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  • Genre: Horror
  • Release Date: 01/01/2035
  • Running Time: 75 mins
  • Director: James Whale
  • Cast: Boris Karloff, Colin Clive, Valerie Hobson, Ernest Thesiger, Elsa Lanchester, Gavin Gordon, Douglas Walton, Una O'Connor, E.E. Clive, Lucien Prival
  • Producer:
  • Writer: William Hurlbut
  • Distributor:
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Box Office

  1. Dear John, 32.4 mil, 32.4 mil
  2. Avatar, 23.6 mil, 630.1 mil
  3. From Paris With Love, 8.1 mil, 8.1 mil
  4. Edge of Darkness, 7.0 mil, 29.1 mil
  5. The Tooth Fairy, 6.5 mil, 34.3 mil
  6. When in Rome, 5.5 mil, 20.9 mil
  7. The Book of Eli, 4.8 mil, 82.2 mil
  8. Crazy Heart, 3.6 mil, 11.2 mil
  9. Legion, 3.4 mil, 34.6 mil
  10. Sherlock Holmes, 2.6 mil, 201.6 mil
Movie Title, Weekly Earnings, Total Earnings

The Bride of Frankenstein (1935)

James Whale tried to avoid making this sequel to his 1931 hit by first filming The Invisible Man. However, the director eventually succumbed to the desperate urgings of Universal and responded with this most subversive of sequels, a movie that practically pulses with gender ambiguity, giddy aestheticism, and high camp. The Bride of Frankenstein begins in a dark and stormy castle, with Mary Wollstonecraft Shelley (Elsa Lanchester) announcing to her husband and guest Lord Byron (Gavin Gordon) that Frankenstein and his monster (Boris Karloff) did in fact survive the inferno at the mill. Convalescing in bed with his sweetheart, Frankenstein (Colin Clive) is awakened by a midnight visit from Dr. Pretorious (Ernest Thesiger), a gaunt, silver-headed dynamo who steps in from the rain on a mission to seduce the badly shaken doctor back to the realm of blasphemous science. Though the titular bride is assumed to be the monster’s mate (Lanchester, sporting that iconic lightning-bolt hair), Whale (who was homosexual) makes Frankenstein and Pretorious into the film’s true romantic couple. Frankenstein would rather give up his work and marry his lovely bride, yet Pretorious’s electric black eyes and wonderful experiments woo him back to the dark side, leading to a tragic finale wherein Whale--who ultimately took his own life--suggests that, in this cruel world, the mad scientist, like the monster, is better off dead. (John Behling) — John Behling

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