Frankenstein tem sua noiva sequestrada por outro.Frankenstein, que cria a noiva de triste destino. The Bride Of Frankenstein (1935).avi (699.79 MB) The Bride Of. A NOIVA DE FRANKENSTEIN 1935 DUBLADO Sinopse:Dr. Frankenstein (Colin Clive) e seu monstro (Boris Karloff) retornam, pois n Ver La novia de Frankenstein Online HD / The Bride of Frankenstein (1935) - Pel A Noiva de Frankenstein (no original: Bride of Frankenstein) . Bride of Frankenstein - Wikipedia. Bride of Frankenstein (advertised as The Bride of Frankenstein) is a 1. American sci fi horror film, the first sequel to Universal Pictures' 1. Frankenstein. It is considered one of the few sequels to a great film which is even better than the original film on which it is based. As with the first film, Bride of Frankenstein was directed by James Whale and stars Boris Karloff as The Monster. In the film, a chastened Henry Frankenstein abandons his plans to create life, only to be tempted and finally coerced by his old mentor Dr. Pretorius, along with threats from the Monster, into constructing a mate for the Monster. Preparation to film the sequel began shortly after the premiere of the first film, but script problems delayed the project. Principal photography began in January 1. Bride of Frankenstein was released to critical and popular acclaim, although it encountered difficulties with some state and national censorship boards. Since its release the film's reputation has grown, and it has been hailed as Whale's masterpiece. On a stormy night, Percy Bysshe Shelley (Douglas Walton) and Lord Byron (Gavin Gordon) praise Mary Shelley (Elsa Lanchester) for her story of Frankenstein and his Monster. Reminding them that her intention was to impart a moral lesson, Mary says she has more of the story to tell. The scene shifts to the end of the 1. Frankenstein. Villagers gathered around the burning windmill cheer the apparent death of the Monster (Boris Karloff, credited as . Their joy is tempered by the realization that Henry Frankenstein (Colin Clive) is also apparently dead. Hans (Reginald Barlow), father of the girl the creature drowned in the previous film, wants to see the Monster's bones. He falls into a flooded pit underneath the mill, where the Monster . Hauling himself from the pit, the Monster casts Hans' wife (Mary Gordon) into it to her death. He next encounters Minnie (Una O'Connor), who flees in terror. Henry's body is returned to his fianc. Minnie arrives to sound the alarm about the Monster, but her warning goes unheeded. Elizabeth, seeing Henry move, realizes he is still alive. Nursed back to health by Elizabeth, Henry has renounced his creation, but still believes he may be destined to unlock the secret of life and immortality. A hysterical Elizabeth cries that she sees death coming, foreshadowing the arrival of Henry's former mentor, Doctor Septimus Pretorius (Ernest Thesiger). In his rooms, Pretorius shows Henry several homunculi he has created, including a miniature queen, king, archbishop, devil, ballerina, and mermaid. Pretorius wishes to work with Henry to create a mate for the Monster and offers a toast to their venture: . Her screams upon seeing him alert two hunters, who shoot and injure the creature. The hunters raise a mob that sets out in pursuit. Captured and trussed to a pole, the Monster is hauled to a dungeon and chained. Left alone, he breaks his chains, kills the guards and escapes into the woods. That night, the Monster encounters a gypsy family and burns his hand in their campfire. Following the sound of a violin playing . Heggie) who thanks God for sending him a friend. He teaches the monster words like . Two lost hunters stumble upon the cottage and recognize the Monster. He attacks them and accidentally burns down the cottage as the hunters lead the hermit away. Taking refuge from another angry mob in a crypt, the Monster spies Pretorius and his cronies Karl (Dwight Frye) and Ludwig (Ted Billings) breaking open a grave. The henchmen depart as Pretorius stays to enjoy a light supper. The Monster approaches Pretorius, and learns that Pretorius plans to create a mate for him. Henry and Elizabeth, now married, are visited by Pretorius. He is ready for Henry to do his part in their . Henry refuses and Pretorius calls in the Monster who demands Henry's help. Henry again refuses and Pretorius orders the Monster out, secretly signaling him to kidnap Elizabeth. Pretorius guarantees her safe return upon Henry's participation. Henry returns to his tower laboratory where in spite of himself he grows excited over his work. After being assured of Elizabeth's safety, Henry completes the Bride's body. A storm rages as final preparations are made to bring the Bride to life. Her bandage- wrapped body is raised through the roof. Lightning strikes a kite, sending electricity through the Bride. Henry and Pretorius lower her and realize their success. They remove her bandages and help her to stand. The excited Monster reaches out to her, asking, . As Elizabeth races to Henry's side, the Monster rampages through the laboratory. The Monster tells Henry and Elizabeth ! Following the success of Whale's The Invisible Man, producer Carl Laemmle, Jr. The script passed its review, but Whale, who by then had been contracted to direct, complained that . Blochman and Philip Mac. Donald were the next writers assigned, but Whale also found their work unsatisfactory. In 1. 93. 4, Whale set John L. Balderston to work on yet another version, and it was he who returned to an incident from the novel in which the creature demands a mate. In the novel Frankenstein creates a mate, but destroys it without bringing it to life. Balderston also created the Mary Shelley prologue. After several months Whale was still not satisfied with Balderston's work and handed the project to playwright William J. Hurlbut and Edmund Pearson. The final script, combining elements of a number of these versions, was submitted for Hays office review in November 1. Lanchester, who had accompanied husband Charles Laughton to Hollywood, had met with only moderate success while Laughton had made a strong impact with several films including The Private Life of Henry VIII (for which he had won an Oscar) and Whale's own The Old Dark House. Lanchester had returned alone to London when Whale contacted her to offer her the dual role. She gave herself a sore throat while filming the hissing sequence, which Whale shot from multiple angles. Hobson recalled Clive's alcoholism had worsened since filming the original, but Whale did not recast the role because his . My argument was that if the monster had any impact or charm, it was because he was inarticulate . The moment he spoke you might as well .. Frye also filmed a scene as an unnamed villager and the role of . 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. Universal makeup artist Jack Pierce paid special attention to the Monster's appearance in this film. He altered his 1. Monster's hair. Strickfaden recycled a number of the fancifully named machines he had created for the original Frankenstein for use in Bride, including the . Fulton, head of the special effects department at Universal Studios at the time. Horsely created the homunculi over the course of two days by shooting the actors in full- size jars against black velvet and aligning them with the perspective of the on- set jars. The foreground film plate was rotoscoped and matted onto the rear plate. Diminutive actor Billy Barty is briefly visible from the back in the finished film as a homunculus infant in a high chair, but Whale cut the infant's reveal before the film's release. Would you write an unresolved score for it? 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. Air got into the suit and expanded it like an . The film was ten days over schedule because Whale shut down the picture for ten days until Heggie became available to play the Hermit. Whale re- shot the ending to allow for their survival, although Clive is still visible on- screen in the collapsing laboratory. 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. Whale agreed to delete a sequence in which Dwight Frye's . Curiously, despite his earlier objection, Breen offered no objection to the cruciform imagery throughout the film . One unusual objection, from Japanese censors, was that the scene in which Pretorius chases his miniature Henry VIII with tweezers constituted . The New York World- Telegram called the film . Thesiger as Dr Pretorious . Lanchester handles two assignments, being first in a preamble as author Mary Shelley and then the created woman. In latter assignment she impresses quite highly. Screenwriters Hurlbut & Balderston and Director James Whale have given it the macabre intensity proper to all good horror pieces, but have substituted a queer kind of mechanistic pathos for the sheer evil that was Frankenstein. In 1. 99. 8, the film was added to the United States National Film Registry, having been deemed . In addition to the scenes of the Monster trussed in a cruciform pose and the crucified figure of Jesus in the graveyard, the hermit has a crucifix on the wall of his hut . Horror scholar David J. Skal suggests that Whale's intention was to make a . Rather, the Monster is a . In crucifying the Monster, he says, Whale . The Monster is raised from the dead first, then crucified. Director James Whale was openly gay, and some of the actors in the cast, including Ernest Thesiger and Colin Clive, were believed to be gay or bisexual. Pretorius serves as a . A novelization of the film published in England made the implication clear, having Pretorius say to Frankenstein . But Whale reminds us quickly that society does not approve. All artists do work that comes out of the unconscious mind and later on you can analyze it and say the symbolism may mean something, but artists don't think that way and I would bet my life that James Whale would never have had such concepts in mind. That's a critical interpretation that has nothing to do with the original inspiration.
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