http://localhost:8888/engl479w/frankenmovies/ Thu, 01 Oct 2009 08:00:32 +0000 http://wordpress.org/?v=2.6.1 http://localhost:8888/engl479w/frankenmovies/#comment-67 ladhappy9 Thu, 30 Oct 2008 14:52:43 +0000 http://www.mith2.umd.edu/teaching/courses/f08/engl479w/?p=50#comment-67 In James Whale's "Frankenstein" and in Kenneth Branagh's "Mary Shelley's Frankenstein," there is a similar theme of the living being's need of friendship and the dangers of loneliness. In both films, the filmmakers do a superb job at showing the audience how the two creatures struggle with the pain of living in a world that has no sympathy for disfigured beings. In Whale's version of the film, we see this theme of the battle with loneliness when Frankenstein's creature meets with the little girl by the pond. The creature sees this as an opportunity to communicate with society and to build himself up into a real person. He wants to befriend her just because he is sad and has been shunned out by everyone else who he has tried making contact with. In Branagh's version, we see the creature trying to make nice with the family in the woods. Unlike the creature in Whale's version, the creature in this version feels as if he is a part of this family. He has secretly lived in their shed for so long that he sees and hears everything they do and say. It is because of this family that he builds himself into more of a real person. When he talks to the blind man, he, for the first time, feels accepted and loved. His loneliness has died and he feels as if he has a chance at a life with friends and family. In James Whale’s “Frankenstein” and in Kenneth Branagh’s “Mary Shelley’s Frankenstein,” there is a similar theme of the living being’s need of friendship and the dangers of loneliness. In both films, the filmmakers do a superb job at showing the audience how the two creatures struggle with the pain of living in a world that has no sympathy for disfigured beings. In Whale’s version of the film, we see this theme of the battle with loneliness when Frankenstein’s creature meets with the little girl by the pond. The creature sees this as an opportunity to communicate with society and to build himself up into a real person. He wants to befriend her just because he is sad and has been shunned out by everyone else who he has tried making contact with. In Branagh’s version, we see the creature trying to make nice with the family in the woods. Unlike the creature in Whale’s version, the creature in this version feels as if he is a part of this family. He has secretly lived in their shed for so long that he sees and hears everything they do and say. It is because of this family that he builds himself into more of a real person. When he talks to the blind man, he, for the first time, feels accepted and loved. His loneliness has died and he feels as if he has a chance at a life with friends and family.

]]> http://localhost:8888/engl479w/frankenmovies/#comment-39 rstout Wed, 24 Sep 2008 23:26:44 +0000 http://www.mith2.umd.edu/teaching/courses/f08/engl479w/?p=50#comment-39 Briefly, in both "Bride" and Branagh's "Frankenstein," there is a notable present of the "playing God" admonition. As we've discussed, the ending of "Bride" and the Pretorius character's devil identification point to the evils of overstepping mankind's position in the creation hierarchy. The pressure's of 1937's censorship and public morality atmosphere probably had an influence on this film to say the least. But in Branagh, some of the early dialogue and especially the Frankenstein's funeral scene, with a Bible verse promising the destruction of those who dabble with the divine domain, are aimed directly at the 'creating life is blasphemy' theme, which in 1994, I can only see as Branagh's choice for emphasis. Briefly, in both “Bride” and Branagh’s “Frankenstein,” there is a notable present of the “playing God” admonition. As we’ve discussed, the ending of “Bride” and the Pretorius character’s devil identification point to the evils of overstepping mankind’s position in the creation hierarchy. The pressure’s of 1937’s censorship and public morality atmosphere probably had an influence on this film to say the least. But in Branagh, some of the early dialogue and especially the Frankenstein’s funeral scene, with a Bible verse promising the destruction of those who dabble with the divine domain, are aimed directly at the ‘creating life is blasphemy’ theme, which in 1994, I can only see as Branagh’s choice for emphasis.

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