Podcasts about Colin Clive

GGACP celebrates Halloween month with this ENCORE of an informative and entertaining two-part conversation about Gilbert and Frank's beloved Universal horror classics with historian, screenwriter and author of "Top 100 Horror Movies," Gary Gerani. This week: Directed by Roger Corman! The music of Billy Goldenberg! The trials of Colin Clive! Boris Karloff goes bowling! And King Tut inspires “The Mummy”! Learn more about your ad choices. Visit megaphone.fm/adchoices

*God, if I can somehow get Clancy Brown to introduce this show, it'd be beautiful but now, you'll just have to imagine his deep, rich voice* DAY 2! GIVE IT UP FOR DAY 2, EVERYONE!31 Days of Halloween continues down the Universal Monsters track. Not even a year after DRACULA's release, wunderkind producer Carl Laemmle Jr. comes back swinging with FRANKENSTEIN, a James Whale-directed adaptation of Mary Shelley's novel.Bela Lugosi is interested in returning. Junior is stoked! Lugosi reads the script and waitaminute, this is for the monster; I wanted to be Henry Frankenstein, what the fuck?Enter Boris Karloff, a veteran English stage actor with 80 credits to his name before taking on the role of the lumbering Creature.Borne of the crude surgery of dead parts and a good ol' blast of lightning, this Creature is the product of Frankenstein's (Colin Clive) defiance against God, the natural order, showers (Look in my eyes and truthfully deny it, I dare you. Henry be stinky.) and sanity.This movie established the benchmark for many who would follow. Any mad scientist crafts their lab in response to the bubbling breakers and sparkling electronics of Whale's movie. The locked-knee hobbling accentuated by grunts and baritone moans for any monstrous brute comes from Karloff's performance. Even cartoons joke about angry mobs with torches and pitchforks, aping this movie's ending. The influence reaches further than one can imagine.And while I dock points for the movie meandering about Henry's wedding (The dude just created life and you people wanna think about bouquets?) and a lack of time developing the Creature's intelligence, as does the novel, that influence makes this a must-watch. For this Universal Monsters run, it's important to see where we've been to better chart where horror can go. ---Follow, rate and review THE MOVIES wherever you listen to podcasts!Follow THE MOVIES on Instagram, Bluesky & Letterboxd

Halloween season has begun, and the High and Low Movie show is going old-school for its annual Howltoberween Spookfest, where they take a gander at some old Universal Monster classics!Join Mitchell, Luke, and Vonn on an astonishingly sane journey to create life from a patchwork corpse in a mockery of God and man. Then, the podcaster will watch a movie, maybe James Whale's 1931 masterpiece, Frankenstein, starring Boris Karloff as the mysterious monster, along with Colin Clive, Mae Clarke, John Boles, Edward Van Sloan, and Frederick Kerr. Get social with High & Low!Instagram @HighLowMovieShowThreads @ HighLowMovieShowJoin our Facebook Group The High & Low DungeonBuy Us a Coffee Twitter @HighLowMovieSho

Diane and Sean discuss the Godfather II of Frankenstein movies, Bride of Frankenstein. Episode music is, "The Creation", by Franz Waxman from the OST.-  Our theme song is by Brushy One String-  Artwork by Marlaine LePage-  Why Do We Own This DVD?  Merch available at Teepublic-  Follow the show on social media:-  BlueSky: WhyDoWeOwnThisDVD-  IG: @whydoweownthisdvd- Tumblr: WhyDoWeOwnThisDVD-  Follow Sean's Plants on IG: @lookitmahplants- Watch Sean be bad at video games on TwitchSupport the show

The iconic line, "It's alive! It's alive!" is spoken by Dr. Henry Frankenstein (played by Colin Clive) in the 1931 film Frankenstein. This famous line is actually an addition to Mary Shelley's original novel, where the creator reacts with horror and flees from his creation. Birthdays Mom, Freddie Mercury, Gordon Harrison Hull Put It On The List (House shows) Polka band, Ghast, Bard with lyre we need a bard with a lyre to compose a theme song about foot wars that occur over the middle thing on the nook with the bridge about 'can you stop?' Man-O-Sphere Alternate Names Shipping Fraud Odyssey Seemingly endless meaningless Sisyphean conflict Animated Representation "It's alive! It's alive!" is spoken by Dr. Henry Frankenstein (played by Colin Clive) in the 1931 film Frankenstein. This famous line is actually an addition to Mary Shelley's original novel. Outro 00:00:17 - Birthdays 00:04:25 - Put It On The List 00:09:50 - Man-O-Sphere Alternate Names 00:13:57 - Shipping Fraud Odyssey 00:17:11 - Animated Representation 00:22:32 - Outro

Bride of Frankenstein is a 1935 American Gothic science fiction horror film, and the first sequel to Universal Pictures' 1931 film Frankenstein. As with the first film, Bride of Frankenstein was directed by James Whale starring Boris Karloff as the Monster and Colin Clive as Dr. Frankenstein. Joining the cast are Elsa Lanchester as the Bride and Ernest Thesiger as Dr. Pretorius. If you have anything to add to the discussion, please don't hesitate to do so by reaching out to us on social media @TheFilmFlamers, or call our hotline and leave us a message at 972-666-7733!   Watch Bride of Frankenstein: https://amzn.to/4lwzETg      Out this Month: Mary Shelley's Frankenstein (1994) Hot Take: 28 Years Later Bride of Frankenstein (1935) Patreon: Poll      Get in Touch:  Support us on Patreon: https://www.patreon.com/TheFilmFlamers  Visit our Store: https://the-film-flamers.printify.me/  Instagram: https://www.instagram.com/thefilmflamers  Facebook: https://www.facebook.com/TheFilmFlamers/ Letterboxd: https://letterboxd.com/thefilmflamers/  (NEW!) SCANS Movie Rating Calculator: https://scans.glide.page/  Our Website: https://www.filmflamers.com  Call our Hotline: 972-666-7733     Our Patrons:    Alex M Andrew Bower Anthony Criswell Ashlie Thornbury BattleBurrito Benjamin Gonzalez Bennett Hunter BreakfastChainsawMassacre Brittany Bellgardt Call me Lestat. Canadianmatt3 CenobiteBetty Christopher Nelson Dan Alvarez Dirty Birdy eliza mc Gia Gillian Murtagh GlazedDonut GWilliamNYC Irwan Iskak James Aumann Jessica E Joanne Ellison Josh Young Karl Haikara Kimberly McGuirk Kitty Kelly Kyle Kavanagh Laura O'Malley Lisa Libby Lisa Söderberg Livi Loch Hightower M Hussman Mac Daddy Matt Walsh Matthew McHenry Nicole McDaniel Niko Allred Nimble Wembley Orion Yannotti Pablo the Rhino Penelope Nelson random dude Richard Best Robert Eppers Rosieredleader Ryan King SHADOW OF THE DEAD SWANN Sharon Sinesthero Thomas Jane's gun Walstrich William Skinner   Sweet dreams...      "Welcome to Horrorland" by Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/ Includes music by Karl Casey @ White Bat Audio

We're kicking PRIDE off a little early because comics librarian Jack Phoenix is here and we are ready to talk about the very straight story of a man showing up to another man's house and pulling him away from his wife so that the two of them can make a human life together! Very straight. So straight. Not gay at all. Doctor Pretorius, we love you and the tiny people you've been cloning and dressing. And Una O'Connor, you and your ridiculous accent are the real MVP!Alicia really wants it to be known that we didn't talk nearly enough about Elsa Lancaster, her marriage to Charles Laughton, and that she was in Mary Poppins. All apologies.Who made it?Director: James WhaleWriters: William Hurlbut, John L. Balderston, Mary ShelleyStarring:Boris KarloffColin CliveValerie HobsonElsa LanchesterErnest ThesigerE. E. CliveOliver Peters HeggieUna O'ConnorRecs:Jack - Queer for Fear / The Ex-Wives of FrankensteinEmily- Junji Ito Frankenstein / #DRCL mangaBen - Young FrankensteinJeremy - Invisible Man / Old Dark House Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

This week on the Pod we try and create a mate for our monster in Bride of Frankenstein. We unwrap what has made the Bride such and iconic image in Pop Culture despite so having so little screen time, Frankenstein finding warmth in the company of a friend, and what ever the Hell Dr. Pretorius was doing with those little people in bottles. An early and beautiful sequel to one of the greatest horror films of all time. Synopsis: Mary Shelley reveals the main characters of her novel survived: Baron Henry Frankenstein, goaded by an even madder scientist, builds his monster a mate. Starring: Boris Karloff, Elsa Lanchester, Colin Clive, Ernest Thesiger Director: James Whale Youtube: https://youtu.be/DnsuxmobHKM Join the Misfit Parade: https://www.misfitparade.com/  Support the show on the Patreon: https://www.patreon.com/messedupmoviespod Watch our newest short film Sugar Tits Now! https://www.youtube.com/watch?v=Sz7leFqqo4g

EPISODE 70 - “COLIN CLIVE” - 1/13/2024 The moment he uttered the iconic line, “It's Alive! It's Alive,” in the 1931classic horror film “Frankenstein, actor COLIN CLIVE secured his place in film history. The handsome, talented British actor went on to appear in several other films, but his life and career were cut short due to his acute alcoholism and other personal demons. This week, we remember and celebrate this beloved horror legend.  SHOW NOTES:  Sources: One Man Crazy . . .! The Life and Death of Colin Clive (2018), by Gregory W. Mank; James Whale: A New World of Gods and Monsters (1998), by James Curtis; The Wisdom of Colette (1980), by Bennitt Gardiner; Colette O'Niel: A Season in Repertory (1976), by Bennitt Gardiner; “R.C. Sherriff: Soldier, Writer and Oarsman,” November 30, 2020, HearTheBoatSing.com; “Mae Clarke Remembers James Whale,” May 1985, Films in Review; “Jeanne De Casalis, 69, Is Dead,” August 20, 1966, New York Times;  “Colin Clive, Actor, Dies In Hollywood,” June 27, 1937, New York Times; TCM.com; IMDBPro.com; IBDB.com; Wikipedia.com; Movies Mentioned:  Frankenstein (1931), starring Boris Karloff, Colin Clive, & Mae Clake; Journey's End (1930), starring Colin Clive, Ian Maclaren, & David Manners; The Public Enemy (1931), starring James Cagney, Jean Harlow, Joan Blondell, Mae Clarke, & Edward Woods; Christopher Strong (1933), starring Katharine Hepburn, Colin Clive, & Billie Burke; Looking Forward (1933), string Lionel Barrymore, Lewis Stone, Elizabeth Allen & Benita Hume; Jane Eyre (1934), starring Virginia Bruce, Edith Fellows, & Colin Clive; The Girl From 10th Avenue (1935), starring Bette Davis, Colin Clive, & Ian Hunter; The Man Who Broke The Bank At Monte Carlo (1935), starring Ronald Colman, Joan Bennett, Colin Clive, & Nigel Bruce; Clive of India (1935), starring Ronald Colman, Loretta Young, Colin Clive, Cesar Romero, Leo G. Carroll, & C. Aubrey Smith; Mad Love (1935), starring Peter Lorre, Colin Clive, & Frances Drake; Bride of Frankenstein (1935), Boris Karloff, Elsa Lancaster, Colin Clive, Una O'Connor, & Valerie Hobson; History is Made At Night (1937), starring Jean Arthur, Charles Boyer, & Colin Clive; The Woman I Love (1937), starring Miriam Hopkins, Paul Muni, Louis Hayward, & Colin Clive; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Borgo Pass Horror Podcast co-founder Scott Kelley returns to help Jim delve into the twisted, pre-Code world of MAD LOVE, starring Peter Lorre, Colin Clive and Frances Drake!

The quintessential mad scientist story gets its most iconic telling in 1931's “Frankenstein” starring Colin Clive, Mae Clarke and Boris Karloff as The Monster.

Josh returns! This week he and Drusilla go way, way back for the 1935 classic  Mad Love. From wiki: “Mad Love (also released as The Hands of Orlac) is a 1935 American body horror film, an adaptation of Maurice Renard's novel The Hands of Orlac. It was directed by German-émigré film maker Karl Freund, and stars Peter Lorre as Dr. Gogol, Frances Drake as Yvonne Orlac and Colin Clive as Stephen Orlac. The plot revolves around Doctor Gogol's obsession with actress Yvonne Orlac. When Stephen Orlac's hands are destroyed in a train accident, Yvonne brings them to Gogol, who claims to be able to repair them. As Gogol becomes obsessed to the point that he will do anything to have Yvonne, Stephen finds that his new hands have made him into an expert knife thrower.”Also discussed: The Feather Weight (2023), The Virgin Suicides, Picnic at Hanging Rock, Kirsten Dunst's Architectural Digest tour, farmhouse nightmares, Looney Tunes, Arsenic and Old Lace, Steve Buscemi, Body Parts, Drusilla's Peter Lorre impression, Lana Del Rey's alligator wrestler, Key Luke, and more! NEXT WEEK: The Substance (2024)    Follow them across the internet: Bloodhaus:https://www.bloodhauspod.com/https://twitter.com/BloodhausPodhttps://www.instagram.com/bloodhauspod/ Drusilla Adeline:https://www.sisterhydedesign.com/https://letterboxd.com/sisterhyde/ Joshua Conkelhttps://www.joshuaconkel.com/https://www.instagram.com/joshua_conkel/https://letterboxd.com/JoshuaConkel/ 

"I hope we can still be friends (not even)!"  Eric & Ser examine how love can be so cruel.  And how classics can be so ... divisive.Send us a text

Eric & Serling put one of the original classics under the microscope to determine how big a toll 90+ years can take.  Is this one still worth the watch????  Send us a text

Random movie 257 on Metacritic's all time movie list. Frankenstein (1931), directed by James Whale, Frankenstein brings Mary Shelley's iconic monster to the silver screen in one of the most influential horror films of all time. Starring Boris Karloff as the creature and Colin Clive as Dr. Frankenstein, this classic explores the dangers of man's ambition to play god. What happens when science goes too far? Listen on and find out. Letterboxd account: 15randommovier Want to contact us? 15krandommoviereviews@gmail.com Follow, rate, and review our podcast on all audio platforms here: https://linktr.ee/15krandommoviereviews Follow us on Tiktok to see our favourite (and least favourite) scenes: https://www.tiktok.com/@15krandommoviereviews We are Colin and Niall, two movie enthusiasts from Ireland who wanted to take a different approach to movie watching and reviewing. So we came up with the idea to randomly choose a movie from Metacritic's all time movie list (which at the time of starting our podcast was over 15,000 movies, hence the title!). We take pleasure in bad movies as well as good! We hope you enjoy our podcast and follow us on your favourite podcast platform (or Youtube). See all our review ratings for all our movies in all our episodes in spreadsheet form! https://docs.google.com/spreadsheets/d/1BLin0MnPslu13i003F9PE9c6CBOCs4RQfWcblt65PhI/edit?usp=sharing Our list of movies reviewed on IMDB: https://www.imdb.com/list/ls526575109/ Our list of movies reviewed on Letterboxd: https://letterboxd.com/15krandommovier/list/15k-random-movie-reviews-1/

Bride of Frankenstein (1935):  Directed by James Whale, this classic horror film stars Boris Karloff as the Monster and Colin Clive as Dr. Henry Frankenstein. The story follows Henry Frankenstein, who is coerced by his former mentor, Dr. Pretorius (played by Ernest Thesiger), and his original creation, the Monster, to create a mate for the Monster. Despite his initial reluctance, Henry eventually constructs the Bride (portrayed by Elsa Lanchester). However, the Bride rejects the Monster, leading to a tragic and fiery conclusion. The Bride (1985):  Directed by Franc Roddam, this film reimagines the Frankenstein story and stars Sting as Baron Charles Frankenstein and Jennifer Beals as Eva. Unlike the original Monster, Eva is physically perfect and human-like. However, she is repulsed by the Monster (played by Clancy Brown) and rejects him, leading to a series of dramatic events. The cast also includes Geraldine Page and David Rappaport. To check out more information about That Horrorcast, take a look at our website: ⁠⁠⁠⁠https://thathorrorcast.com⁠⁠⁠⁠ Twitter: ⁠⁠⁠⁠https://twitter.com/horrorpod666⁠⁠⁠⁠ Art and other work done by host, Dmitry Samarov can be found on his site: ⁠⁠⁠⁠https://www.dmitrysamarov.com⁠⁠⁠⁠ Mallory Smart's writing and random publishing projects can be checked out here: ⁠⁠⁠⁠https://mallorysmart.com⁠ --- Support this podcast: https://podcasters.spotify.com/pod/show/thathorrorshow/support

Diane and Sean discuss the 2nd Classic Universal Hollywood monster, Frankenstein. Episode music is the theme (untitled) composed by Bernhard Kaun as featured in the film.-  Our theme song is by Brushy One String-  Artwork by Marlaine LePage-  Why Do We Own This DVD?  Merch available at Teepublic-  Follow the show on social media:-  IG: @whydoweownthisdvd- Tumblr: WhyDoWeOwnThisDVD-  Follow Sean's Plants on IG: @lookitmahplants- Watch Sean be bad at video games on TwitchSupport the Show.

Arguably the greatest sequel of all-time, as the Monster learns to speak and experience human emotions.  Starring Boris Karloff, Elsa Lanchester, Colin Clive and Ernest Thesiger.  Directed by James Whale.

We're back from Spring Break, discussing James Whale's 1935 classic featuring Boris Karloff, Elsa Lanchester, Colin Clive, Valerie Hobson, and Ernest Thesiger. Our guests are the authors of the new book Peggy Webling and the Story Behind Frankenstein: The Making of a Hollywood Monster, about the woman who wrote the stage play from which Universal's Frankenstein (1931) was adapted. Also: a new superlative honoring one of our favorite actors, the inimitable Béatrice Dalle. Intro, Debate Society, To Sir With Love (spoiler-free): 00:00-27:40 Honor Roll and Detention (spoiler-heavy): 27:41-56:04 Superlatives (spoiler-heavier): 56:05-1:16:04 Director James Whale Screenplay William Hurlbut, adapted from the novel by Mary Shelley by John Balderston & Hurlbut Featuring Colin Clive, E.E. Clive, Dwight Frye, Gavin Gordon, O.P. Heggie, Valerie Hobson, Boris Karloff, Elsa Lanchester, Una O'Connor, Ernest Thesiger, Douglas Walton Bruce Graver has taught British Romantic literature and art at Providence College since 1985.  He has prepared scholarly editions of the works of the Wordsworth family, has a special interest in 19th-century 3D photography (The Stereoscopic Picturesque is about to be published), and is a classically trained pianist and tenor who has performed with various New England choirs and chamber ensembles. In good weather, Bruce can be found hiking along the Appalachian Trail, or across the mountains of the English Lake District, where the Wordsworths and Beatrix Potter once lived. Dorian Gieseler Greenbaum is an ancient historian who teaches postgraduates at the University of Wales, Trinity Saint David, and writes on the history of astrology, divination, and ancient medicine. She has been an amateur genealogist for the past 23 years. Peggy Webling is Dorian's great-grandaunt, and she grew up hearing family tales about her writing of the play Frankenstein. In 1991, she and her mother discovered a large cache of letters that Peggy and her sisters wrote to Dorian's great-grandmother over almost 30 years, and Dorian now owns an unpublished archive of Peggy's letters, papers, manuscripts, and photographs. To find out more about Bruce and Dorian's book, click here. Our theme music is by Sir Cubworth, with embellishments by Edward Elgar.  Music from Bride of Frankenstein by Franz Waxman. For more information on this film, essays from your hosts (including why the Professor chose it, on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Our Blog⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠), and other assorted bric-a-brac, visit our website, scareupod.com. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Please subscribe to this podcast via Apple Podcasts, Spotify, or wherever you get your podcasts. If you like what you hear, please leave us a 5-star rating. Join our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook group. Follow us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

Emerging from the haunting echoes of gothic rock pioneered by Bauhaus, Love and Rockets swiftly conquered the college radio scene during the mid-80s. By 1989, the band had made a significant leap into the mainstream with their smash hit "So Alive," inspired by vocalist Daniel Ash's glimpse of a captivating woman across a dimly lit room. Join us this week as we're joined by Mustard Plug guitarist Colin Clive, exploring his enduring admiration for Love and Rockets. Colin's firsthand experiences with their electrifying live performances offer a unique perspective, having been an avid fan long before the band captured the attention of the nation. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Mustard Plug guitarist Colin Clive discusses the creative process behind the band's iconic ska-punk anthem "Beer (Song)." Having been released years prior to its inclusion on the Evildoers Beware! album, the track underwent a transformation that made it hit even harder and become more memorable. Colin dives into the evolution of the song through years of live performances, as well as the recording experience with Bill Stevenson and Stephen Egerton at The Blasting Room. If you love Chris DeMakes A Podcast and you'd like to support the show AND get weekly bonus episodes, head to http://www.ChrisDeMakes.com to sign up for the Supporting Cast. Learn more about your ad choices. Visit megaphone.fm/adchoices

The next 200 episodes begin here with Donny's choice, the horror classic "Frankenstein" (1931) from director James Whale starring Colin Clive, Mae Clarke & Boris Karloff as The Monster!   Part of the Morbidly Beautiful Podcasting Network! Go to the all-new www.aaspookshow.com & join our Patreon for bonus episodes & content over at https://www.patreon.com/aaspookshow & follow us on Twitter @AASpookshow as well as Facebook, Instagram, TikTok, Slasher & our YouTube channel by searching All-American Spookshow Podcast.  Email us at allamericanspookshow@gmail.com with questions & comments, and be sure to leave us a 5-star review on Apple Podcasts & Spotify!  Here's the link to the movie trailer:  https://www.youtube.com/watch?v=AkSbwiKP3mo   LINKS:  https://linktr.ee/aaspookshow

Lisa Frankenstein (2024) Directed by Zelda Williams Written by Diablo Cody Starring Kathryn Newton, Cole Sprouse, Carla Gugino Release Date February 9th, 2024 A misunderstood teenager and a reanimated Victorian corpse embark on a murderous journey together to find love, happiness, and a few missing body parts. Drift (2024) Directed by Anthony Chen Starring Cynthia Erivo, Alia Shawkat Release Date February 9th, 2024 Young Liberian refugee Jacqueline barely escapes her war-torn country to settle on a Greek island. Her daily struggle for survival keeps terrible memories at bay, and she becomes close to an American tour guide. Origin (2024) Directed by Ava Duvernay Written by Ava Duvernay Starring Aunjanue Ellis-Taylor, Jon Bernthal, Niecy Nash Release Date December 2023 Author Isabel Wilkerson writes her seminal book "Caste: The Origins of Our Discontents" while coping with personal tragedy. Out of Darkness (2024) Directed by Andrew Cumming Starring Safia Oakley-Green, Kit Young Release Date February 9th, 2024 About 45,000 years ago, a desperate band of early humans finds a new land to settle in. As they start to realize that something monstrous is hunting them down, they must confront a horrifying danger that they never could have imagined. Classic Bride of Frankenstein (1935) Directed by James Whale Starring Boris Karloff, Elsa Lanchester, Colin Clive, Ernest Thesiger Release Date April 22nd, 1935 After recovering from injuries sustained in the mob attack upon himself and his creation, Dr. Frankenstein (Colin Clive) falls under the control of his former mentor, Dr. Pretorius (Ernest Thesiger), who insists the now-chastened doctor resume his experiments in creating new life. Meanwhile, the Monster (Boris Karloff) remains on the run from those who wish to destroy him without understanding that his intentions are generally good despite his lack of socialization and self-control.  

GGACP officially ushers in Halloween 2023 with this ENCORE of a fascinating panel discussion about the life and career of screen legend Boris Karloff. In this episode, the boys welcome writer-producer Ron MacCloskey, author-historian Gregory Mank and entrepreneur Sara Karloff for a celebration of all things Boris as well as a look at the 2021 documentary, “Boris Karloff: The Man Behind the Monster.” Also: Bela Lugosi plays matchmaker, Colin Clive battles demons, James Whale abuses his power and Karloff predicts stardom for Jack Nicholson! PLUS: “The Girl from Uncle”! The shadowy cinema of Val Lewton! Gregory meets The Bride of Frankenstein! Sara shuns “The Black Cat”! And Boris helps found the Screen Actors Guild! Learn more about your ad choices. Visit megaphone.fm/adchoices

That mad scientist Dr. Frankenstein is back in the lab, this time trying to create a mate for his "monster," who in this film is spending his time roaming the countryside. Ryan is back with us to discuss the 1935 classic Bride of Frankenstein.

HAPPY (almost) HALLOWEEN! Today we are covering Bride of Frankenstein (1935) with our horror-movie expert guest: Dr. Solberg! This film is the sequel to the original that started it all. Boris Karloff returns as the monster unwittingly brought to life by Colin Clive's portrayal of the eponymous mad scientist. But this time, the scheming Dr. Pretorius plots to create him a mate... Dr. Solberg breaks down this film in its entirety and helps us discover why this is one of the most iconic horror films ever made -an absolute must watch for anyone who loves spooky season (or wants to appreciate the humor of Young Frankenstein even more). Stay tuned til the very end where Dr. Solberg will reveal what he considers the top 12 horror films ever made! Dr. Solberg's top 12 horror movie list starts at 1:35:09Please Comment, Rate, and Share our episodes and tell us what you like and what you want to hear more of!*Alas, we could not find Dr. Solberg's recommendation Terrified (Aterrorizados) (2017) on a platform other than YouTube-- but we shall keep searching!—Be sure to check us out onOur website: https://the-old-soul-movie-podcast.simplecast.com/

Frankenstein (1931): Movie Review from the Ray Taylor ShowShow topic: Dive into the classic horror genre with Ray Taylor as he revisits the monumental 1931 adaptation of "Frankenstein", brought to the silver screen under the adept direction of James Whale. This timeless tale, rooted in Mary Shelley's iconic 1818 novel "Frankenstein; or, The Modern Prometheus", transitions from page to stage to film in a fascinating evolution, with this particular version drawing inspiration from Peggy Webling's 1927 play. Join Ray as he delves into the film's narrative, exploring the poignant tale of Henry Frankenstein (played by the talented Colin Clive), an impassioned scientist driven to the extremes of human exploration, as he endeavors to craft life from the remnants of the dead. But the heart of this film truly beats in the form of the iconic creature, immortalized by Boris Karloff's unforgettable portrayal and Jack Pierce's masterful makeup design. With a supporting cast that boasts names like Mae Clarke, Dwight Frye, and Edward Van Sloan, this iteration of "Frankenstein" remains a hallmark in the annals of horror cinema.JOIN Inspired Disorder +PLUS Today! InspiredDisorder.com/plus Membership Includes:Ray Taylor Show - Full Week Ad Free (Audio+Video)Live Painting ArchiveEarly Access to The Many FacesMember Only Discounts and DealsPodcast Back Catalogue (14 Shows - 618 Episodes)Ray Taylor's Personal BlogCreative WritingAsk Me AnythingDaily Podcast: Ray Taylor Show - InspiredDisorder.com/rts Daily Painting: The Many Faces - InspiredDisorder.com/tmf ALL links: InspiredDisorder.com/links Genres: Horror

Frankenstein (1931): Movie Review from the Ray Taylor ShowShow topic: Dive into the classic horror genre with Ray Taylor as he revisits the monumental 1931 adaptation of "Frankenstein", brought to the silver screen under the adept direction of James Whale. This timeless tale, rooted in Mary Shelley's iconic 1818 novel "Frankenstein; or, The Modern Prometheus", transitions from page to stage to film in a fascinating evolution, with this particular version drawing inspiration from Peggy Webling's 1927 play. Join Ray as he delves into the film's narrative, exploring the poignant tale of Henry Frankenstein (played by the talented Colin Clive), an impassioned scientist driven to the extremes of human exploration, as he endeavors to craft life from the remnants of the dead. But the heart of this film truly beats in the form of the iconic creature, immortalized by Boris Karloff's unforgettable portrayal and Jack Pierce's masterful makeup design. With a supporting cast that boasts names like Mae Clarke, Dwight Frye, and Edward Van Sloan, this iteration of "Frankenstein" remains a hallmark in the annals of horror cinema.JOIN Inspired Disorder +PLUS Today! InspiredDisorder.com/plus Membership Includes:Ray Taylor Show - Full Week Ad Free (Audio+Video)Live Painting ArchiveEarly Access to The Many FacesMember Only Discounts and DealsPodcast Back Catalogue (14 Shows - 618 Episodes)Ray Taylor's Personal BlogCreative WritingAsk Me AnythingDaily Podcast: Ray Taylor Show - InspiredDisorder.com/rts Daily Painting: The Many Faces - InspiredDisorder.com/tmf ALL links: InspiredDisorder.com/links Genres: Horror

Frankenstein (1931): Movie Review from the Ray Taylor ShowShow topic: Dive into the classic horror genre with Ray Taylor as he revisits the monumental 1931 adaptation of "Frankenstein", brought to the silver screen under the adept direction of James Whale. This timeless tale, rooted in Mary Shelley's iconic 1818 novel "Frankenstein; or, The Modern Prometheus", transitions from page to stage to film in a fascinating evolution, with this particular version drawing inspiration from Peggy Webling's 1927 play. Join Ray as he delves into the film's narrative, exploring the poignant tale of Henry Frankenstein (played by the talented Colin Clive), an impassioned scientist driven to the extremes of human exploration, as he endeavors to craft life from the remnants of the dead. But the heart of this film truly beats in the form of the iconic creature, immortalized by Boris Karloff's unforgettable portrayal and Jack Pierce's masterful makeup design. With a supporting cast that boasts names like Mae Clarke, Dwight Frye, and Edward Van Sloan, this iteration of "Frankenstein" remains a hallmark in the annals of horror cinema.JOIN Inspired Disorder +PLUS Today! InspiredDisorder.com/plus Membership Includes:Ray Taylor Show - Full Week Ad Free (Audio+Video)Live Painting ArchiveEarly Access to The Many FacesMember Only Discounts and DealsPodcast Back Catalogue (14 Shows - 618 Episodes)Ray Taylor's Personal BlogCreative WritingAsk Me AnythingDaily Podcast: Ray Taylor Show - InspiredDisorder.com/rts Daily Painting: The Many Faces - InspiredDisorder.com/tmf ALL links: InspiredDisorder.com/links Genres: Horror

The first Frankenstein franchise film without Karloff and it shows! In this episode: Jason tries to see how many times he can call Ghost of Frankenstein's plot "bonkers". William still finds plenty to like about this movie even though today's Frankenstein fans are unimpressed. See Dr. Henry Frankenstein transform from to Colin Clive to Cedric Hardwicke after he dies. The afterlife has not been kind to the not-so-good-Doctor. Can this franchise get worse? Maybe, but Bela Lugosi's Ygor is still the best! Can't kill him, can you? ------ Music by RoccoW: Welcome! (RoccoW)    / CC BY-SA 3.0 Sweet Self Satisfaction (RoccoW) / CC BY-SA 3.0 Local Forecast - Slower by Kevin MacLeod Link:     https://incompetech.filmmusic.io/song/3988-local-forecast---slower License:  https://filmmusic.io/standard-license Audio clips from movies: The Day the Earth Stood Still, The Wolf Man, 2001: A Space Odyssey, Godzilla (1954), Invisible Man, Frankenstein (1931) Audio clips from movies: Ghost of Frankenstein (1942) --- Send in a voice message: https://podcasters.spotify.com/pod/show/cinematic-fantastic/message Support this podcast: https://podcasters.spotify.com/pod/show/cinematic-fantastic/support

In this episode, I discuss the life of Colin Clive.Doug Hess is the host!

Welcome to the Horror Project Podcast. Join hosts Phil and Laura as they review Bride of Frankenstein (1935).We tackle another classic universal monster movie and look at two of the most indelible character's of all time, in the Monster and his Bride.We discuss a film which is jam packed with arrogant ego-maniacs, with Henry Frankenstein, Doctor Septimus Pretorius and the Burgomaster all vying for the position of being top arsehole!With one of the strangest moments in cinema with the introduction of Pretorius' collection of small human beings, including his own pet mermaid?!?Plus we shall be finding a place on the leaderboard for the movie during our Ranking.We hope you enjoy the show, thanks for listening!

On this show, our specialty is sequels, sequels, and more sequels.  From the good ones, to the bad ones, to the really ugly ones, we'll be covering them all!  We've got homicidal maniacs that won't stay in the grave, sci-fi epics whose stories cannot be told in a single tale, and much much more.  For our 21st episode, we are tackling our first Universal Horror movie from 1935 with the legendary "THE BRIDE OF FRANKENSTEIN".  Directed by the also legendary James Whale and starring horror icon Boris Karloff as The Monster. Also starring Colin Clive, Dwight Frye and Elsa Lanchester in a dual role as Mary Shelley and The Bride. This first follow up to Universal's mega-hit the OG 1931 Frankenstein is arguably one of the greatest classic horror sequels of all time. In this Gothic tale the titular Dr. Frankenstein builds the Monster a mate which has disasterous results. Join our host Cameron Scott and first time co-host and pop culture/horror enthusiast Matt Hageman as they dissect a classick favorite black and white horror gem.   "To a new world of gods and monsters!"

Noniin ja viimeisenä (ainakin tällä erää) näistä Universalin Monster leffoista, arvostelussa Frankenstein vuodelta 1931. Jälleen arvostelen leffan ja myös 4K julkaisun, eli kerron mietteitäni kuvanlaadusta, äänenlaadusta ja lisämateriaaleista, eli kannattaako siis päivittää uuteen formaattiin. Dracula oli niin iso hitti, että Universal teki seuraavan hirviö leffan jo saman vuoden aikana. Kaikki tietää tarinan, eli tohtori Frankenstein aikoo herättää kuolleen ruumiin takaisin henkiin, mutta onnistuukin luomaan hirviön. Elokuva perustuu Mary Shelleyn kirjaan tai no tarkemmin sanottuna vuoden 1927 näytelmään, mikä perustuu Shelleyn kirjaan. Elokuvan on ohjannut James Whale, koka ohjasi myös pari vuotta myöhemmin Näkymätönmies leffan, minkä arvostelin aiemmin. Whale myös ohjasi tälle jatkoa Bride of Frankenstein muodossa. Elokuvan pääosassa nähdään Colin Clive joka näyttelee tohtori Henry Frankensteinia. Ja legendaarista hirviötä näyttelee legendaarinen Boris Karloff, joka paitsi uusi roolinsa useissa elokuvassa, on myös kauhuleffojen vaki naama ja yksi aikakautensa ikonisimmista nimistä. Mitä mieltä leffasta? Löytyykö jo 4K:na hyllystä? Mikä on sinun suosikki Frankenstein elokuva?

Jame's Whale's 1931 horror classic loosely based on Mary Shelly's novel tells the tale of a scientist who learns to reanimate a body constructed of the dead and the havoc that results. Boris Karloff stars as the iconic creature along with Colin Clive and Mae West ** Deep Dive Movie Reviews contain spoilers ** 1:20 - It's nothing like the book 9:50 - Does the characters in “Frankenstein” resonate for today's audience? 11:05 - Boris Karloff's iconic role 19:05 - Better versions of "Frankenstein" 34:01 - Final thoughts on "Frankenstein"

This week: two all-time classics for the Halloween season. First up: James Whale, Boris Karloff and Colin Clive return for the first Universal Monster sequel, BRIDE OF FRANKENSTEIN! Does Elsa Lanchester steal the show in an insanely low amount of screen time? Does the movie as a whole live up to its “one of the greatest ever” reputation? Next, THE WOLF MAN presents us with a different kind of leading man in Lon Chaney Jr. Does its potent mental illness metaphor offset its muddled use of Bela Lugosi? All this, plus another intermission bonus: favorite Halloween TV episodes! Intro and outro music from White Bat Audio!

Cobbled together with audio bits from fresh audio channels, tonights creation is alive and in your feed. The second feature in Universal's Monster catalogue, James Whale brought Mary Shelley's novel to life in a form that shocked audiences in 1931. Adding aspects of the German expressionist movement with a  performance by Boris Karloff that immortalized the creature as a horror legend, tonight we are discussing Frankenstein.

This week on the blog, a podcast interview with Dawn Brodey and Brian Forrest, talking about the various film versions of “Frankenstein” and “Dracula.”Dawn gave me 4.5 films to revisit: The 1931 version of Frankenstein, Frankenweenie (the feature and the short), Mary Shelley's Frankenstein, and Young Frankenstein.Meanwhile, Brian assigned me the original Nosferatu, the 1931 Dracula, Abbott & Costello Meet Frankenstein, Horror of Dracula, Dracula in Istanbul and Bram Stoker's Dracula. LINKSDawn's podcast (HILF): http://dawnbrodey.com/ - showsBrian's Blog and Vlog, Toothpickings: https://toothpickings.medium.com/ A Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Frankenstein (1931) Trailer: https://youtu.be/BN8K-4osNb0Frankenweenie Trailer: https://youtu.be/29vIJQohUWEMary Shelley's Frankenstein (Trailer): https://youtu.be/GFaY7r73BIsYoung Frankenstein (Trailer): https://youtu.be/mOPTriLG5cUNosferatu (Complete Film): https://youtu.be/dCT1YUtNOA8Dracula (1931) Trailer: https://youtu.be/VoaMw91MC9kAbbott & Costello Meet Frankenstein (Trailer): https://youtu.be/j6l8auIACycHorror of Dracula (Trailer): https://youtu.be/ZTbY0BgIRMkBram Stoker's Dracula (Trailer): https://youtu.be/fgFPIh5mvNcDracula In Istanbul: https://youtu.be/G7tAWcm3EX0Fast, Cheap Film Website: https://www.fastcheapfilm.com/Eli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastDawn and Brian TRANSCRIPT John: [00:00:00] Before we dive into the assignment you gave me—which was to watch stuff I hadn't seen and also rewatch stuff I had seen to get a better idea of who's done a good job of adapting these books—let's just jump in and talk a little bit about your area of expertise and why you have it. So, I'm going to start with you, Brian. I was very surprised after working with you a while to find out that you had a whole vampire subset in your life. Brian: A problem, you can call it a problem. It's fine. John: Okay. What is the problem and where did it come from? Brian: I was just vaguely interested in vampires for a while. When I was in my screenwriting days, someone had encouraged me to do a feature length comedy about vampires, and that led me to do a lot of reading. And then I just kind of put it aside for a while. And then I was, I had just finished a documentary for Committee Films and they said, do you have any other pitches? And I thought, and I said, you know, there's still people who believe in vampires even today, that could be really interesting. And I put together a pitch package. Then, the guy in charge of development said, [00:01:00]this is what we need to be doing. And then it stalled out. Nothing ever happened with it. And I said, what the hell. I could do this on my own. I could fly around and interview these people. And I did, I spent a couple years interviewing academics and some writers. And along the way, I started finding all these very intriguing moments in the history of either vampire lore or fiction or even just people who consider themselves vampires today. And all these things would connect to each other. It was a lattice work of vampires going back hundreds of years. It didn't fit the documentary, unfortunately, but I found it way too interesting. And I said, I need some kind of outlet for this. And so I started writing about it on Tooth Pickings. And that eventually put me in touch with people who were more scholarly, and it opened up a lot more conversations. And now I can't get out. I'm trapped. John: Well, the first sign is recognizing there's a problem. [00:02:00] Okay. Now, Dawn, you had a different entryway into Frankenstein. Dawn: Yeah, well, I was a theater major and a history minor at the University of Minnesota. Go Gophers. And, this was in the late nineties, early two thousands, when there were still a lot of jobs for people who had degrees and things like this. Or at least there was a theory that this was a reasonable thing to get educated in. And then I graduated in 2001, which was months after 9/11, when all those jobs went away. And so, I had this education so specific and what was I gonna do? And gratefully the Twin Cities is a great place for finding that kind of stuff. And one of my very first jobs out of college was at the Bakkan museum. So, the Bakkan museum was founded by Earl Bakkan, who is the inventor of the battery-operated pacemaker. And he has always, since childhood, been obsessed with the Frankenstein movie that came out in 1931. And he attributes [00:03:00]his great scientific invention and many others to a science fiction in general. And to the spark of the idea that comes from sources like this. So, when he opened the museum, he insisted that there'd be a grand Frankenstein exhibit. And that means going back to the book, and that meant going back to the author, Mary Shelley, who wrote the novel Frankenstein, she started writing it when she was 16.And so, I was hired because—boom, look at me—my degree is suddenly colliding, right? So, I was hired by the Bakkan museum to create a one-woman show about the life of Mary Shelley, where I would play Mary Shelley and would perform it within the museum and elsewhere. And through the course of that research, I read the novel for the second time, but then I read it for my third, fourth, fifth onwards and upwards. Because the show was about 45 minutes long, I referenced, you know, the novel, the books, the popular culture, the science behind it. And the deep dive just never stopped. And so long after I was required to do the research and the show was done and up, I just kept reading. [00:04:00] And it gave me the opportunity to meet experts in this field and the peripheral field, as I would sort of travel with this show and be an ambassador for the museum and stuff like that. And, yeah, it still curls my toes. John: All right, so with that background. I'm going to just be honest right here and say, I've read Dracula once, I've read Frankenstein once. So that's where I'm coming from, and both a while ago. I remember Frankenstein was a little tougher to get through. Dracula had a bit more of an adventure feel to it, but something I don't think has really been captured particularly well in all the movies. But they both have lasted and lasted and lasted.Why do you think those books are still, those ideas are still as popular today? Dawn: I will say that I think Frankenstein, it depends on what you mean by the idea. Because on the surface, just the idea of bringing the dead to life, is, I mean, the Walking Dead franchise is right now one of the most popular franchises. I mean, I think we are really pivot on this idea. And I remember saying to a friend once that the part in [00:05:00]Revelation where the dead rise is like the only part of the Bible that I don't question. It's like, oh, the dead will get up. You know, we always just seem to be real sure that at some damned point, they're getting up. And so I think that that is part of why that it sticks in our brains. But then the story around Frankenstein—especially as it was written in 1818—has so many universal and timeless themes, like ambition and what is right and wrong. And the question that Jurassic Park posed in 1995 and continues to—1993 around there—and continues to pose, which is: just because science is capable of doing something, should it do something? And how do we define progress? Surely the very idea of being able to beat death and not die seems to be kind of the ultimate goal. And here is someone saying, okay, so let's just say, yeah. We beat death and everyone goes, oh shit, that'd be terrible. [00:06:00] You know? And then also, I always love the idea of the creature, the monster, Frankenstein's creature himself, who has a lot of characteristics with which people have identified throughout history. Some people say, for example, that Mary Shelley's whole purpose for writing Frankenstein was a question of: didn't God do this to us, make us these ugly creatures that are imperfect and bumbling around and horrifying? And then once he realized that we weren't perfect, he fled from us in fear or fled. He just keeps going and every generation has a new media that tells the story a little bit better, a little bit different, and yeah, there we are. John: I will say that for me, the most memorable part of the book was the section where the monster is the narrator and is learning. And I think with the exception of Kenneth Branagh's film, it it's something that isn't really touched on that much. There's a little bit in Bride of Frankenstein, of him going around and learning stuff. But the sort of moral questions that he [00:07:00] raises as he's learning—what it is to be human—are very interesting in the book. And I wish they were in more of the movies, but they're not. So, Brian on Dracula, again, we have dead coming to life. Why do we love that so much? Brian: Well, it's one of the questions that made me want to make a film about it myself: why has the vampire been so fascinating for hundreds of years? Why does it keep coming back? You know, it ebbs and flows in popularity, but it never leaves. And it keeps seeming to have Renaissance after Renaissance. Dracula specifically, I think one of the interesting things about that novel is how many different lenses you can look at it through and not be wrong.People have looked at it through the lens of, is this thing an imperialist story? Is it an anti-imperialist story? Is it a feminist story? Is it an anti-feminist story? And you can find support for any of those views reading Dracula. And I think that some of it might be accidental; there's times where Dracula is catching up to whatever the cultural zeitgeist [00:08:00] is right now. And we look at Dracula and we say, oh, he was thinking about this back then. Or maybe Bram Stoker was just very confused and he had a lot of different ideas. John: All right, let's explore that a little deeper. You each gave me an assignment of some movies to watch or to re-watch that you felt were worth talking about, in relation to your subject of Frankenstein or Dracula. I'm going to start with Frankenweenie, just because I had not seen it. And in going through it, I was reminded—of course, as one would be—of watching Frankenweenie, I was reminded of Love, Actually. Because I came to the realization after years of Love, Actually being around that it—Love, Actually—is not a romantic comedy. It is all romantic comedies, all put into one movie. And Frankenweenie is all horror films. Condensed, beautifully and cleverly into one very tasty souffle. [Frankenweenie Soundbite] John: I stopped at a certain point making note of the references to other horror films. Just because there are so many of them. But the idea that it references everything from Bride of Frankenstein to Gremlins. They do a rat transformation that's right out of American Werewolf in London. The fact that they have a science teacher played by Martin Landau doing the voice he did as Bela [00:10:00] Lugosi in Ed Wood. I mean, it's a really good story that they just layered and layered and layered and layered. What was it about that movie that so captivated you? Dawn: Well, so much of what you just said. And also it seems to me the epitome of the accessibility of the story of Frankenstein. The idea that if anyone can think of any moment in which if I could bring someone back to life. But what I love about it too, is that the novel Frankenstein that is not Victor Frankenstein's motivation. It generally tends to be the motivation of almost every character, including the Kenneth Branagh character--at some point, he, when Elizabeth dies, his wife dies for the second time, he says, yes, I'm going to try to bring her back. But it is so not the motivation of the scientist in the book. It is just ambition. He just wants to do something no one else has done. And lots of people die around him and he really never, ever says to himself at any point in the novel, I wish I could bring them back, I'm going to bring them back. That's never, that's never part of it. He just wants to be impressive. And so, I love [00:11:00] that it starts with that pure motivation of wanting to bring the dead to life; just wanting to bring your dog back, so that it's so accessible for everyone watching it. Who wouldn't wanna try this? But then, even in that scene with the teacher, when he shows the frog. And he's demonstrating that if you touch a dead frog with electricity, its legs shoot up, which give the kid the first idea of bringing his dog back. Which is like a deep cut in, in the sense that that's nothing -- Mary Shelley herself and her friends were watching experiments exactly like that before she wrote the book: galvanism and animal magnetism were these really popular public demonstrations happening in London and elsewhere where they would do just that. But because electricity itself was so new, I mean, it blew people's hair back you know, that these dead frogs were flopping around. It was the craziest thing. And a lot of them were thinking to themselves, surely it is only a matter of time before we can, we're gonna have our dead walking around all the time. So, it was so circulating and so forward. [00:12:00] So it's not just movie references and it's not just Frankenstein references. That movie really includes source deep source references for how Frankenstein came to be. And I just love it. John: Which brings me to Frankenstein, the 1931 version, in which Colin Clive has a similar point of view to what you were talking about from the book. He just wants, you know, he wants to be God. [Frankenstein soundbite] John: What I was most impressed with about that movie or a couple things was: it starts, it's like, boom. We're in it. First scene. There there's no preamble. There's no going to college. There's no talking about it, right? It's like, they're starting in the middle of act two. And I think a lot of what we think of when it comes to Frankenstein comes from that movie, [00:13:00] that the stuff that James Whale and his cinematographer came up with and the way they made things look, and that's sort of what people think of when they think of Frankenstein. Now, as you look back on that movie, what are your thoughts on the, what we'll call the original Frankenstein? Dawn: Yeah. Well, I love it. You'll find with me and Frankenstein that I'm not a purist. Like I love everything. Like I have no boundaries. I think this is great. One of the things that 1931 movie did was answer—because it had to, anytime you take a novel and make it a movie, you take a literary medium and make it a visual medium, there's obviously going to be things that you just have to interpret that the author left for you to make for yourself individual. And in this instance, that individual is the cinematographer. So, we're gonna get their take on this. And one of the real ambiguous things that Mary Shelley leaves for you in the novel is the spark of life. What is the spark of life? She does not in any [00:14:00]detail describe lightning or static or any of the recognizable or, or future developments of how electricity would've been. Brian: I was shocked when I first read that book and saw how little space was devoted to that, that lab scene. It's blink of an eye and it's over. Dawn: “I gathered the instruments of life around me that I may infuse a spark of being into the lifeless thing that lay at my.” Period. I just, what I love is what I love about film in general is that they went, oh, spark being all right, girl, it's a dark and stormy night and you know, and there's chains and there's bubblers and there's a thing. And the sky opens. I mean, God bless you, like way to just take that thought. Make it vivid, make it, build a set, make us believe it. And it's so, so pervasive that in Frankenweinie, you know, which of course is about Frankensein. [00:15:00] Like that is one that they do: he's got the white robe that ties in the back and the gloves. And in Young Frankenstein, it's the, you know, that lab scene. And so I love that. And the other thing that they had to do was describe the look of the creature, make the creature—Frankenstein's monster himself—look so like something. Because she, similarly in the novel, says that he is taller than a regular man, has dark hair and yellow watery eyes. That's all we know about what the Frankenstein looks like. And so, in 1931, Boris Karloff with the bolts. And it's black and white, remember, we don't think his skin is green. That he turned green at some point is kind of exciting, but of course he was just gray, but just dead flesh, you know, rotten, dead walking flesh is what's frightening. And, I just thought that the movie did that so well, John: I think the makeup was kind of a green/gray, and that when color photos came out of it, that's why someone went, oh, [00:16:00] it's green, but it wasn't green. Brian: I thought I saw a museum piece of, you know, an actual makeup bit that Jack Pierce did and I thought it was greenish. Dawn: Yeah. Greenish/gray. I think, yeah, the rots, just kind of trying to capture the sort of rotten flesh. Brian: It's just like the bride's hair was red. Dawn: That's right. That's right. My day job here in Los Angeles is as a street improviser at Universal Studios, Hollywood. And two of their most treasured characters of course are Frankenstein and Dracula. So, while most people might separate them, John, they are usually arm and arm where I work every day. And the bride has recently come back to the theme park as a walking character, and they gave her red hair. We don't mess around. John: That's excellent. But you mentioned Dracula, let's jump into the 1931 Dracula. There's a connection point between the two that I want to mention, which is the amazing Dwight Frye, who is Fritz, I believe in Frankenstein. And I'm not the first one to mention his naturalistic [00:17:00] acting kind of putting him above everybody else in that movie. Famously, when he's running up the stairs, stopping to pull his socks up at one point. He's just really, really good in that. And then you see him in Dracula as the, essentially the Harker character. I think he was called Harker -- Brian: Yeah. Well, he's Renfield in Dracula. They merged those two characters. I thought it was a smart move for a first attempt at the film. Yeah. And Dwight Frye, he's in a lot of other Universal horrors, too. Dwight Frye often doesn't get the credit. He somehow was not the leading man he should have been. John: I don't know why that is. He turns up again as an assistant in Bride of Frankenstein. He's a towns person in Frankenstein meets the Wolfman. And then he tragically died on a bus ride to an auto parts job that he took because he wasn't getting any acting work, which was too bad. A really, really good actor. Brian: There is another intersection besides the fact that they were both produced by Junior. Lugosi was put into the [00:18:00] short, the trial film they shot for Frankenstein. I can't call it a short film, because it was never intended for release. But they shot a cinematic test reel and they had Lugosi play the monster, but he was under a sheet the whole time. I think he may have been able to pull the sheet off. It's a lost film. We don't know for sure. We just have kind of the recollections of a few crew people. John: I've never heard of that. I would love to see that. Brian: I would too. I think a lot of people would really love to see it, but it was as much a kind of a testing ground for Lugosi— whether they wanted him to be the monster—as it was for some of the techniques, the things they wanted to try in the film. And what I understand is the producer saw the test reel and they said, yes, we love this look, this is the look we want you to give us. And then it's whatever version of Lugosi not getting that part you want to believe: whether Lugosi turned it down or the producers didn't like him or something. But he ended up not taking that part. John: But he is of course always known as Dracula. So, what are your thoughts on their adaptation? Which [00:19:00]again is not the first adaptation but is the kind of first official? Brian: Yeah. The first to bear the name Dracula, although, well, I'll back up a second. Because some releases of Nosferatu called it Dracula. He would be named as Dracula in the subtitles, you know, because that's an easy thing to do in silent film, you can just swap that out however you want to. But yes, it's the first authorized official film adaptation. John: Well, let's back up to Nosferatu, just for a second. Am I wrong in remembering that the Bram Stoker estate—Mrs. Stoker—sued Nosferatu and asked that all prints be destroyed? And they were except one print remained somewhere? Brian: Close. That is the popular story that she sued Prana Films. She won the lawsuit. All films were set to be destroyed. Now there's a guy named Locke Heiss and a few others who've been doing some research on this. And they will tell you that there's no proof that a single print was ever destroyed. It's a more fun story to say that, you know, this one was snuck away and now we have the film. But there was no real enforcement mechanism for having all the theaters [00:20:00]destroy the film. Who was going to go around and check and see if they actually destroyed this film or not? Nobody, right? So maybe some people destroyed it. Maybe Prana Films destroyed their remaining copies. But the exhibitors kept all of theirs and there's different versions and different cuts that have been found. So, we know that some of these reels went out in different formats or with different subtitles or even different edits. And some of them have made their way back to us. John: There's some really iconic striking imagery in that movie. That haunts me still. Brian: What I always tell people is see the film with a good live accompaniment, because that still makes it hold up as a scary film. If you see a good orchestra playing something really intense when Orlok comes through that door. It feels scary. You can feel yourself being teleported back to 1922 and being one of those audience people seeing that and being struck by it. John: What do you think it would be like to have [00:21:00] seen that or Dawn to have seen the original Frankenstein? I can't really imagine, given all that we've seen in our lives. If you put yourself back into 1931, and Boris Karloff walks backwards into the lab. I would just love to know what that felt like the first time. Dawn: You know, what is so great is I was fortunate enough to know Earl Bakkan who saw the movie in the theater in Columbia Heights, Minnesota when he was 10 years old.And he went, he had to sneak in. People would run outta this, out of the theater, screaming. I mean, when they would do the close up of Frankenstein's Monster's face, you know, women would faint. And of course that was publicized and much circulated, but it was also true. People were freaking out. And for Earl Bakkan—this young kid—the fear was overwhelming, as you said. And also in this theater, I was lucky enough, I did my show in that theater for Earl and his friends on his 81st birthday. So, I got to hear a [00:22:00] lot of these stories. And they played the organ in the front of the curtain. Brian: Is this the Heights theater? Dawn: Yes, the Heights. Brian: Oh, that's an amazing space. Dawn: So, they played the organ in there and it was like, oh my God. And it was so overwhelming. So, I'm glad you asked that question because I was really fortunate to have a moment to be able to sort of immerse myself in that question: What would it have been like to be in this theater? And it was moving and it was scary, man. And yeah, to your point, Brian, the music and the score. I mean, it was overwhelming. Also, I think there's something that we still benefit from today, which is when people tell you going in this might be way too much for you, this might scare you to death. So just be super, super careful. And your heart's already, you know… John: And it does have that warning right at the beginning. Dawn: Yeah. Versus now when people sit you down, they're like, I'm not gonna be scared by this black and white movie from 1931. And then you find yourself shuffling out of the bathroom at top speed in the middle of the night. And you're like, well, look at that. It got me. Brian: That reminds me, there [00:23:00] was a deleted scene from the 1931 Dracula that was a holdover from the stage play. Van Helsing comes out and he breaks the fourth wall and he speaks directly to the audience. And he says something to the effect of—I'm very much paraphrasing—about how we hope you haven't been too frightened by what you've seen tonight, but just remember these things are real. And then black out. And they cut that because they were afraid that they were really going to freak out their audience. Dawn: It's like a war of the world's thing, man. It's oh, that's so great. I love that. [Dracula Soundbite] John: So, Brian, what is your assessment of the 1931 version? As a movie itself and as an adaptation of Stoker's work? Brian: The things they had to do to try to adapt it to film, which they borrowed a lot of that from the stage play. They used the stage play as their guide point, and I think they made the best choices they could have been expected to make. You know, there's a lot of things that get lost and that's unfortunate, but I think they did a decent job. I don't find the 1931 version scary. I like Bela Lugosi. I think he's a great Dracula. I think he set the standard. With the possible [00:25:00]exception of the scene where the brides are stalking Harker slash Renfield, I don't think the imagery is particularly frightening. The Spanish version, I think does a little bit better job. And you know the story with the Spanish version and the English version? Dawn: We actually talk about it on the back lot tour of Universal Studios. Because they shot on the same sets in some cases. Brian: Yeah. My understanding is that Dracula shot during the day, Spanish Dracula would shoot at night. So, they got to benefit maybe a little bit by seeing, okay, how is this gonna be shot? How did Todd Browning do it? Okay. We're gonna do it a little bit differently. It's a little bit of a cheat to say they move the camera. They do move the camera a lot more in the Spanish version, but the performances are a little bit different. I'm going to, I can't get her name out. The actress who plays the ingenue in the Spanish Dracula, I'm not going to try it, but you can see her kind of getting more and more crazed as time goes on and her head is more infected by Dracula. You see these push-ins that you don't see in the English version. There's blocking [00:26:00] that's different. I put together a short course where I was just talking about how they blocked the staircases scene. The welcome to my house, the walking through spider web. And how it's blocked very differently in the two versions. And what does that say? What are these two directors communicating differently to us? In one, Harker slash Renfield is next to Dracula. In one, he's trailing behind him. In one, we cut away from the spider web before he goes through. And in the other one, we see him wrestle with it. That's not really what you asked, John. Sorry, I got off on a tear there. John: I agree with you on all points on the differences between the two films. Although I do think that all the Transylvania stuff in the English version is terrific: With the coach and the brides. The Spanish version, the biggest problem I have is that their Dracula looks ridiculous. Brian: He's not Bela Lugosi. You're right. John: He looks like Steve Carell doing Dracula and there is no moment, literally no moment [00:27:00] where he is scary, whereas Lugosi is able to pull that off. Brian: There's a lot of people who have observed that the Spanish Dracula would be a superior film were it not for Bela Lugosi being such an amazing Dracula in the English version. John: He really, really nailed it. Brian: And since he learned his lines phonetically, he could have done the Spanish Dracula. Just write it out for him phonetically, because he didn't speak English very well. John: If we could just go back, you know, cause a lot of things in history we could change, but if we could just be at that meeting and go, Hey, why not have Bela do it? Okay. So then let's jump ahead, still in Dracula form, to Horror of Dracula. From 1958. With Christopher Lee as Dracula and Peter Cushing as Van Helsing. [Soundbite from Horror of Dracula] Brian: For some people, Lee is the ultimate Dracula, and I think that's a generational thing. I think he's great. He's got the stage presence and I love Peter Cushing as Van Helsing. I don't like the film as a whole. It feels like I'm watching a play with a camera set back. It doesn't work for me the way it works for other people. That is personal taste. Don't come after me. John: It does, however, have one of the greatest, ‘Hey, we're gonna kill Dracula' scenes ever, with Peter Cushing running down the table and jumping up and pulling down the drapes and the sun. Brian: Oh, right. Interesting. Because in Dracula, the book, the sun is not deadly, remotely really. But that's [00:29:00]the influence of Nosferatu being pasted onto the Dracula cannon, that the sunlight is deadly to Dracula. Dawn: I remember having this fight very enthusiastically in the nineties when Bram Stoker's/Winona Ryder's Dracula came out and I was already sort of a literary nerd. And they were like, hey, they have a scene with him walking around during the day. And I was like, yeah, nerds. That's right. That's cuz vampires can walk around during the day.I was very already, like, you don't know anything, go back to history. Brian: And there's a seventies version where he's out on a cloudy day, but he is not hurt either. There suggestions in the book that he's more powerful at night. Dawn: He's a creature of the night. I always understood he had to wear sunglasses. He was sort of like a wolf. Like they show him as a wolf during the day; it can happen, but it's not great. Brian: I like the way they did it in the Gary Oldman version. He's suited up. He's got the sunglasses on. There's not a whole lot of skin exposed. But he's not [00:30:00] going to turn into smoke. John: Well, okay. Let's talk about that version and Kenneth Branagh's version of Frankenstein. Dawn: Ug. John: I'm not going to spoil anything here, when I say it doesn't sound like Dawn cared it. Dawn: You open this, you opened this can of worms. John, sit down for a second. Listen. He calls it: Mary Shelly's fucking Frankenstein. I inserted the fucking. I'm sorry, I wasn't supposed to say that. He calls it. He calls it. How dare you, Kenneth, Brannagh, call this Mary Shelley's Frankenstein. So that was A-number one. But I went into it all excited: It's Kenneth Brannagh. Love him. He calls it Mary Shelley's Frankenstein and he starts with the ship captain out at sea, just like the book. And so I pull up my little, you know, security blanket and I'm like, oh, Kenneth Brannagh, do this to me, buddy. Do it to me buddy. Show me Mary Shelley Frankenstein as a movie. [00:31:00] And then he just fucks it up, John. And he doesn't actually do that at all. It's a total lie. He screws up every monologue. He makes up motivations and then heightens them. And it's dad. The acting is capital B, capital A, capital D across the board. Everybody sucks in this movie. It looks bad. The direction is bad, and it has nothing to do. He tries to bring Elizabeth back to life. This is a huge departure from Mary Shelley's Frankenstein. Thank you very much, Mr. Brannagh, that's all I have to say for now. John: All right, I was fooled by the fact that he started at, at the north pole. Dawn: That's because he's tricking us, John. That's because it's the whole movie is a lie. John: Okay with that same mindset, what do we think of Bram Stoker's Dracula by Francis Ford Coppola? Dawn: I love that one. Brian: I'm afraid that I don't have, I can't match Dawn's intensity in either respect. Um, except I thought Robert DeNiro [00:32:00] was really good in Frankenstein. Dawn: But that's no, he's not. you're wrong. Your opinion is valid and wrong. Yeah, I'm kidding for listeners who don't know me. I am, I am kidding. Of course. Everybody's opinion is valid except for that one. Yeah. The movie, everything about that movie is bad. John: He is, I think, miscast. Dawn: And Helen Bonan Carter is one of the finest actresses of not just our generation, but of all time. And she sucks in this movie. John: Right. So. Bram Stoker's Dracula. Brian: Bram Stoker's Dracula. [Soundbite: Bram Stoker's Dracula] Brian: Also produced by Branagh. And I assume that is the connection, why they both start with the author's name. I always call it Coppola's Dracula because it gets too confusing to make that distinction. I thought it was a decent movie, but it didn't feel like Dracula. It felt like someone who had heard of Dracula and wrote a good script based on what they had heard. So many divergences that bothered me, although I think it's aged better than it felt the first time. I remember seeing it when it first came out in the nineties and not thinking much of it. And I think audiences agreed with me and it seems like it's been kinder, that audiences have been kinder to it as it's gotten older. John: Okay. Dawn, you love it. Dawn: I loved it. I loved it. It, you know what though? That was one of [00:34:00] those movies that unlike, unlike Mary Shelley's Frankenstein, I can't look at with like an adult critical eye because I, what year did it come out? Was it like 90, 92? I'm like middle school getting into high school and like Winona Ryder was everything. Vampires are everything. I mean, Gary Oldman is the, is a great actor and it's so sexy, very sexy. The sex is Primo. And so I remember loving it, very moving. I don't remember comparing it as certainly not as viciously to the novel because I read Dracula after I had seen the movie. And so there's always that inherent casting where Nina is always going to be Winona Ryder. But I do remember really loving the Gothic convention of the letter and that the movie did seem to utilize and to great effect how letter writing can build suspense and give us different perspectives in a, in a unique cinematic way. Brian: [00:35:00] The two or three biggest stakes that film puts in the ground are not to be found in the book. So there's no love story in the book. There's no Vlad in the book. John: Can I interject there? Isn't that basically, didn't they just rip that off of Dark Shadows, The idea of my long lost love is reincarnated in this woman. I must connect with her. Brian: That is a good question, John. I'm glad you asked that because I call it the doppelganger love interest. Right? We first see that, the first time I know of it happening, I'm sure there's an earlier precedent, is in The Mummy, but then Dark Shadows does it. But that's not where Stoker, I mean, that's not where Coppola and a screenwriter claimed to have gotten the idea. They claimed to have gotten it from Dan Curtis's Dracula in 74. John: Dan Curtis, who produced Dark Shadows, with Barnabas Collins, falling in love with his reincarnated love. Brian: But Dan Curtis's Dracula comes out two years after Blacula. That has a reincarnated love interest. John: Not only does the Blaclua [00:36:00] have a reincarnated love interest, but if I'm remembering movie correctly at the end, when she says I don't want to go with you. He goes, okay. And he's ready to go home. It's like, sorry to bother you. Brian: No, uh, in Blacula, he commits suicide John: Oh, that's it? Yeah. He walks out into the sun. Brian: He goes home in a different way. John: Yes. He's one of my favorite Draculas, the very stately William Marshall. Brian: Yeah, absolutely. That is a favorite of mine. John: Anyway, you were saying stakes in the ground from Coppola's Dracula. Brian: Well, the, the love story, the equating Dracula with Vlad the Impaler. And I felt like they did Lucy really bad in that movie. They had her turn into a wanton harlot, which is not in keeping with the book. Some things are okay, but they really said these are the building blocks of our story and that bugged me. But Anthony Hopkins I liked, so, all right. Dawn: Alright, but see, this [00:37:00] the itch that still that still makes me wanna scratch though: why say Bram Stoker's Dracula? Why say Mary Shelley's Frankenstein? I mean, because I think you heard the venom, obviously. If they took Mary Shelley's name off that thing, you can make Frankenweenie. And I will love, like, I love Frankenweenie. Do your Frankenstein homage all day, all the time. But when you call, when you say it's Bram Stoker's, I think that this is what has been frustrating historians like me and getting high school students Ds in English class ever since. Because it just creates the false perception that you've basically read the book. Right. Or that you, if you know the thing you know the book and it's just a cheap ploy. And I don't like it. Brian: I think, somebody correct me on this, that there, there had been a plan to do a reboot of the Universal monster franchise, and these two movies were supposed to be the reboot of it. [00:38:00] And then they would've then done HG Wells' Invisible Man. John: The Mummy killed it. They've tried to reboot it several times. And that was the first attempt. Brian: Yeah, I've heard that called the dark universe. They were trying to do their own MCU. Dawn: Yeah. Well, at Universal Studios, there is of course in, in LA, in general, there's the property wars, you know? What what's, who has what? And sometimes those get really blurred. Like why does Universal Studios have Harry Potter? When we can see Warner Brothers from the top of our wall/ And that's obviously, you know, those things happen. But when it comes to like the IP or intellectual property, those original monsters are so valuable and they always are at Halloween. And then it's like, sort of, how can we capitalize on this? And yeah. And it's cross generational. Brian: All they really own right now is the look right? They own Jack Pierce's makeup job from Frankenstein. Dawn: But I think that that's exactly the point; [00:39:00] the delusion of what is it that you own if you own, you know, Frankenstein, whatever. But yes, there was definitely an interest to sort of revamp all of the original Universal Monsters they call them and it's the Mummy, Frankenstein, Dracula, and the Invisible Man. John: It's everybody who shows up in Mad Monster Party. Dawn: Exactly. [Soundbite: Mad Monster Party] Dawn: But yeah, The Mummy, starring Tom Cruise, was a tremendous flop. And I think that sort of took the wind out of everybody's sails. John: Let me ask you this, Dawn. If Mel Brooks had titled his movie, Mary Shelley's Young Frankenstein, instead of Mel Brooks' Young Frankenstein, would you have a problem with that? Dawn: Yeah, no, but no, I would not have had a problem, because that would've been irony and juxtaposition. Not just a straight lie. John: So that brings us to some comedies. Young Frankenstein and Abbott and Costello meet Frankenstein, which I was very surprised and a little unnerved to [00:40:00] realize a few years back, Abbott and Costello meet Frankenstein was made a mere 10 years before I was born. And I had always assumed it was way back then. And it's like, no, it wasn't all that way back then. It was pretty, pretty recently. Brian: That happened to me when I realized that Woodstock was only six years before my birth. And it always seemed like ancient history. John: Is that the common thing, Madame Historian? That people kind of forget how recent things were? Dawn: Oh yeah. Remember Roe V. Wade. Sorry, too soon. Brian: We're recording this on that day. Dawn: Yeah, absolutely. I think that it happens to everybody so much faster than you think it's going to. I remember looking around in the nineties feeling, well, surely the seventies was ancient history, you know, because they had That Seventies Show, which debuted as like a period piece. I am still very young and hip and happening and [00:41:00] they are in production for That Nineties Show right now. And I said to my husband, That Nineties Show. I was like, Jesus, I guess that's 20 years because I was in the nineties they did That Seventies Show. And he goes, no baby that's 30 years. And I was like, I'm sorry. I said, I'm sorry, what? He goes, the nineties was 30 years ago. And I just had to sit down and put my bunion corrector back on because these feet are killing me. John: All right. Well, let's just talk about these two comedies and then there's a couple other things I wanna quickly hit on. What are our thoughts on, let's start with Young Frankenstein? [Soundbite: Young Frankenstein] Dawn: I told you I'm not an idealist and we're not a purist about Frankenstein, but I am an enthusiast. So that is why I told you to watch Kenneth Branagh's movie, even though I hate it so much. And that is also why I love Young Frankenstein, because I think that it is often what brings people into the story. For many, many people, it introduces them to the creature. They may know literally nothing about Frankenstein except for Young Frankenstein. And that's actually fine with me because I'm a comedian myself. And I believe that parody is high honor. And often when you parody and satirize something, especially when you do it well, it's because you went to the heart of it. Because you got right in there into the nuggets and the creases of it. And there is something about Young [00:43:00] Frankenstein as ridiculous as it is that has some of that wildness and the hilarity and The Putting on the Ritz. I did find out from my Universal Studios movie history stuff, that that scene was very nearly cut out. Mel Brooks did not like it. And he just didn't like that they were doing it. And of course it's the one, I feel like I'm not the only one who still has to make sure that my beverage is not only out of my esophagus, but like aside, when they start doing it. [Soundbite: Young Frankenstein] Brian: And I understand they were about to throw away the sets from the 1931 Frankenstein when Mel Brooks or his production designer came up and said, Stop stop. We want to use these and they were able to get the original sets or at least the set pieces. John: I believe what it [00:44:00] was, was they got Kenneth Strickfaden's original machines. Ken Strickfaden created all that stuff for the 1931 version and had been used on and off, you know, through all the Frankenstein films. And it was all sitting in his garage and the production designer, Dale Hennessy went out to look at it because they were thinking they had to recreate it. And he said, I think it still works. And they plugged them in and they all still worked. Brian: Oh, wow. Dawn: Oh man. It's alive. John: Those are the original machines. Dawn: I didn't know that. That's fantastic. John: At the time when I was a young kid, I was one of the few kids in my neighborhood who knew the name Kenneth Strickfaden, which opened doors for me. Let me tell you when people find out, oh, you know of the guy who designed and built all those? Oh, yes. Oh, yes. I know all that. One of my favorite stories from Young Frankenstein is when they sold the script. I forget which studio had said yes. And as they were walking out of the meeting, Mel Brooks turned back and said, oh, by the way, it's gonna be in black and white, and kept going. And they followed him down the hall and said, no, it can't be in black and white. And he said, no, it's not gonna work unless it's in [00:45:00] black and white. And they said, well, we're not gonna do it. And they had a deal, they were ready to go. And he said, no, it's gonna stay black and white. And he called up Alan Ladd Jr. that night, who was a friend of his, and said, they won't do it. And he said, I'll do it. And so it ended up going, I think, to Fox, who was more than happy to, to spend the money on that. And even though Mel didn't like Putting on the Ritz, it's weird, because he has almost always had musical numbers in his films. Virtually every movie he's done, he's either written a song for it, or there's a song in it. So, it's weird to me. I've heard Gene Wilder on YouTube talk about no, no, he didn't want that scene at all, which is so odd because it seems so-- Brian: I never thought about that, but you're right. I'm going in my head through all the Mel Brooks films I can remember. And there is at least a short musical interlude in all of them that I can think of. John: But let's talk then about what's considered one of the best mixes of horror and comedy, Abbott and Costello Meet Frankenstein [00:46:00] [Soundbite: Abbott & Costello Meet Frankenstein] Brian: As with comedies of that age, it, it starts off slow, but then it starts to get very funny as time goes on. And all the comedy is because of Abbot and Costello. They are the, [00:47:00] the chemistry they have on screen. I don't know how much of that was actually scripted and how much of it was just how they rolled with each other. But it works really well. Not much of the comedy is provided by the monsters or the supporting cast or even there's maybe a cute, a few sight gags. But wouldn't you say most of the comedy is just the dynamics between them? John: It is. The scary stuff is scary and it's balanced beautifully at the end where they're being chased through the castle. The monsters stayed pretty focused on being monsters and Abbot and Costello's reactions are what's funny. Dawn: If I may, as someone who has already admitted I haven't seen much of the movie, it's feels to me like it may be something like Shaun of the Dead, in the sense that you get genuinely scared if zombie movies scare, then you'll have that same adrenaline rush and the monsters stay scary. They don't have to get silly. Or be a part of the comedy for your two very opposing one's skinny, one's fat, you know, and the way that their friendship is both aligning and [00:48:00]coinciding is the humor. Brian: I believe there is one brief shot in there where you get to see Dracula, Frankenstein's monster and the Wolfman all in the same shot. And I think that might be the only time that ever happens in the Universal Franchise. During the lab scene, does that sound right John? John: I think you really only have Dracula and the Wolfman. I'll have to look it up because the monster is over on another table-- Brian: Isn't he underneath the blanket? John: Nope, that's Lou Costello, because it's his brain that they want. And so they're fighting over that table. And then just a little, I have nothing but stupid fun facts. There's a point in it, in that scene where the monster gets off the table and picks up someone and throws them through a window. And Glenn Strange, who was playing the monster at that point -- and who is one of my favorite portrayers of the monster, oddly enough -- had broken his ankle, I believe. And so Lon, Chaney, Jr. put the makeup on and did that one stunt for him, cuz he was there. Brian: He did that as Frankenstein's monster? John: Yes. Frankenstein. Brian: I didn't know that. Yes, I [00:49:00] did not know that. So he plays both of those roles in that movie? John: Yes. Let me just take a moment to defend Glenn Strange, who played the monster three times: House of Dracula, House of Frankenstein, and Abbott and Costello Meet Frankenstein. In House of Frankenstein, he is following up the film before that, which was Frankenstein Meets the Wolfman, in which, in this very convoluted universe, Lugosi is playing the monster, even though he didn't wanna do it in 31. Because his brain in Ghost of Frankenstein had been put into the Monster's body. So, in Frankenstein Meets the Wolfman, it is Lugosi as the Frankenstein monster. It is Lon Chaney Jr., who had played the monster in Ghost of Frankenstein, now back to playing Larry Talbot. So, it is Wolfman versus Frankenstein. And the premise of the script was he's got Ygor's brain and it's not connecting properly. He's gone blind. They shot that. They had tons of dialogue between the two characters of Larry Talbot pre-wolfman, and the monster, Bela Lugosi. And the executives thought it sounded silly. So they went in and they cut [00:50:00] out all of Lugosi's dialogue out of the movie. So now you have a blind monster stumbling around with his arms in front of him, but he doesn't talk. And if you look at the movie, you can see where he's supposed to be talking and they cut away quickly. And it's really convoluted. Glenn Strange who then has to play the monster next, looks at that and goes well, all right, I guess I'm still blind. I guess I'm still stumbling around with my arms in front of him. Which is the image most people have of the Frankenstein monster, which was never done by Boris in his three turns as the monster. So with, in that regard, I just think Glenn Strange did a great job of picking up what had come before him and making it work moving forward. Anyway, a couple other ones I wanna just hit on very quickly. Brian asked me to watch Dracula in Istanbul. Under the circumstances, a fairly straightforward retelling of the Dracula story. I would recommend it--it is on YouTube--for a couple of reasons. One, I believe it's the first time that Dracula has actual canine teeth. Brian: Yes. John: Which is important. But the other is there's the scene where he's talking to Harker about, I want [00:51:00] you to write three letters. And I want you to post date the letters. It's so convoluted, because he goes into explaining how the Turkish post office system works in such a way that the letters aren't gonna get there. It's just this long scene of explaining why he needs to write these three letters, and poor Harker's doing his best to keep up with that. That was the only reason I recommend it. Brian: That movie is based on a book called Kazıklı Voyvoda, which means The Warrior Prince and it was written in, I wanna say the 1920s or thirties, I wanna say thirties. It's the first book to equate Dracula and Vlad the Impaler, which I've come back to a couple times now, but that's significant because it was a Turkish book and the Turks got that right away. They immediately saw the name Dracula like, oh, we know who we're talking about. We're talking about that a-hole. It was not until the seventies, both the [00:52:00] fifties and the seventies, that Western critics and scholars started to equate the two. And then later when other scholars said, no, there, there's not really a connection there, but it's a fun story. And it's part of cannon now, so we can all play around with it. John: But that wasn't what Bram Stoker was thinking of? Is that what you're saying? Brian: No. No, he, he wasn't, he wasn't making Dracula into Vlad the Impaler. He got the name from Vlad the Impaler surely, but not the deeds. He wasn't supposed to be Vlad the Impaler brought back to life. John: All right. I'm going to ask you both to do one final thing and then we'll wrap it up for today. Although I could talk to you about monsters all day long, and the fact that I'd forgotten Dawn, that you were back on the Universal lot makes this even more perfect. If listeners are going to watch one Dracula movie and one Frankenstein movie, what do you recommend? Dawn, you go first. Dawn: They're only watching one, then it's gotta be the 1931 Frankenstein, with Boris. Karloff, of course. I think it has captured [00:53:00] the story of Frankenstein that keeps one toe sort of beautifully over the novel and the kind of original source material that I am so in love with, but also keeps the other foot firmly in a great film tradition. It is genuinely spooky and it holds so much of the imagery of any of the subsequent movies that you're only watching one, so that's the one you get. But if you do watch any more, you've got this fantastic foundation for what is this story and who is this creature? John: Got it. And Brian, for Dracula? Brian: I was tossing around in my head here, whether to recommend Nosferatu or the 1931 Dracula. And I think I'm going to have to agree with Dawn and say the 1931 for both of them, because it would help a viewer who was new to the monsters, understand where we got the archetypes we have. Now, why, when you type an emoji into your phone for Vampire, you get someone with a tuxedo in the slick back hair or, I think, is there a Frankenstein emoji? Dawn: There is, and he's green with bolts in his neck. [00:54:00] Brian: Yeah, it would. It will help you understand why we have that image permanently implanted in our heads, even though maybe that's not the source material. We now understand the origins of it. Dawn: And if I may too, there's, there's something about having the lore as founded in these movies is necessary, frankly, to almost understand what happens later. I mean, I get very frustrated in 2022, if there is a movie about vampires that takes any time at all to explain to me what a vampire is, unless you're breaking the rules of the vampire. For example, you know, like in Twilight the vampire sparkles, like a diamond when it's out in the sunshine and is the hottest thing ever. That's really great to know. I didn't know that about vampires. That wasn't necessarily true before, you know, but you don't need to take a lot of time. In fact, when you do read Dracula, one of the things for me that I found very frustrating was the suspense of what is it with this guy? They were like: He said we couldn't bring [00:55:00] garlic and they take all this time. And you're kind of as a modern reader being like, cuz he is a fucking vampire. Move on. Like we know this, we got this one. It's shorthand Brian: That's one snide thing I could say about the book is that there are times where Dracula's powers seem to be whatever his powers need to be to make this next scene creepy and move on to the next chapter. John: He was making it up as he went along. Yeah, yeah, yeah.

A Classic that we all know by heart...or do we? This week the Fried Squirms look at the classic monster movie, Frankenstein. Support our Patreon! www.patreon.com/FriedSquirms Listen to more Fried Squirms at www.friedsquirms.com Check out all earVVyrm podcasts at www.earvvyrm.com Email us at squirmcast@gmail.com

Just in time for Halloween, composer/conductor Michael Shapiro joins Haley Taylor to talk about his movie score for the classic film Frankenstein (1931) directed by James Whale and starring Colin Clive and Boris Karloff. Shapiro's music (written in 2001) brings the classic monster movie into even sharper focus – and makes up for the fact that the original was actually produced without a score. https://michaelshapiro.com/frankenstein/

We were joined by Stephen Trumble from the 50 Uses For the Word, Love podcast to talk about: Mad Love (1935). Directed by Karl Freund and starring Peter Lorre, Frances Drake and Colin Clive. In the Mood For Love (2000). Directed by Wong Kar-wai and starring Maggie Cheung and Tony Leung. Punch Drunk Love (2002). Directed by Paul Thomas Anderson and starring Adam Sandler, Emily Watson, Philip Seymour Hoffman and Luis Guzmán. You can find Stephen on Twitter (@StephenTrumble) and his podcast (@50Uses). Please review us over on Apple Podcasts. Got comments or suggestions for new episodes? Email: sddpod@gmail.com. Seek us out via Twitter and Instagram @ sddfilmpodcast Support our Patreon for $3 a month and get access to our exclusive show, Sudden Double Deep Cuts where we talk about our favourite movie soundtracks, scores and theme songs. We also have t-shirts available via our TeePublic store!

This month, Grand Rapids’ Mustard Plug celebrates 30 years of playing ska-punk. Though they often get associated with the late ’90s “third-wave” ska-punk boom, there is so much more to the group. We aimed to explore this in our interview with lead singer Dave Kirchgessner and guitarist Colin Clive. For starters, before ska was on the tongue of MTV VJs, Mustard Plug was blowing minds in their hometown with their blend of punk rock and ska. And to top that off, they brought a bunch of out-of-town ska bands like Skankin Pickle and Let’s Go Bowling to Grand Rapids before anyone in their midwest town had heard of them. During the late 90s, Mustard Plug nearly scored a hit with their cover of The Verve Pipe’s “The Freshman,” but ended up staying in the indie category on Hopeless Records. During the 2000s, when ska was declared dead, Dave started the “Ska is Dead” tour, proving that ska was in fact not dead. The band even released one of their best albums during this era, the political In Black and White. Even today, as a new crop of ska bands revive the genre, Mustard Plug has seamlessly blended into the scene. At this year’s Fest, they shared the stage with a whole bunch of Bad Time Records bands. New bands and Mustard Plug. We discuss this important history and also touch on some other fun stuff like opening for Weird Al, getting in food fights with Green Day, and just how much mustard they poured on Craig DeYoung’s face for the Big Daddy Multitude album cover shoot. If you enjoyed this episode, please share it! You can sign up for the newsletter below. Subscribe at aaroncarnes.substack.com

From Universal Studios, the original house of horror, comes 1939's SON OF FRANKENSTEIN starring Basil Rathbone (THE ADVENTURES OF SHERLOCK HOLMES), Boris Karloff (FRANKENSTEIN, BRIDE OF FRANKENSTEIN) and Bela Lugosi (DRACULA, THE BLACK CAT). Rowland V. Lee takes over the director's chair from James Whale (FRANKENSTEIN, BRIDE OF FRANKENSTEIN, THE INVISIBLE MAN) for this installment that finds Wolf von Frankenstein (Rathbone), the son of Dr. Henry Frankenstein (portrayed by Colin Clive in the first two installments), returning to the village of Frankenstein to claim his inheritance. There he meets the shepherd Ygor (Lugosi) and comes to face to face with his father's creation, played for the final time on screen by the one and only Boris Karloff.  Welcome to Cozy Corner! THE LATE NIGHT FRIGHT is proud to continue Creepy Classics Month with this worthy film from Universal Studios! Join your hosts Dan and Faith for a look back at the film and be sure to stay tuned for all of the fake news not fit to print!  email us at latenightfrightpodcast@gmail.com Join us next week for 1951's THE THING FROM ANOTHER WORLD!  

Gilbert and Frank welcome writer-producer RON MacCLOSKEY, author-historian GREGORY MANK and entrepreneur SARA KARLOFF for a celebration of the life and career of screen legend Boris Karloff as well as a discussion about the recently-released 2021 documentary, "Boris Karloff: The Man Behind the Monster." Also in this episode: Bela Lugosi plays matchmaker, Colin Clive battles demons, James Whale abuses his power and Boris predicts stardom for Jack Nicholson! PLUS: "The Girl from Uncle"! "Arsenic and Old Lace"! The shadowy cinema of Val Lewton! Gregory meets "The Bride of Frankenstein"! Sara shuns "The Black Cat"! And Boris helps found the Screen Actors Guild! Learn more about your ad choices. Visit megaphone.fm/adchoices

DANCE, DOROTHY, DANCE, the Dorothy Arzner podcast, continues with Marc and B discussing CHRISTOPHER STRONG (1933), Arzner's first outing as an freelance director and one of her most recognized works today. The film stars Katherine Hepburn in her first starring role as Cynthia Darrington, a world-famous aviator who ends up falling for the titular man, played by Colin Clive, who is already married to Lady Strong, played by Billie Burke. We hope you enjoy, and thank you for your time. NOTE: This podcast was recorded on June 6th, 2021.

Rock At Night chats with Colin Clive, lead guitarist and founding member of ska band MUSTARD PLUG. [...]

On this episode of Gimme Danger Radio our guest DJ, Colin Clive takes us on a tour of the songs that continually occupy his mind. Colin Clive is the guitarist and sometimes vocalist of the Grand Rapids, Michigan Ska-Punk band Mustard Plug, and is also the guitarist and vocalist of the post-punk-cold wave band, The War Between. Colin is one of my oldest and dearest friends, and it was an honor to sit down and talk with him about the music that he loves. So sit back and enjoy this trip through Colin Clive's music obsessed mind, right here on Gimme Danger Radio! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

This week on Total Movie Recall, we acknowledge that The Wizard of Oz is, yes, a classic. However, it's missing a certain je ne sais quoi, and we try to put our fingers on exactly what it needed. We conclude that classic, whimsical children's film needed more childhood lobotomy, forced imprisonment, Queens pulling their own heads off, and Veruca Salt. Or Fairuza Balk? Potato potato. Return to Oz (1985) d. Walter Murch Based on books by L. Frank Baum Starring: Fairuza Balk as Dorothy Nicol Williamson as the Nome King Jean Marsh as Mombi Piper Laurie as Aunt Em Brian Henson as Jack Pumpkinhead  Dorothy discovers she is back in the land of Oz, and finds the yellow brick road is now a pile of rubble, and the Emerald City is in ruins. Discovering that the magical land is now under the control of an evil empire, she sets off to rescue the scarecrow, the tin man and the cowardly lion with the help of her new friends. Things discussed in the show: Electroshock Therapy / Electroconvulsive therapy (ECT) The Willies - Labyrinth - Indiana Jones and the Last Crusade Tik-Tok of Oz The Wonderful Wizard of Oz Ozma of Oz PEN15 (Maya Erskine, Anna Konkle, Sam Zvibleman) Booksmart (Olivia Wilde, Emily Halpern, Sarah Haskins, Kaitlyn Dever, Beanie Feldstein, Jessica Williams, Jason Sudeikis, Lisa Kudrow, Will Forte) Lady Bird (Greta Gerwig, Saoirse Ronan, Laurie Metcalf, Tracy Letts) Is the expression "call a spade a spade" racist? Pharcyde - Bizarre Ride II the Pharcyde Superbad (Greg Mottola, Seth Rogen, Evan Goldberg, Michael Cera, Jonah Hill, Christopher Mintz-Plasse, Bill Hader) Raised by Wolves (Aaron Guzikowski, Ridley Scott, Travis Fimmel, Amanda Collin, Abubakar Salim) Dune - 1984 (David Lynch, Frank Herbert, Kyle MacLachlan, Virginia Madsen, Francesca Annis, Sting, Dean Stockwell) Alien: Covenant (Ridley Scott, Michael Fassbender, Katherine Waterston, Billy Crudup, Danny McBride) American Murder: The Family Next Door (Jenny Popplewell) Lifetime made for TV movies 8 Inch Betsy - The Mean Days Army Wives (Katherine Fugate, Brian McNamara, Wendy Davis, Catherine Bell, Sterling K. Brown, Terry Serpico, Sally Pressman, Kim Delaney, Drew Fuller) Unsolved Mysteries Rescue 911 (William Shatner, David Teschendorf, Gene Babb) Last Podcast on the Left (Ben Kissel, Marcus Parks, Henry Zebrowski) My Favorite Murder (podcast, Karen Kilgariff, Georgia Hardstark) Paradise Lost: The Child Murders at Robin Hood Hills Paradise Lost 2: Revelations Paradise Lost 3: Purgatory How The Satanic Panic and the novel Michelle Remembers ruined lives. Siskel and Ebert hated this movie The Wizard of Oz (Victor Fleming, Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, Jack Haley, Billie Burke, Margaret Hamilton) Flying Monkeys Sucker Punch (Zack Snyder, Emily Browning, Vanessa Hudgens, Abbie Cornish) Veruca Salt Willie Wonka & the Chocolate Factory (Mel Stuart, Roald Dahl, Gene Wilder, Jack Albertson, Peter Ostrum) The Waterboy (Frank Coraci, Tim Herlihy, Adam Sandler, Adam Sandler, Kathy Bates, Henry Winkler, Fairuza Balk, Clint Howard, Rob Schneider) The Craft (Andrew Fleming, Peter Filardi, Robin Tunney, Fairuza Balk, Neve Campbell) One Flew Over the Cuckoo's Nest (Milos Forman, Ken Kesey, Jack Nicholson, Louise Fletcher, Michael Berryman, Scatman Crothers, Danny DeVito, Christopher Lloyd, Will Sampson) Frankenstein (James Whale, Colin Clive, Mae Clarke, Boris Karloff) PTSD, Soldier's Heart, Shell Shock Schindler's List (Steven Spielberg, Liam Neeson, Ralph Fiennes, Ben Kingsley Invasion of the Triffids / Day of the Triffids (Steve Sekely, Howard Keel, Nicole Maurey, Janette Scott, killer plants) White Fang (Randal Kleiser, Jack London, Ethan Hawke, Klaus Maria Brandauer, Bill Moseley) George Lucas The Godfather (Francis Ford Coppola, Marlon Brando, Al Pacino, James Caan, Robert Duvall, Diane Keaton) The Godfather Part II (Francis Ford Coppola, Al Pacino, Robert De Niro, Robert Duvall, Diane Keaton) The Godfather Part III (Francis Ford Coppola, Al Pacino, Diane Keaton, Andy Garcia, Diane Keaton, Joe Mantegna, Talia Shire, Bridget Fonda, Sofia Coppola) Apocalypse Now (John Milius, Francis Ford Coppola, Martin Sheen, Marlon Brando, Robert Duvall, Frederic Forrest, Sam Bottoms, Laurence Fishburne, Harrison Ford, Dennis Hopper) Star Wars Clone Wars S4/E8 - "The General" (James Arnold Taylor, Dee Bradley Baker, Dave Fennoy) Alice in Wonderland Commando (Mark L. Lester, Arnold Schwarzenegger, Rae Dawn Chong, Dan Hedaya, Alyssa Milano, Bill Duke) DMT (drug) Punk archetypes (Rocksteady and Beebop, punks in the Toxic Avenger, Oingo Boingo, Sex Pistols) Uncanny Valley Se7en (David Fincher, Andrew Kevin Walker, Morgan Freeman, Brad Pitt, Kevin Spacey, Gwyneth Paltrow) Pink Floyd - Dark Side of the Rainbow Slayer - Reign in Blood Indiana Jones and the Kingdom of the Crystal Skull (Steven Spielberg, David Koepp, George Lucas, Harrison Ford, Cate Blanchett, Shia LaBeouf) Pantera - Cowboys from Hell Joel Silver Pumkinhead (Stan Winston, Lance Henriksen, Jeff East, John D'Aquino) Excalibur (John Boorman, Nigel Terry, Helen Mirren, Nicholas Clay, Liam Neeson, Patrick Stewart) James Earl Jones Garden Gnome Amelie Alchemical Elemental beings (Gnomes, Sylphs, Salamanders, Udines) Eastbound and Down (Ben Best, Jody Hill, Danny McBride, Steve Little, Katy Mixon) Joseph Campbell The Ramones - "Psycho Therapy" & "Teenage Lobotomy" Dexter (James Manos Jr., Michael C. Hall, Jennifer Carpenter, David Zayas) American Horror Story (Brad Falchuk, Ryan Murphy, Lady Gaga, Kathy Bates, Angela Bassett, Evan Peters, Sarah Paulson, Denis O'Hare) Babe Pig in the City Oz the Great and Powerful (Sam Raimi, James Franco, Michelle Williams, Rachel Weisz, Mila Kunis, Zach Braff, Bill Cobbs, Bruce Campbell, Ted Raimi) Next week: The Sixth Sense

In this episode, our hosts get in the Halloween spirit by watching the 1931 Universal Pictures classic, Frankenstein. Maggie raves about the special effects, Sangita calls "stranger danger," Ian pans some shakey pans, and all agreed there were some #goodshadows and fantastic sets. Follow us on instagram and twitter @bestpicturespod or send us an email at bestpicturespodcast@gmail.com Special Guest: Sangita.

We're back! Dave, Elizabeth and Thomas return to look at the 1935 Universal horror classic The Bride of Frankenstein starring Boris Karloff, Colin Clive, Elsa Lanchester and the cool machismo of Ernest Thesiger and directed by James Whale. Yeah, that'll get the Beleibers listening