Son of Frankenstein (1939) Review

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"Son of Frankenstein", was the third and last in the series of horror classics to feature Boris Karloff in his most famous part as Frankenstein's monster. After the classic "Frankenstein", and "Bride of Frankenstein", this film was a fitting farewell to his unforgettable characterisation after which the Frankenstein stories were passed over to Universal's "B" movie department and resulted in lesser quality efforts with other actors playing the monster to less effect.

While the film misses the florid direction of the great James Whale who was responsible for the first two installments in the horror trilogy, "Son of Frankenstein", has much to commend it to the viewer. The story is picked up many years after the death of Dr. Frankenstein and the supposed destruction of his murderous creation. We see his son the sophisticated Baron Frankenstein (Basil Rathbone) arrive with his family to finally claim his inheritance and occupy Castle Frankenstein. There he finds he and his family aliented from the fearful townspeople after their experiences with hi sfather and also under extreme suspicion from local Inspector Krogh (wonderfully played by horror veteran Lionel Atwill) who as a child lost an arm in a savage confrontation with the monster and thus holds a grudge against the house of Frankenstein. Coming into contact with the broken necked peasant shepherd Ygor (played by legendary Bela Lugosi in one of his best performances) who lives in the old laboratory, Frankenstein discovers the sleeping body of the monster who was not destroyed after all. Bent on clearing his father's name plus reviving the monster, Frankenstein succeeds too well and not only revives the monster but finds it goes on another killing spree after Ygor uses the monster for his own evil designs in killing off all of the villagers who were responsible for trying to hang him years before. It is true in "Son of Frankenstein", that the monster is very much a background character here as the main focus is placed on Rathbone. This is not necessarily a set back as this tale is a much less up beat one with the monster no longer having alot of the human qualities it possessed in the earlier films that succeeded in drawing sympathy from the audience. Here he has few redeeming qualities and is shown as a cold blooded murderer that rarely creates any sympathy. The one scene where some human element in his character comes through is when after being revived in Frankenstein's laboratory he sees himself in the mirror and recoils in disgust at his pathetic appearance beside that of the debonair Baron frankenstein. The tragic finale of the film which sees the monster flung into a bubbling sulphur pit is one of the great horror movie moments and is a justly memorable conclusion to Karloff's legendary creation.

"Son of Frankenstein", benefits from a much larger budget than the earlier films and indeed some of the creakiness of those efforts is not present here as we see a top rate Universal production for the 1939 year. The look of the film is definately more sinister here, gone are the sunny landscapes of the earlier films. Here the landscape is perpetually storm ridden and darkness prevails in every scene. Even the interiors and architecture have a strange unsettling quality to them and the sets for Castle Frankenstein in particular are positively awesome with their unsettling sloping walls and odd angled staircases lacking any human warmth and creating a feeling of unease and impending doom. They contribute greatly to the darker more fearful atmosphere of this installment in the Frankenstein series.

I personally love all three Karloff outings in this series, "Frankenstein", "Bride of Frankenstein", and "Son of Frankenstein". In this trilogy Boris Karloff created a horror legend that was never equalled and the Frankenstein stories quickly degenerated after these three efforts. Although more of a darker horror outing than the first two films lacking as it does the humour and pathos of Whales creation, "Son of Frankenstein", is a memorable viewing experience and highly recommended to all lovers of classic horror stories.

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While 'Son of Frankenstein' may not be as frightening as the original 'Frankenstein' or as good of an all around movie as 'Bride of Frankenstein' before it, this movie excels in two areas which make it one of the best classic scare-fests ever; production and cast. In terms of production value, this is a very slick and well put together film; in my opinion it is the most visually impressive of the vintage Universal films, with elaborate sets that you can tell involved a lot of detail (and a lot of money!). In terms of the cast, this is easily the best cast of any classic horror film ever made. This is the last of three performances by Boris Karloff as the Monster, and although he is obviously putting on some weight and doesn't seem to be quite as enthusiastic about the whole Monster thing by the time this movie was made, there was still never a better Frankenstein Monster anyhwhere. Ever. Period, end of discussion. Basil Rathbone is a slick, likable actor who does a wonderful job of assuming the 'hero' role as the title character, and puts on a good show as paranoia catches up with him throughout the second half of the film. Bela Lugosi gives what some call his best performance as Ygor the Hunchback; I don't know if I can bring myself to say that Dracula was not his best role, but nonetheless he is wonderfully grimy and creepy and seems to be very much having a blast playing this very out-of-character role. And Lionel Atwill, a stalwart in the great Universal Monsterfests of the 1940s, gives an unforgettable performance as the noble, suspicious, and vaguely odd one-armed police inspector Krogh, loyal policeman who, although willing to protect the doctor with his life from bloodthirsty villagers, always has one eyebrow raised in suspicion as to what exactly the goings-on in the castle are. This is a long movie for it's day and it's genre (about 100 minutes) and it may lack some of the dark, graveyard atmosphere that the original two movies had (and in a campy unrefined way the later ones had a little bit of this too). Still, it is a fun movie to watch that has it's moments and has four genre legends in their relative prime. I know I could watch this one again and again.

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'Son Of Frankenstein' is the last great Frankenstein film! Karloff would say goodbye to the role that made him a star forever after this picture. The sets are great and the atmosphere is rich, add Rathbone and Lugosi with excellent performances and you got yourself a top notch monster movie. Karloff spends most of the film comatose which it a shame because he really does bring this character to life and without him the film becomes talky. This is the longest 'Frankenstein' film at 100 minutes which goes by quickly watching this third outing. Those factors make me bring the rating of the film down to 4 1/4 stars. The ending is very memorable and it could have been a great ending to the series but.......you can't keep a great monster down! Five more 'Frankenstein' films would follow. This is available on DVD on Frankenstein Legacy set and a double bill with 'Ghost of Frankenstein'. The DVD transfers are very good.

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Although Frankenstein, and Bride of Frankenstein are great films, the Son of Frankenstein was the first to point out that the monster was immortal, and was constructed to have awesome power. In addition, the monster has a tender relationship with Basil Rathbone's little boy, and points out that only the predjudice of adults led to his troubles in fitting in with humans. This is actually my favorite of the Karloff trio. Karloff's monster looks and acts more like his first treatment (waxen and mute) and thereby more mysterious. Karloff had put on some weight and looked more powerful and scary that ever. Bela Lugosi gave the performance of his career. The last good Frankenstein movie. Boris Karloff is the only one to achieve greatness in this character.

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SON OF FRANKENSTEIN doesn't quite approach the quality of BRIDE OF FRANKENSTEIN, but it has style and histrionics to spare. Director Rowland V. Lee lacks James Whale's flair for macabre humor, but does a great job with pace and atmosphere. The cast is top notch, too.Karloff makes his final starring appearance as the Monster. While his performance is excellent, the Monster isn't nearly as sympathetic a character as he was in FRANKENSTEIN and BRIDE. Bela Lugosi was never better as the mad Ygor, proving beyond a doubt that he was capable of more than just endless variations of Dracula. Lionel Atwill also gives one of his best performances as the wooden armed police chief.

House of Frankenstein (1944) Reviews

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The Universal Frankenstein saga continues with Boris Karloff returning to the series that he helped start. This time, however, Boris stays out of the monster suit and plays the mad doctor. The movie effectively blends a Dracula segment with a Frankenstein story and keeps the Wolfman and the hunchback around for good measure. John Carradine is smooth as silk as Dracula. His performance isn't as mysterious as Bela Lugosi's or as menacing as Christopher Lee's, but he does well in a costarring role. Glenn Strange plays the Frankenstein monster for the first time. Lon Chaney, Jr is back again as Larry "The Wolfman" Talbot. Being frozen in ice for a year (since "Frankenstein Meets the Wolfman") hasn't chilled his discontent. He still anguishes over his beastly supernatural tendencies, but he manages to display some very human yearnings for the gypsy-dancing girl, Ilonka (Elena Verdugo). The "man-into-werewolf" transformation under the mesmerizing influence of the full moon is still the stuff of childhood nightmares. J. Carroll Naish as the resident hunchback adds pathos to a minor role. Boris Karloff is dignified and quietly insane as Dr. Niemann. His unholy zeal to find Dr. Frankenstein's records and continue his diabolical work in brain transplants is the catalyst that advances the story. The dark humor and the intelligent nuances of the early James Whale entries in this series are replaced in this film by a fast-paced, horror-comics level story. Only the Universal "monster factory" could pull these wildly diverse elements together and bring everything to the inevitable conclusion in one hour and eleven minutes. In the realm of classic horror films, this is a second string entry. Regardless, it's an entertaining flick for those who need the occasional "monster movie" jolt. Suspend disbelief and enjoy the ride. ;-)

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After teaming up Frankenstein's Monster and the Wolfman in 1942 had improved box-office successes for Universal's horror series, this film went one better and introduced John Carradine's Dracula into the mix. Quite why Bela Lugosi, the greatest of all vampires, was replaced by the over-melodramatic Carradine isn't clear, but this film, for all it's titanic glory, lacks something. It has a lot to recommend it though veterans Lionel Attwill, Lon Chaney Jr, J Carroll Naish even Boris Karloff returned to the series, playing the unpleasant Dr Neimann. But best of all is Glenn Strange as the eponymous Monster. Strange played the role in three major films (including 'Abbott and Costello Meet...') but has never got the recognition he deserved. Admittedly, his Monster is given little to do, but he is singularly terrifying and sympathetic in every scene he's in. Of the four actors to play the Monster in this series, he is second only to Karloff. Naish is effective as the sorrowful hunchback hopelessly besotted to a singularly stupid and cruel gypsy girl, and Chaney is his usual bovine self, tortured with having to share his life with his hairy alter-ego. Interestingly, he is killed at the end of this film, but is it really the end for him? Don't be too sure.

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This 1944 follow-up to "Frankenstein Meets the Wolf Man" lacks the moody atmosphere of its predecessor. "House of Frankenstein" wastes the Universal gallery of monsters in a terribly contrived story. Though Boris Karloff returns to the fold as Dr. Niemann, the actor wishes he were in another film preferably a Val Lewton production. Director Erle C. Kenton would do a better job with the immediate sequel, "House of Dracula" (1945).

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1944's "House of Frankenstein" was one of a string of short horror films seeking to capitalize on the existing stable of classic Universal Pictures monsters. In this entry, Boris Karloff gets to play a demented mad scientist named Niemann, who escapes from prison and goes in search of the missing research of his idol, Dr. Frankenstein. Along the way, he finds Dracula (played by John Carradine), confined to a coffin by a wooden stake, and liberates him to take revenge on Niemann's enemies.

Niemann, Dracula, and Niemann's hunchbacked assistant arrive at the ruined Castle Frankenstein, where they find not only the late doctor's research notes, but also the Frankenstein and Wolfman monsters, frozen in an icy cavern under the castle. Niemann revives the two monsters and sets about his evil experiments. The suspicious inhabitants of the local village storm the castle, setting up a thrill-packed if campy conclusion.

The pacing of the movie is hectic and the story rather disjointed; the viewer may well suspect that the intent was to pack as many monsters into the film as possible. Fortunately, the movie succeeds in being good creepy fun almost in spite of itself, thanks to Karloff's gleeful turn as mad scientist and Lon Chaney Jr's reprise of his role as agonized man/werewolf.

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the first of the "several rolled into one" scenerio, here we have what i consider to be the best one that universal made. i agree that the film is slightly cheap-looking, but that is what makes these old horror films such a delight.

great to see boris karloff again, and even better that he is the lead. he plays the role of the mad scientist with devilish glee. he gives the best performance by far. j. carrol naish ably supports him, as they both travel the country searching for frankenstein's old castle and the remains of his infamous creature.karloff and naish are the dominant characters. at least the film has the good sense to be set in different places where the various monsters are based.

it is true that this comes across as two films put together; the first half dedicated to dracula, then the rest centres around the wolfman and frankenstein's creature.

on the negative side, lon chaney jnr. should have come into the film much earlier. plus his werewolf scenes are too limited. glenn strange merely has a walk-on part, and has practically nothing to do except cause anarchy. john carradine as dracula is rather wooden. yes, he looks the part, but is ultimately unimpressive. the under-rated lionel atwill should have had more screentime.

still, there is plenty going on to keep horror fans happy.

Universal Studios Classic Monster Collection (Dracula Review

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The 'Universal Classic Monsters Essential Collection' takes most of the top tier titles from Universal's classic horror library of the 30's, 40's and 50's and puts them all together in one box set. These films have not just been remastered in 1080p but have also been meticulously cleaned up with much work done to both video and audio. The end result is an eye opening revelation for all the fans of these films.

(PLEASE see the very bottom of my review for info on the current state of disc defect reports regarding the 'Creature' disc)

To call these movies "classic" is really somewhat of an understatement for fans. These are basically the gold standard for horror films and Universal has finally given them their due. I was fortunate enough to borrow a review set for 2 days in anticipation of receiving my own set that was pre-ordered the same day it was announced. One week to go and I can watch them again! I made notes as I watched and spent a great two days and nights with this set.

With that said, this review will focus on the video/audio quality of the set and not the films' content. Basically, what everyone is wanting to know is whether or not this upgrade is a major step up from the legacy series DVD sets. Other than containing the more popular top tier titles and only one of the sequels (Bride of Frankenstein) the answer is YES this is a HUGE upgrade. In fact, once you see these transfers on a properly calibrated display you will NEVER want to watch them any other way. I simply can not imagine them looking any better when first released (other than a few missing frames here and there these days) and the audio is most definitely the best it has EVER sounded. Major kudos and hats off to the team at Universal that did this fantastic job of restoration.

The included booklet is very nice but doesn't contain anything the more than casual fan doesn't already know. Still, it is nice to have and looks great. Unfortunately the US set has the cardboard sleeve design of the new 'Indiana Jones' set and as such is going to receive numerous complaints about disc scratching, etc. The Box itself looks great and even the discs look really good. It is a shame Universal opted for the slide in/out disc storage system. Spindles and hubs would have been SO MUCH better! Due to time constraints I had no time to view any special features and just watched the films. (ok, I admit to watching both 'Bride" and 'Dracula' twice!)

***** Since writing this review I have received my UK Coffin version set. I am still blown away by the video and audio quality and have now had a chance to check out many of the special features. Seems almost all the special features from the Legacy sets have been ported over, unfortunately still presented in SD video. Still, it is a tremendous value and die hard fans will of course be holding on to their legacy sets until the remaining titles are released on Blu. (if ever)

The coffin packaging is very nice, but as another reviewer has pointed out, the disc case that holds the gate-fold disc holders , booklet and art cards is a BIT too small and constantly removing it might eventually cause the coffin to split. To solve this I am keeping the "Swag" in the coffin and the discs in the inner case just next to the coffin on my shelf. I can't figure out why they wouldn't notice this before producing large production runs but that's just the way it is. The discs themselves are much better protected in the UK packaging as they sit on hubs instead of those annoying cardboard sleeves so many are worried about. So basically, the CONTENT is stellar on either set but the packaging on BOTH sets leaves just a bit to be desired overall, albeit for different reasons. *****

If you don't know by now, here are the titles that are included in this collection:

Frankenstein/Bride of Frankenstein (1931 and 1935)

Dracula/Spanish version of Dracula (1931)

The Mummy (1932)

The Invisible Man (1933)

The Wolf Man (1941

Phantom of the Opera (1943)

and last but not least

Creature From the Black Lagoon 3D+2D (1954)

All titles are presented in their original Black and White other than 'Phantom' which was shot in color. Each film other than 'Creature' (widescreen format) is presented in their original 4:3 aspect ratios and sporting nice healthy bit rates for each film and VERY nicely restored sound presented in DTS HD Master Audio stereo, although each film is actually a mono track with identical sound output on both sides.

THE VIDEO QUALITY:

So how does the video quality fare you ask? Absolutely Stupendous! The grain structures are INTACT and for the most part that is a VERY good thing! You will see things as you have never seen them before. You will see things you wished you hadn't seen before such as the crudely painted warped/rippled backdrop during the graveyard and ending scenes in 'Frankenstein'... Various black wires and threads are now clearly visible during effect shots of 'The Invisible Man' , etc. I for one am glad the restorers saw fit to only remove print damage such as scratches and white specks and left the original productions alone as much as possible.

Details and fine texture abound. Equipment in Frankenstein's lab reveals every nuance and texture, fabrics and set decorations become crystal clear, even shaving bumps are visible on Colin Clive's face and there is so much more added detail to Jack Pierce's makeup jobs that it would take a 5 page review to document all the new things I noticed and could see clearly for the very first time. At first I constantly A/B'd the new transfers against the legacy DVD collections to check for any discrepancies but soon realized I was dealing with something that was so much improved it was a useless exercise. These are flat out gorgeous to look at and some of the best vintage black & white restoration jobs I have seen. If you have watched these films over and over like I have on both VHS and DVD, you will be extremely excited about these new renderings.

For those that insist the video quality is no better than the Legacy DVD sets, I suggest perhaps some may have their players connected to a standard video connection or SDTV , or perhaps for some reason just can't appreciate what high end restoration/scanning rendered in 1080p has done for these films. There is NO comparison between the Legacy sets and these transfers and that goes for video AND audio. I have kept my Legacy sets to hold on to the missing titles for each parent film. (ie: Son of Frankenstein, Ghost of Frankenstein and the ever popular Mother-In-Law of Frankenstein, etc.)

Rather than go through each and every film in great detail I will just pick out a few moments that stood out for me personally. I was absolutely floored when I began watching 'Frankenstein' where light and shadow resolved as never before. Each and every scene was vastly improved to the point where I found myself actually cheering out loud as I watched. It truly is eye opening. I did notice a slight glitch between scenes where the video just stopped for a fraction of a second. This had nothing to do with a layer change and appears to be an encoding/editing error as my DVD's do not display this pause. (occurs at the end of the meeting between Victor, Elizabeth and Dr. Waldman before they show up at the lab)

During the early scenes in 'The Mummy" the detail revealed in Boris's bandages is extraordinary. You can truly see the extent that makeup man extraordinaire Jack Pierce went to with this makeup, actually achieving the look of an ancient and rotting mummy. These details were lost to both the VHS and DVD version and only now can you see them perfectly clearly. With the massive increase in detail comes an increase in involvement while watching the film. I guarantee you will be sucked into the story like never before!

'Dracula" has been so improved that it deifies description. Yes it is a very old film and problematic in certain areas but the picture quality presented here had me almost having to pick my jaw off the floor. Renfield in 1080P? It just doesn't get any better than this! Bela's eyes actually gave me the creeps and I have seen this movie a good 50 or 60 times over the last 50 some odd years. It is simply outstanding! And YES, Dracula does groan at the end after Van Helsing whacks the stake for those that were wondering. (Renfield screams too which seems to be cut on some earlier DVD versions)

'The Invisible Man' stands out for me as one of the best transfers. Maybe I only think that because it is a personal favorite. Still, I found it to be almost on par with the new Casablanca 4K scan for overall balance and detail. I really enjoyed watching it and I was very happy to see that one of my favorite titles turned out so very well! (ok, maybe not as good as the new Casablanca scan, but pretty darn close)

I have only viewed 'The Creature' in 2D and can not comment on the 3D rendering. (vision problem precludes me from evaluating 3D in my reviews)

I can definitely say this of the 2D version, it is by far the clearest, most detailed rendering I have ever seen of this movie and unfortunately betrays clearly just how fake the "Creatures" suit really is. On the other hand, Julie Adams is even more of a dish than ever before in 1080p so this transfer certainly DOES have it's advantages. (hard to believe she ended up selling Real Estate in Cabot Cove. Maine!)

Another real standout is 'The Wolfman" with both contrast levels and detail being absolutely fabulous. A tiny amount of EH causes just a smidgen of 'ringing' in the video but it is so little only the most picky would EVER notice it. And the fog/mist is handled very well in this transfer, something that normally is a sore point with digital. It looks REALLY good. There are many instances of depth in this movie and actually in ALL of them during their respective running times. When I first put on 'Frankenstein" and noticed perceived depth I was totally astounded. DEPTH from a movie shot in 1931? Nothing short of amazing! Universal Monsters on Blu Ray rocks! I'm here to tell ya!!

Yes, there are a few soft shots here and there, but nothing egregious and at least 90% or more of the time the image is flat out brilliant.

Noise reduction is either not used or used so judiciously that you can not see it happen. Edge enhancement was not even needed and if used I can not notice it. Picture flickering has all but been eliminated using some very sophisticated digital tools. At times it still fluctuates just a bit on the older titles but shows up mainly on the character faces. It is so small and infrequent that only the truly obsessive (like myself) will even notice it. Still, most annoying defects of the past are now history.

Scratches, tears and white specks have been sent packing. GREAT!

THE AUDIO QUALITY:

Each and every film is an auditory revelation. Gone are the crackles, pops, hiss and wow and flutter that has plagued each home release before this one. With all these undesirable elements finally removed, the dynamic range seems much greater and the full frequency spectrum, such as it is for these older films is given a chance to really shine through. Of course there is no LFE or surround activity and the mixes are the original MONO minus the sonic aberrations that started from the very first playback of the original source. Simply put, the audio on this set is superb considering the source elements. I highly doubt it could have been done any better by anyone.

Bottom Line: If you are a fan of these films this purchase is a no brainer. You simply can NOT go wrong here folks. I purchased them all, first on VHS, later on DVD, then remastered versions of the DVD's, the entire legacy collections, etc. This was well worth the wait and almost every film in this collection will see multiple viewings.

The only thing really lacking here is the exclusion of all the sequels, especially the Frankenstein and Wolfman series sequels. I also wish the 'Werewolf of London' along with 'The Old Dark House', 'The Black Cat' and a few others could find their way to Blu Ray in the future. But for now, this is what we get and along with the legacy DVD sets (for the sequels and extras) this collection of horror classics on Blu Ray is a real gem. I do think it is just a BIT overpriced but things have a way of coming down in price over time and this will be no exception. However for me, it is a MUST HAVE day of release purchase and I will never regret it.

(From what I have seen, the UK packaging is nicer..both for the standard set and the collectible coffin version which is what I have ordered and since received now)

Marty G's most HIGHEST RECOMMENDATION for this set!

****Note: Reported problems playing 'Creature' in 2D seem to be limited to players that have older firmware versions or older players in general. Apparently putting both the 2 and 3D versions on the BD and the associated layer change has thrown a monkey wrench into SOME players out there. My Oppo plays it flawlessly but I am aware of many who have had trouble with this title. My advice is to update your firmware and if that doesn't work you can always purchase an under $100 player that will solve most new disc playback problems.

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No series in the history of the cinematic horror genre has endured as long as the Universal Monster classics of the 1930s and '40s a time marked by the Great Depression, the rise of Hitler's Germany and America's eventual involvement in WWII. At the outset, the Universal films were hugely successful with audiences seeking an escape, but by the time the U.S. became embroiled in the conflict, the popularity of the studio's trademark monsters became less inviting to viewers, who turned their attention to war-time enemies as the cinematic nemesis of choice. Before that happened, however, Universal established a litany of Monster Classics that would inspire long-running franchises and become favorites of viewers for generations to come.

Universal's eagerly anticipated UNIVERSAL CLASSIC MONSTERS: THE ESSENTIAL COLLECTION arrives on Blu-Ray this week and pays a new, glorious high-definition tribute to eight of the studio's genre benchmarks, all presented in fresh, and impressive, 1080p AVC encoded transfers marked by a surprising amount of detail.

Looking at Tod Browning's 1931 DRACULA is virtually like gazing upon the Bela Lugosi classic for the first time. The movie is best remembered for its opening Transylvanian set-piece that introduces viewers to Lugosi's unforgettable count, and while the London sequences tend to be static and dull by comparison, the increased detail seen here in the Blu-Ray's HD presentation even makes the talky, latter sections of the picture more interesting. In fact, without any overt use of DNR, this ranks as one of the studio's most satisfying catalog transfers to date. The DTS MA mono sound is nearly crackle-free, and Philip Glass' Kronos Quartet score (which makes the stilted drawing room sequences a bit livelier at least) is also available in Dolby Digital stereo.

Supplements include two commentary tracks reprised from prior DVD editions: an authoritative discussion by historian David J. Skal, and a more recent talk with Steve Haberman (screenwriter of the awful Mel Brooks spoof "Dracula: Dead and Loving It"), both offer enlightening analysis and artistic commentary on the film; "The Road to Dracula" (35 mins.), hosted by Carla Laemmle, returns here from its original DVD appearance, as does the still gallery "Dracula Archives" (8 mins.), while "Lugosi: The Dark Prince" (36 mins.), a carry-over from the 75th Anniversary DVD, sports interviews with historians and directors including Joe Dante paying tribute to Lugosi's career. Trailers are included for the whole Universal "Dracula" series (Dracula, Dracula's Daughter, Son of Dracula and House of Dracula), and an eight-minute restoration featurette (HD) includes a look at the studio's efforts to restore both the English and Spanish language versions as a part of their centennial efforts, noting that a portion of the Spanish "Dracula" had to be taken from an international print as the studio's negative was badly damaged during the third reel.

Speaking of the Spanish "Dracula," it too has been lovingly restored here in a 1080p AVC encode that's perhaps not quite as crisp as the Lugosi version, even if the elements seem to be, on balance, in healthier condition. An optional introduction with star Lupita Tovar is included as well.

James Whale's FRANKENSTEIN introduced viewers to Boris Karloff in his legendary role as the Frankenstein monster, and while the film remains a striking work for its 1931 release date, it pales in comparison to THE BRIDE OF FRANKENSTEIN, the 1935 sequel graced with a spectacular Franz Waxman score that shows, in the space of four short years, how quickly movie-making had progressed as a medium. Whale's playful, inventive direction, the performances of Karloff, Colin Clive and Elsa Lanchester, and that Waxman score one of the all-time greats are unforgettable aspects of a film many regard as the finest in the pantheon of Universal Monsters.

Each included here on separate BD platters, "Frankenstein" includes a number of supplements carried over from prior releases: "The Frankenstein Files" is an engaging 45-minute account of picture's production and legacy; "Karloff: The Gentle Monster" (36 mins.) is a carryover from the 75th Anniversary release; "Frankenstein Archives" is another 10-minute assortment of stills; "Boo!" is a fun 1932 Universal "Brevity"; commentaries are provided by Rudy Behlmer and Sir Christopher Frayling; and a full trailer gallery boasts the original coming attractions for Frankenstein, Bride of Frankenstein, Ghost of Frankenstein, Frankenstein Meets the Wolf Man and House of Frankenstein.

Also included on the "Frankenstein" disc is Kevin Bronlow's fine 1998 TCM documentary, "Universal Horror." This examination of the beginnings of Universal's monster franchises is narrated by Kenneth Branagh and offers ample vintage footage, interviews and an entertaining look into the genre's origins.

Visually, both movies look more detailed than I've ever seen before, with crisp 1080p presentations that blow past prior DVD releases even if there does seem to be, perhaps, just a bit more filtering on "Bride of Frankenstein" than "Frankenstein" or especially "Dracula." Regardless, the image still looks exceptionally good, and extra features not as substantive as the other discs include the original DVD documentary, "She's Alive! Creating `Bride of Frankenstein,'" plus a stills archive, commentary with historian Scott MacQueen, and trailers for Bride, Ghost and House of Frankenstein (surprisingly, "Son of Frankenstein"'s trailer is nowhere to be found in this set).

In 1932, "Dracula" cinematographer Karl Freund helmed the first appearance of what would ultimately become thanks to both a handful of sequels and a contemporary series of modern fantasy films (with another version headed to theaters in 2014) the most durable of Universal's monsters, THE MUMMY. Boris Karloff carved out his second iconic studio role as Imohotep, who lusts after Zita Johann in an entertaining if somewhat creaky film with unforgettable imagery (though ironically, Karloff only appears in the patented Mummy make-up for a couple of minutes).

A bit uneven in its overall visual appearance, there's some occasional filtering on-hand in "The Mummy"'s 1080p AVC encoded transfer compared to the other films in this set. It's certainly an appreciable improvement on DVD, however crisp detail is in evidence during most of the transfer, but some sequences look sharper than others. Extra features include "Mummy Dearest" (30 mins.), a documentary from the original DVD release; "He Who Made Monsters" (24 mins.), a Jack Pierce retrospective; "Unraveling the Legacy of The Mummy" (8 mins.), a brief featurette from the 75th Anniversary DVD; "The Mummy Archives" still gallery; commentaries by Paul M. Jensen and a more recent track with Rick Baker, Scott Essman, Steve Haberman, Bob Burns and Brent Armstrong; and trailers for all the "Mummy" films (The Mummy, Mummy's Hand, Mummy's Tomb, Mummy's Ghost, Mummy's Curse).

Inbetween "Frankenstein" pictures, James Whale helmed a magnificent adaptation of H.G. Wells' THE INVISIBLE MAN, a 1933 classic that, in certain ways, holds up better than any of Universal's earliest genre outings for sheer dramatic impact. Claude Rains gives a memorable performance as a scientist who slowly goes mad after an experiment renders him invisible a portrayal that relies heavily on his voice since Rains is only on-screen for a few minutes. John P. Fulton's visual effects, especially for their era, are superb, and Gloria Stuart believably renders Rains' sympathetic girlfriend.

Arguably tthe healthiest looking of the original, early `30s Universal Monsters classics, "The Invisible Man" appears in top form in its 1080p AVC encoded HD transfer here there's still a bit of filtering present in some sequences (like "The Mummy," some scenes seem to be affected more than others), but on balance the transfer is exceptionally good for any film of its vintage. Special features include the original DVD doc, "The Invisible Man Revealed" (35 mins.) plus production photographs, trailers for the Invisible Man series, and commentary by Rudy Behlmer.

Scripted by Curt Siodmak, Universal's 1941 classic THE WOLF MAN stars Lon Chaney as Larry Talbot, who becomes cursed with the fate of a werewolf after wandering in the forests of Wales and bitten by one of the creatures. Claude Rains plays Talbot's father, and the supporting cast includes Maria Ouspenskaya and Bela Lugosi as the Gypsies who predict Talbot's fate, along with Evelyn Ankers as the love interest and additional supporting turns from Ralph Bellamy and Patric Knowles. The settings, atmosphere, and direction (by George Waggner) are all top-notch and the movie compares favorably with the Universal chillers of the period.

Last released on DVD a couple of years ago, "The Wolf Man"'s 1080p AVC encoded HD transfer is solid, generally in-line with the other transfers in the box-set, with deep blacks and added detail over its standard-def releases. Extras are bountiful here, highlighted by David J.Skal's "Monster by Moonlight" documentary, a DVD carryover hosted by John Landis, this is an engaging look into the Wolfman's creation and phenomenon as the last great character to originate from Universal's "Golden Age" horror cycle. Eschewing the testimony of countless historians (as were utilized in Skal's other documentaries) in favor of interviews with make-up artist Rick Baker (who discusses Jack Pierce's lasting legacy) and screenwriter Siodmak, the program is entertaining and enlightening, even though it uses a generous selection of film clips from the Wolfman's subsequent cinematic appearances to round out the program. Of special interest to film music fans will be the discussion of "The Wolf Man"'s musical score by Frank Skinner, Hans Salter, and Charles Previn, which is given a few minutes of analysis in the documentary by John Morgan and conductor William Stromberg. Morgan notes how most film scores today consist of musical wallpaper while Stromberg discusses one particular cue that had been cut down in editing, where Talbot watches a Gypsy burial. The "Archives" section also contains an abundance of still-frame photographs and publicity shots, underscored by the original music without dialogue.

Universal authority Tom Weaver's insightful commentary also returns as well a "Wolf Man Archives" of still photos and artwork. Also on-hand are the eight-minute "The Wolf Man: From Ancient Curse to Modern Myth" (10 mins.) and the 2009 effort "Pure in Heart" (37 mins.), a loving tribute to Lon Chaney, Jr., with historian Gregory Mank, Rick Baker, Joe Dante, Kim Newman and others paying respect to the original Larry Talbot. Trailers for Werewolf of London, The Wolf Man, Frankenstein Meets the Wolf Man, House of Frankenstein, House of Dracula and She-Wolf of London round out the disc, which also includes the same Jack Pierce documentary contained on "The Mummy"'s Blu-Ray.

The sole Technicolor offering in the "Essential Collection" is PHANTOM OF THE OPERA, the studio's lavish, operatic 1943 take on Gaston Leroux's novel with an accent on the love story courtesy of director Arthur Lubin. Claude Rains is the Phantom to Susanna Foster and Nelson Eddy's romantic leads; it's a sturdy, if unspectacular, film that receives a similarly respectable 1080p AVC encoded transfer. The image looks a bit hazy at times and some of the source elements aren't as vibrant as other Technicolor films of its era, but it's still an upgrade over the DVD. Extras include the lengthy 51-minute DVD documentary "Phantom Unmasked," plus Scott MacQueen's commentary and the trailer.

The final disc in the set may be the most exciting for Universal Monsters fans, as 1954's CREATURE FROM THE BLACK LAGOON debuts on Blu-Ray, not only in its 2-D version but its first-ever 3-D home video release as well! For 3-D enthusiasts, being able to see the film in pure three-dimensional form and not an anaglyph 3-D version like we used to see on TV back in the `80s is a revelation. Both occasional pop-out effects and depth-of-field photography add immeasurably to visuals that are often flat and uninspired otherwise. In fact, seen in its native 3-D format, effects and shots which otherwise look awkwardly (or routinely) framed make visual sense, and the overall experience enhances Jack Arnold's `50s monster mash as a result.

One of many films shot in 3-D during the `50s, this Blu-Ray release of "Creature" hopefully will usher in a wave of 3-D catalog titles in the fledgling format, and certainly its inclusion here in Universal's box-set makes this a must-have for "Creature" fanatics with 3-D home theater set-ups.

Other extras on the "Creature" platter include "Back to the Black Lagoon" (40 mins.), a DVD retrospective, plus Tom Weaver's fascinating commentary, trailers for the Gill Man series, and production photographs. The 2-D version is also included, and probably because of the film having been shot in 3-D, it's a bit blurry and less detailed in its 1080p AVC encoded transfer compared to all the other films on-hand in the box-set.

All the discs are contained in a hardbound "digibook" release with original poster artwork (consumers should be mindful that a bit of adhesive may be stuck on the edges of some of the discs, and ought to be removed promptly before playback). A small accompanying booklet offering trivia and glossy photographs rounds out the release, which will undoubtedly rank as essential Halloween viewing for all Universal Monster fans. Highly recommended and here's hoping sales are strong enough to scare up a second volume of all the various Classic Monster sequels in another release for next October 31st!

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This box set is truly worth every penny it costs: a collection of eight iconographical titles in the "Universal Horror" pantheon from the 1930s and 1940s. The titles are DRACULA, FRANKENSTEIN, THE MUMMY, THE INVISIBLE MAN, THE BRIDE OF FRANKENSTEIN, THE WOLFMAN, PHANTOM OF THE OPERA, and THE CREATURE FROM THE BLACK LAGOON. Each DVD comes in a plastic case sporting original poster art, and all eight are neatly packaged in a single box for easy organization. Each of the titles have been significantly restored, and although the bonus features vary a bit from disk to disk each disk has a short documentary and interesting critical audio track.

The "Jewel In The Crown" of the set is DRACULA. While critical response to the film varies, the DVD includes both the Bella Lugosi and the so-called "Spanish" Dracula, as well as the option to play the Lugosi version with or without the recent Philip Glass soundtrack as well as memorable bonus material. The weak link the collection is THE PHANTOM OF THE OPERA; the Claude Rains remake isn't a patch on the original, and it is a pity that the silent Lon Chaney version was not offered instead. Still, the Rains version has its charms, and it far surpasses later film versions of the same title.

While each of the DVDs included can be purchased separately, those wishing to have all these titles will find the box set more cost-effective. Sure to delight fans of Universal horror classics and fans of classic film in general; strongly recommended as an essential.

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Buyer beware! Amazon just shipped our replacement copy of this entire set, and the 2D Blu-ray of Creature From the Black Lagoon is STILL DEFECTIVE.

The defect affects both picture and sound at around 59 minutes in. From there on the disc skips and glitches for several minutes. We have two high-end set-ups and neither one of our players, one Sony, one Samsung, play this disc properly. Now that we have received a total of TWO copies of the entire set (thanks, Amazon, for the prompt replacement) we KNOW it is a result of Universal's legendary lack of Quality Control.

Otherwise it's a wonderful if pricey set. But don't waste your hard-earned money on this until Universal acknowledges this defective disc and promises that they have fixed this disc. (I cannot say if any of the other discs are defective, as we haven't even had a chance to screen them all.)

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Universal Studios the Master of the Horror movie has masterfully restored & remastered EIGHT of the their BEST in the "CLASSIC MONSTER COLLECTION! Seven Black & White and One Technicolor (The 1943 "Phantom of the Opera") are presented in OUTSTANDING Clarity and Sound. The entire set is preserved in the actual theatrical FULL Screen format (4:3 aspect ratio-tv). Each of these 8 movies have extensive extra features including; background featurettes, commentary by film historians and a Picture montage of original lobby posters & publicity photos. This is an absolute must have for your DVD Home Theatre library!!!

The Universal Studios of the 1930's revolutionized special effects and the horror movie under the helm of Carl Laemmle Jr., Director James Whale and make-up genius Jack Pierce. Universal also had one of the greatest stable of stars many to play in reoccurring roles; Boris Karloff Frankenstein (1931), The Mummy (1932) & Bride of Frankenstein (1935). Bela Lugosi Dracula (1931) & The Wolfman (1941). Claude Rains The Invisible Man (1933 Karloff was replaced by Rains due to contractual disputes), The Wolfman (1941) & The Phantom of the Opera (1943 in fabulous TECHNICOLOR). Dwight Frye (the mad assistant) Frankenstein, Dracula, The Invisible Man & The Bride of Frankenstein. Una O'Connor (the hysterical screamer) Frankenstein, The Invisible Man & The Bride of Frankenstein. Edward Van Sloan (The Scientist/Doctor) Frankenstein, Dracula & The Mummy. Lon Chaney Jr. became The Wolman (1941).

Summary:Dracula (1931) established Carl Laemmle Jr. & Universal as the King of the Horror Picture while Bela Lugosi became the undisputed KING of the Vampires. Provided in 3 versions Original, New Musical Score & Spanish Version filmed with all Spanish cast (see my review). Frankenstein (1931) established James Whale as the Master Director of Horror (also did, The Invisible Man & The Bride Of Frankenstein). Boris Karloff became a Super star playing "The Monster". (AFI top 100 film see my review) The Mummy (1932) has Karloff playing in the lead role as a cursed Eygptian Priest returning from the dead after 2500 years. The Invisible Man (1933) establishes Claude Rains as a star with his voice. Playing a manical chemist who discovers invisibility with insanity is only seen at the very end of the picture. ( Outstanding special effects). The Bride of Frankenstein (1935) Karloff in an encore role with a wife. (Considered to be the Best Frankenstein of the series). The Wolfman (1941) establishes Lon Chaney Jr. as a superstar. He is bitten by a werewolf and begins a cursed nightmare. Phantom of the Opera (1943 in Technicolor) has Rains in the lead role of the tormented manical violinist who loves a young upcoming opera singer. The Creature of the Black Lagoon (1954) Outstanding underwater photography. Is a cult classic of a gillman fall s for girl. "Beauty & the Beast" storyline.

This is a great collection and a must for the classic collector. Enjoy.

Reviews of Flesh for Frankenstein (The Criterion Collection) (1974)

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Whe this movie came out I went to the Avalon in D.C. to see it opening night as i was taking my 3-D glasses from the ticket attendant I asked an usher if the movie was good and he said (he was about 60-70 years of age)it was trash pure crap the worst movie they had shown there in many years. I knew right then I was going to love this movie. And I was right. To this day this film remains one of my favorite of all time. You have to see this film as satire in order to enjoy it. In short Morrisey and company hit all the right notes to make a masterpiece of european camp. AWESOME.

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I just don't understand. Why would anyone watch this censored version? I'm speaking specifically of Amazon's streaming version. The UR version is out there, I own it on DVD, I think I actually bought it through Amazon. Amazon should realize that movie goers want the unadulterated version of any movie that's out there. I'm surprised they only offer this R rated version, Blockbuster I could understand, but I always thought Amazon had a truer aesthetic when it comes to presenting movies in their original, as-intended-by-the-director-to-be-seen version.

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I happened to watch director Paul Morrissey's "Blood for Dracula" before indulging in "Flesh for Frankenstein." After having seen both films, I can unequivocally state I preferred "Blood for Dracula," which is somewhat of a surprise considering "Flesh" was made first with "Blood" coming as almost an afterthought. By the time Morrissey and company started "Blood," the cast and crew were exhausted from the non-stop schedule of making two films back to back. If you have little familiarity with these films, they were made under the auspices of Andy Warhol's Factory, a time when the creator of Op Art decided to branch out into other artistic mediums. If you are like me, you cringed when you heard that Warhol had an influence on Morrissey's films. I could never bring myself to appreciate anything associated with Andy Warhol; I always considered him and his associates talentless hacks of the lowest order. Not to worry here, though. While the titles often carry Warhol's imprimatur, he apparently had little to do with any aspect of the production of either film.

"Flesh for Frankenstein" is a wonderful retelling of Mary Shelley's classic 1818 novel. The good Baron Frankenstein and his sister, in this instance also his wife, bring up the kiddies in a nice, creepy castle somewhere in Europe. The hardworking Baron spends most of his time mucking around in his laboratory attempting to create a human being from scratch. Often toiling alone or with his creepy assistant Otto in tow, Frankenstein is on the verge of success when he finally puts the finishing touches on his female creature. The Baron has quite an affection for his experiment, as seen in a few extremely tasteless scenes, but he realizes he has a problem. What good is a woman without a man? Frankenstein quickly decides to build a complimentary male figure so he can have a second family completely subservient to his own whims. Why would the good Baron wish to have a second family? Perhaps because he doesn't seem to get along with his own family all that well.

Meanwhile, Baron Frankenstein's wife tires of her husband/brother's heavy workload and his tendency to neglect his children. Being lonely in a big castle in Europe wears on a person, so Baroness Frankenstein turns to the hired help for consolation. Her eye falls on the newly arrived Nicholas, a beefy stable boy who promises to alleviate the Baroness's solitude. Nicholas came into the castle after he and his friend, a Serbian planning to devote his life to the priesthood, fell victim to a heinous crime on the road outside of the castle. Nicholas woke up from the assault to discover the attackers decapitated his friend. Angered by the senseless brutality of the crime, Nicholas soon comes to suspect Baron Frankenstein and Otto had something to do with the atrocity. While the stable boy entertains the Baroness, he starts poking his nose around the castle in an effort to figure out what is going on in the Baron's laboratory. Everything comes to a head (no pun intended) when Baron Frankenstein introduces his two creations to the family at dinner, and Nicholas notices with horror that his friend's head rests on the neck of one of Frankenstein's "visitors." The servent swears to bring the terrible Frankenstein and his sick experiments to an end, which he does in a finale both cheesy and gory in its execution.

In "Blood for Dracula," Morrissey turned Stoker's tale of the undead into an examination of class conflict between the decaying European aristocracy and the emerging proletariat. There is a bit of that class emphasis in "Flesh for Frankenstein," but this movie also deals with the original themes of Shelley's story. The arrogance of man to interfere in territory strictly reserved to God, and the subsequent nightmares resulting from such arrogance, appears throughout the film. Of course, Morrissey also throws in tons of erotica, stomach curdling violence and gore, and the cheesiest dialogue and performances in the history of cinema. You haven't lived until you see Arno Juerging (Otto), Udo Kier (Baron Frankenstein), Joe Dallesandro (Nicholas), and Monique van Vooren (Baroness Frankenstein) ham their way through the movie. Dallesandro makes no effort to hide his thick New York accent even though the film is ostensibly set in 18th century Europe. Arno Juerging and Udo Kier deliver camp dialogue at eardrum shattering levels, often with hilarious facial expressions and exaggerated motions. If you enjoy and appreciate truly outrageous performances, you will love "Flesh for Frankenstein." I know I did, although I think "Blood for Dracula" was much funnier in terms of the campiness of Kier's and Juerging's performances. Further enjoyment comes from director Morrissey, who shot the film using lavish costumes, expansive set pieces, and excellent cinematography. On the surface, you would think "Flesh" is a top-notch production until you notice how sleazy Kier, Juerging, van Vooren, and Dallesandro look and act. A movie like this must have ticked off some serious film aficionados.

The Criterion Collection decided to release this film, as they did with "Blood for Dracula," with all of the trimmings. Included on this disc are a widescreen presentation of the film, a stills gallery, and a commentary track with Kier, Morrissey, and film critic Maurice Yacowar. I didn't listen to the commentary in its entirety because I couldn't stand Yacowar's nasally insights into the film. If I planned on writing and publishing something about this film I would listen to such overblown pap, but I wanted to form my own impressions of the film. Lovers of cheesy films should make "Flesh for Frankenstein" and "Blood for Dracula" required viewing. Heck, watch them as a double feature and enjoy.

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This is an interesting film, with all sorts of good intentions. The casting of Udo Kier in the starring role is some inspired casting. Joe Dallesandro looks a bit out of place, but I think that is part of the point that Morrissey was making. Loads of great humor, and more gore and werid sex than you could ever imagine. Parts of it were a little slow though, and the sex was not at all attractive to look at. But take a look, and the commentary is great. But, also be sure to check out Morrissey's superior follow-up, "Blood for Dracula". It is far more interesting, and Kier fits the role of Dracula perfectly.

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Don't worry about comparing this film with any of Andy Warhol's bore epics, as it could not be more different. "Flesh for Frankenstein" is a luscious looking, beautifully filmed experience in gore cinema, which is a rare thing indeed! The plot includes all the usual body-part hi-jinks you would expect from a story of Frankenstein, but the scenes of bloodshed on show here are extreme to say the least, with long scenes of disembowelling and dismemberment that were originally showcased in glorious 3D. One new twist is the Baron's necrophiliac tendencies, and in places these are VERY explicitly portrayed! However, the movie is absolutely stunning to look at, with gorgeous details in every scene, accompanied by a classically styled soundtrack that lends even more class. The actors play the scenes for camp humour (the leading trio of the Baron, his wife/sister, and the hunchback assistant are all hilarious), so keep in mind that this is really a comedy, and you will enjoy this film tremendously. It is hard to imagine so much gore working alongside such glossy and arty production values, but here is a film where it really works. Luckily, if you really can't stomach it, you can always try "Andy Warhol's Dracula" instead, which looks just as good, but is significantly less bloodthirsty.