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Frankenstein Goldstadt Medical College Greeting Card

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Yet as I say, most of this may only be apparent after the event, or upon subsequent viewings; because there is also much in Frankenstein to love and to admire. As had been the case with its predecessor, Frankenstein’s path to the screen was convoluted, with the finished product bearing only the vaguest resemblance to the tale on which it was supposedly based.

The two films were even re-released as a double-bill late in the thirties—neither of them quite the works they had been, granted. I’m sure I have seen the sequels, but considering how many scenes I didn’t remember in this movie, they would probably all be brand new to me now (major senior moments). In Frankenstein, the most significant cuts were to the scientist’s declaration of his divine presumption, and to the Creature’s drowning of Maria—the latter, of course, leaving behind a far more upsetting implication. Still—the fact that Henry Frankenstein reacts to his engagement by disappearing for four months, and upon the very eve of his own wedding chooses to spend his time dabbling in unnatural reproduction, is suggestive, to say the least. In 1986, three reportedly lost segments that had been deleted from the final release print were discovered, including a shot of the monster drowning Maria, which had gained considerable notoriety.

Indeed, it is doubtful that Whale ever gave better evidence of his talents than he does in Frankenstein. Censors in Quebec rejected the film in its entirety and petitioned Universal to either resubmit the film with a foreword or preface to indicate that the picture was a dream, or end the picture at the windmill scene and make a number of other cuts.

The first of numerous sequels to the 1931 Frankenstein were Universal's The Bride of Frankenstein (see above), again directed by James Whale and starring Clive and Karloff; and Son of Frankenstein (see below), directed by Rowland V.

Because of the earlier examination of his mindset, we know exactly what he felt at the moment of his success. In 1927, yet another interpretation, this one penned by Peggy Webling, was presented upon the British stage by producer-actor Hamilton Deane, who chose for himself the juicy role of the Creature.

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