Skip Navigation

Frame by Frame

Posts Tagged ‘Frankenstein’

Upcoming Conference: “Frankenstein and Popular Culture”

Sunday, December 18th, 2016

Mary Shelley’s creation is always with us – more so today, perhaps, than ever before.

I’ve been invited to deliver a paper at the upcoming conference “Frankenstein and Popular Culture,” celebrating the 200th anniversary of the creation and publication of Mary Shelley’s Frankenstein at the University of Wisconsin-Madison on October 27-29, 2017. I chose as my topic “The Ghost of Frankenstein: What To Do With The Monster in The Digital Age?” – which is a pressing issue not only for scholars, but also for those within the industry as well. As I write in my paper, in part:

“Aside from J. Searle Dawley’s 1910 version of Frankenstein for the Edison Company, and moving through James Whale’s 1931 interpretation which pretty much put the ’stamp’ on the monster, the years have not been kind to Frankenstein’s creation. Bride of Frankenstein (1935) and Son of Frankenstein (1939) have some value, especially since Boris Karloff returned to the role that made him famous, but this ‘golden period’ was short lived.

Universal soon relegated the monster to series of inferior sequels, and by 1943 was ‘teaming’ the monster with their creation The Wolf Man to generate flagging audience interest, only to dispose of the monster altogether in 1944’s House of Frankenstein and 1945’s House of Dracula, to say nothing – literally nothing – of 1948’s Abbott and Costello Meet Frankenstein.

With this rather witless burlesque, Universal had seemingly run out of ideas. Yes, in the late 1950s Hammer Films effectively re-imagined the monster with Terence Fisher’s 1957 production of The Curse of Frankenstein, precisely because they were barred by Universal from using any visual, narrative or thematic elements of their version of the monster’s exploits, yet after an initial run of success, the final entries in the Hammer series also fell victim to diminishing returns.

Subsequent interpretations, from numerous other filmmakers, have been even more threadbare. My paper takes its title from the 1942 film The Ghost of Frankenstein, one of the last credible films in the original Universal series, and asks the question, ‘What are we to do with, or make of, the Frankenstein monster in the 21st century?’

Tracing the monster in film from its beginnings to the present, we see a disturbing but not altogether unexpected trend. Newer iterations of the classic tale feature more special effects, but less real content. Universal is right now planning to reboot their classic monsters with yet another version of The Mummy, starring Tom Cruise, with new versions of Frankenstein and Dracula to follow. But will any of these versions have lasting impact, or value? [. . .]

Copying the Marvel and DC Universe method of churning out franchise films on a regular basis, Universal is plowing ahead with a similarly designed program of entries in the coming years, with Johnny Depp tentatively attached as the lead in a reboot of The Invisible Man; Dwayne ‘The Rock’ Johnson potentially linked to a reboot of The Wolf Man; a remake of the 2004 film Van Helsing; Scarlett Johansson tagged for a remake of The Creature from The Black Lagoon; and Javier Bardem, perhaps, as the monster in a remake of The Bride of Frankenstein, with Angelia Jolie considered for the role of the Bride, as part of a project to create the Universal Monster universe.

Noted Universal chairperson Donna Langley of this strategy, ‘we have to mine our resources. We don’t have any capes [in our film library]. But what we do have is an incredible legacy and history with the monster characters. We’ve tried over the years to make monster movies — unsuccessfully, actually. So, we took a good, hard look at it, and we settled upon an idea, which is to take it out of the horror genre, put it more in the action-adventure genre and make it present day, bringing these incredibly rich and complex characters into present day and reimagine them and reintroduce them to a contemporary audience.’

But I would argue that it’s not going to work; that it hasn’t worked thus far; and that it won’t work in the future. The Frankenstein legend, and with it The Wolf Man, The Mummy, and Dracula are not material for a ‘Bourne’ or ‘Mission: Impossible’ series – all this will do is degrade the material further. What is needed is a creative force like the Hammer team, which takes the material seriously, and treats each project with the utmost care and attention, placing the emphasis on character, setting, and thematic development, rather than relying on special effects and fleeting star power to put these forthcoming projects across in the marketplace.

Hammer understood Gothic horror; it’s an English tradition. Universal, in the 1930s, had a sort of second hand comprehension of the genre through the lens of German Expressionism and British stage versions of the source materials, as brought to life by British (James Whale) or German émigrés such as Curt Siodmak and Karl Freund. The new Universal films are strictly an attempt to artificially jump start creations that need a firm re-grounding in their source material. In these films and others, we will get only a simulacric vision of these mythic characters, especially Victor Frankenstein and his creation; in short, all we will get is the ghost of Frankenstein.”

So, that’s where this stands at the moment – a few days before Christmas, 2016.

Terence Fisher

Monday, October 31st, 2011

Christopher Lee as Dracula in Terence Fisher’s Horror of Dracula (1958)

“Do I believe in the supernatural? Oh yes, certainly. I can’t believe, I can’t accept that you die and that’s the end. Physically maybe it is a fact. But there’s something about the mind that’s more than that.”

Terence Fisher is the director who brought the modern horror film to life, with his Hammer Films classics Curse of Frankenstein (1957) and Horror of Dracula (1958), which were simultaneously more faithful to their source material, and also, as the image above aptly demonstrates, far more brutal in their execution.

I am admire Fisher deeply, and consider him, in a way, the John Ford of England, working within the mythos of the British Gothic tradition, in the same way that Ford embraced the American Western. I wrote a book about Fisher a long time back, which remains the only full-length study of his work as a director, now unfortunately out of print: “The Charm of Evil: The Life and Films of Terence Fisher,” which makes this case in detail.

Fisher took his work as a horror director absolutely seriously; his films depict a deeply Christian struggle between good and evil, in which good inevitably wins, but only after a prolonged and difficult struggle, which is articulated perhaps most fully in his late film The Devil’s Bride (1968).

Here’s more on Fisher, and if you have the time and inclination, you should seek out his major films and view them. He is, without any doubt, the person who brought the horror film back to life after Universal had abandoned the classic monsters in the late 1940s, in an entirely new form.

About the Author

Headshot of Wheeler Winston Dixon Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. All comments by Dixon on this blog are his own opinions.

In The National News

Wheeler Winston Dixon has been quoted by Fast Company, The New Yorker, The New York Times, the BBC, CNN, The Christian Science Monitor, US News and World Report, The Boston Globe, Entertainment Weekly, The Los Angeles Times, NPR, The PBS Newshour, USA Today and other national media outlets on digital cinema, film and related topics - see the UNL newsroom at http://news.unl.edu/news-releases/1/ for more details.

RSS Recent Frame by Frame Videos