Comparing the Creation Scene in James Whale's 1931 Frankenstein and Kenneth Brannagh's 1994 Frankenstein James Whale’s 1931 portrayal of Frankenstein when compared to Kenneth Brannagh’s alternate account from 1994 reveals some similarities but also many differences in the way they try to evoke emotions such as horror, fear and expectation from the audience and keep the plot moving.
The Godfather (1972) is a one of a kind movie; it is even considered by many an American classic. The American Film Institute (AFI) has The Godfather listed at number two in 2008 as one of the greatest films in American culture today. This movie has everything from great action scenes to world famous actors.
Anyone who has read Mary Shelley’s Frankenstein and seen James Whale’s 1931 film version knows that the similarities between the two are minuscule at best, while the differences abound. Similarities include character, mood, and plot, though even within these there are numerous differences.
A simple, haunting musical phrase whistled offscreen tells us that a young girl will be killed. “Who Is the Murderer?” pleads a nearby placard as serial killer Hans Beckert (Peter Lorre) closes in on little Elsie Beckmann. .. In his harrowing masterwork M, Fritz Lang merges trenchant social commentary with chilling suspense, creating a panorama of private madness and public hysteria that.
Frankenstein is a 1931 American pre-Code science fiction horror film directed by James Whale, produced by Carl Laemmle Jr., and adapted from a 1927 play by Peggy Webling, which in turn was based on Mary Shelley 's 1818 novel Frankenstein; or, The Modern Prometheus.
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According to Wikipedia, the film is more different than it is similar. In the book, The Abomination taught himself to read, write and talk. Not so in the film. In Shelley's novel Frankenstein's Monster had got his head cut because of Frankenstein's need to put the brain in his creation, not by an axe.
Anyone doubting the disturbing effects of repression should experience Rouben Mamoulian’s 1931 version of Robert Louis Stevenson’s novella Dr. Jekyll and Mr. Hyde.One of the most sophisticated and frightening films in 1930s cinema, Dr. Jekyll and Mr. Hyde explicitly explores sexuality and repression in ways that most films of the era merely hinted at or disguised in allegory.