Two Boris Karloff Films

These early horror films share not only their star, Boris Karloff, but obsessive projects and the recreation of life in the light of contemporary discoveries: one by science, the other magic. Or is electricity also a mystic force? Apparently, it was seen as such in the era when Mary Shelley penned her classic novel, in her late teens. Karloff rightly became the star of this Frankenstein film, his non speaking but expressive face lit with delight at the girl's friendship, and look of lonely terror as he's set to be enveloped in flames. He is a master of slow movements and unsettling expressions in both films.

The stylistics of early films make comparisons and evaluations hard with modern offerings. I didn't miss the greater horror, corny gags and bravado action of the more recent Mummy, but the horror of the black magic, execution and menace behind the Egyptian story of an archeological discovery unleashing an ancient curse of the undead remain. As a film, The Mummy is better than Frankenstein, but it has less issues to consider.

Frankenstein changes much from the book - we lose its telescopic narrative from outside observer, to the Creator, to the Created, which allows the Creature to speak. Although a study notes claims that this 1931 film is true to the book's spirit, I felt that the issues which make the novel worthy of a classic are not dwelt upon sufficiently. There is a small speech from Dr Frankenstein about wanting to go beyond what is discovered and accepted, to see eternity - and did that make him crazy? But the nature of what makes us human is not really raised. The Monster becomes one because of his rejection and loneliness in the book, whereas the camp and predictable stealing of the wrong - criminal - brain is supposedly sufficient in the film. Or is the point: are we our brains?