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Curtis, James (1998). James Whale: A New World of Gods and Monsters. Boston, Faber and Faber. ISBN 0-571-19285-8. Skal, David J. (1993). The Monster Show: A Cultural History of Horror. Penguin Books. ISBN 0-14-024002-0.
Brunas, Michael, John Brunas & Tom Weaver (1990). Universal Horrors: The Studios Classic Films, 1931–46. Qefferson, NC, McFarland & Co. In 1999, Universal released Bride of Frankenstein on VHS and DVD as part of the "Classic Monster Collection". [67] [68] In April 2004, Universal released Frankenstein: The Legacy Collection on DVD as part of the "Universal Legacy Collection". [69] [70] This two-disc release includes Bride of Frankenstein, as well as the original Frankenstein, Son of Frankenstein, and The House of Frankenstein. [69] [70] Boris Karloff in the film's trailer. Gay film historian Vito Russo, in considering Pretorius, stops short of identifying the character as gay, instead referring to him as " sissified", [61] "sissy" itself being Hollywood code for "homosexual". Pretorius serves as a "gay Mephistopheles", [14] a figure of seduction and temptation, going so far as to pull Frankenstein away from his bride on their wedding night to engage in the unnatural act of creating non-procreative life. A novelization of the film published in the United Kingdom made the implication clear, having Pretorius say to Frankenstein: "Be fruitful and multiply. Let us obey the Biblical injunction: you of course, have the choice of natural means; but as for me, I am afraid that there is no course open to me but the scientific way". [62]Bride of Frankenstein was included in the Universal Classic Monsters: Complete 30-Film Collection Blu-ray box set in August 2018. [77] This box set also received a DVD release. [78] See also [ edit ] Bride of Frankenstein was subjected to censorship, both during production by the Hays office and following its release by local and national censorship boards. Joseph Breen, lead censor for the Hays office, objected to lines of dialogue in the originally submitted script in which Henry Frankenstein and his work were compared to that of God. He continued to object to such dialogue in revised scripts, [31] and to a planned shot of the Monster rushing through a graveyard to a figure of a crucified Jesus and attempting to rescue the figure from the cross. [32] Breen also objected to the number of murders, both seen and implied by the script and strongly advised Whale to reduce the number. [8] The censors' office, upon reviewing the film in March 1935, required a number of cuts. Whale agreed to delete a sequence in which Dwight Frye's "Nephew Glutz" [8] kills his uncle and blames the Monster, [1] and shots of Elsa Lanchester as Mary Shelley in which Breen felt too much of her breasts were visible. Despite his earlier objection, Breen offered no objection to the cruciform imagery throughout the film – including a scene with the Monster lashed Christ-like to a pole – nor to the presentation of Pretorius as a coded homosexual. [31] Bride of Frankenstein was approved by the Production Code office on April 15. [1] In a castle on a stormy night, Percy Bysshe Shelley and Lord Byron praise Mary Shelley for her story of Frankenstein and his Monster. She reminds them that her intention for writing the novel was to impart a moral lesson, the consequences of a mortal man who tries to play God. Mary says she has more of the story to tell. The scene shifts to the close of the 1931 movie Frankenstein, where villagers gathered around the burning windmill cheer the apparent death of the Monster. The Bride of Frankenstein". catalog.afi.com. Archived from the original on December 3, 2021 . Retrieved December 3, 2021.
a b Norden, Martin F. (2016). " 'We're Not All Dead Yet': Humor Amid the Horror in James Whale's 'Bride of Frankenstein' ". In Miller, Cynthia J.; Van Riper, Anthony Bowdoin (eds.). The Laughing Dead: The Horror-Comedy Film from "Bride of Frankenstein" to "Zombieland". Lanham, Md.: Rowman & Littlefield. p.119, fn. 31. ISBN 9781442268326. Elsa Lanchester and Boris Karloff in Bride of Frankenstein. The bride's conical hairdo, with its white lightning-trace streaks on each side, has become an iconic symbol of both the character and the film.
a b c Del Valle, David (November 29, 2009). "Curtis Harrington on James Whale". Films in Review. p.3. Archived from the original on July 18, 2011 . Retrieved June 10, 2010.
Charisma, James (March 15, 2016). "Revenge of the Movie: 15 Sequels That Are Way Better Than The Originals". Playboy. Archived from the original on July 26, 2016 . Retrieved July 19, 2016. Hans, the father of a girl the creature drowned, wants to see the Monster's bones. He falls into a flooded pit underneath the mill, where the Monster—having survived the fire—strangles him. Hauling himself from the pit, the Monster casts Hans' wife to her death. He next encounters Frankenstein's servant Minnie, who flees in terror. Mallory, Michael (2009) Universal Studios Monsters: A Legacy of Horror. Universe. ISBN 0-7893-1896-2.Whale met Franz Waxman at a party and asked him to score the picture. Whale told him: "Nothing will be resolved in this picture except the end destruction scene. Would you write an unresolved score for it?" [17] Waxman created three distinctive themes: one for the Monster; one for the Bride; and one for Pretorius. The score closes, at Whale's suggestion, with a powerful dissonant chord, intended to convey the idea that the on-screen explosion was so powerful that the theater where the film was being screened was affected by it. [25] Constantin Bakaleinikoff conducted 22 musicians to record the score in a single nine-hour session. [26] Vieira, Mark A. (2003). Hollywood Horror: From Gothic to Cosmic. New York, Harry N. Abrams. ISBN 0-8109-4535-5. In the decades since its release, modern film scholars have noted the possible queer reading of the film. Director James Whale was openly gay, and some of the actors in the cast, including Ernest Thesiger and, according to rumor, Colin Clive, were respectively gay or bisexual. [58] Although James Curtis, Whale's biographer, rejects the notion that Whale would have identified with the Monster from a homosexual perspective, [59] scholars have perceived a gay subtext suffused through the film, especially a camp sensibility, [60] particularly embodied in the character of Pretorius and his relationship with Henry. Johnson, Tom (1997). Censored Screams: The British Ban on Hollywood Horror in the Thirties. McFarland. ISBN 0-7864-0394-2. Gods and Monsters, a 1998 James Whale biopic that draws its title from a quote from Bride of Frankenstein
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