cahn

• Art Director:

  Charles Hall, Jack Otterson, John B. Goodman, Martin Obzina

• Associate Producer:

  E.M. Asher

• Set Designer:

  Herman Rosse, Russell A. Gausman

• Costume Designer:

  Vera West

• Sound/Sound Designer:

  Bernard B. Brown

• Makeup:

  Jack Pierce

• Special Effects:

  John P. Fulton

• First Assistant Director:

  Fred Frank, Charles S. Gould

REVIEWS:

• Because Frankenstein created much of the cinematic language of horror films, it has often been imitated (and parodied). Consequently (and ironically), viewers coming to the film today may mistake the conventions that it created for cliches. The mad scientist and his neo-gothic lab, comma-shaped assistant, and rigidly lurching monster were all creations of director James Whale, and all have become movie icons. However, watching Frankenstein is more than simply an exercise in nostalgia. Despite moments of melodrama, the film is wonderfully economical, telling a complex and engaging tale in little more than one hour. There are more moments of quiet power (most of them involving the strikingly effective Boris Karloff as the monster who simply wants to be loved) than you'll find in a fistful of big-budget horror films. Whale knew his medium and didn't clutter the action with a lot of chatter. Instead, he filled the screen with images that would become part of our cultural lexicon. He builds the story to its tragically inevitable climax, interchanging moments of subtle beauty and dreadful horror. Rather than simply adopt a conventional perspective (man should not play God), Whale emphasized the human drama (Frankenstein should not have abandoned his creation), turning a horror film into an existential tale of man's fear of abandonment. ~ Dan Jardine, Rovi
• By the time The Ghost of Frankenstein came along, the Frankenstein franchise had peaked and, given the circumstances, it was inevitable that it would go into decline. Ghost is indeed a significant decline, but it's still passable entertainment (something that is not necessarily true of some later entries in the series). The biggest problem is with the monster; the inimitable Boris Karloff bid adieu to the role, leaving Lon Chaney Jr. to try to fill his rather large shoes. Chaney is not exactly bad (and certainly better than others who have played the part), but he lacks the special magic that Karloff brought to the role; too often, he seems to be doing a Karloff imitation, capturing the surface qualities without understanding the torture and torment that fleshed out the actor's interpretation. That said, the rest of the cast is quite good, especially Bela Lugosi, turning in a delightful performance as Ygor, and an enjoyable Lionel Atwill. There's not much that anyone can do, however, with a script that is cobbled together with bits and pieces taken from here and there, or with direction that is efficient but bland; no mesmerizing-yet-quirky James Whale atmosphere here. Horror aficionados will want to catch The Ghost of Frankenstein, but regular viewers will likely be somewhat entertained but also somewhat disappointed. ~ Craig Butler, Rovi
• House of Frankenstein is more of a Boris Karloff revenge film than the monster-fest that Universal Studios advertised; Dracula (John Carradine) is eliminated early in the picture, so there's no interplay between his character and Frankenstein and the Wolf Man, the two other top-billed creatures. Fortunately, Karloff can carry the film on his own. Though nowhere near as stylish as Bride of Frankenstein (1935) or The Wolf Man (1941), House has plenty of atmosphere courtesy of George Robinson's carefully composed cinematography. Director Erle C. Kenton has the good sense to stick with a proven formula: this was the sixth film in Universal's Frankenstein series, and the third each for Dracula and The Wolf Man. Essentially, the first portion of House is a Dracula film, and the remainder a sequel to Frankenstein Meets the Wolf Man, made earlier that year. All three monsters would return for House of Dracula (1945), where they would appear in the same portions of the story. ~ Richard Gilliam, Rovi
• Son of Frankenstein is unusual because it maintains its quality despite being the third film in a series, and despite a change in directors. While Roland V. Lee was hardly in the league of predecessor James Whale, he was an above average director who could do good work with the proper material and resources. Here he has a strong story, fine inherited production motifs, and an excellent cast that includes Basil Rathbone, Bela Lugosi, Lionel Atwill, Josephine Hutchinson, and Boris Karloff, in his final movie performance as the Monster. The film established several motifs that would later be used in similar films -- for example, the initially uninterested son who gradually becomes obsessed with the work of his mad-scientist father. Mel Brooks fans will instantly recognize the story line of Young Frankenstein (1974), which borrowed several other bits of this film, including a delightful satire of Atwill's stiff-armed performance. Son of Frankenstein is a step down from the expressionistic heights of Whale's Frankenstein and The Bride of Frankenstein, but the step is not so great as to leave the film without its own substantial merits. ~ Richard Gilliam, Rovi
• The wildest and most audacious of James Whale's 1930s horror movies, The Bride of Frankenstein is in nearly all ways superior to Whale's original Frankenstein four years earlier. While the first picture was made on a limited budget, Bride was given all the trappings of a big studio's most prestigious production, and, if the results lack the original's lean, claustrophobic mood, Whale's sly wit and gleeful enthusiasm more than make up for it. Brimming with subtle self-parody, Bride of Frankenstein offered Whale the opportunity to mock the cliches of horror films, along with amusing sideswipes at Hollywood romances, historical dramas, and even Christianity. As was his habit, Whale packed the film with amusing eccentrics, including Ernest Thesiger as Dr. Pretorious, a gin-guzzling mad scientist who's even madder than Dr. Frankenstein (Colin Clive), Una O'Connor as Minnie the shrieking servant, and demented hunchback Dwight Frye. Blending effortlessly with Whale's offbeat humor, the cast gave the proceedings an unmistakably British humor and sensibility, even if the film was shot on a Hollywood backlot. Despite Whale's farcical humor, Boris Karloff still delivers a powerful performance as the Monster; the tortured creature is, if anything, even more humane and sympathetic than in the first film, and, while Karloff strongly objected to having the Monster speak, his gruff but heartfelt delivery of his simple dialogue makes his sad fate all the more effective. A young Elsa Lanchester is quite memorable as both the Monster's bizarre mate and Mary Shelley, who spins this tale as a lark for Percy Shelley and Lord Byron. Bride of Frankenstein is ultimately more spooky than scary, but its witty dialogue, top-notch cast, and superb sense of mood make it high entertainment no matter what genre you drop it into. ~ Mark Deming, Rovi