The saga of the monster who refused to die continues with Son of Frankenstein. This weekend's classic horror pick. I was drawn to this film not only by the presence of both Boris Karloff and Bela Lugosi, but also by the appearance of Basil Rathbone, one of my favourite radio actors. I've not seen him in a movie role before and he fit into the classic horror atmosphere quite nicely.
It's been 40 years since the events of The Bride of Frankenstein. At least. It must be, since the movie opens with the return of Dr. Frankenstein's son, who's 40 if he's a day. And I can recall no Frankenstein children running through the earlier films.
At least 40 years have passed then, but the townspeople all remember the doctor and his monster very well indeed. So well in fact, that the name of the town has been changed to Frankenstein. Curious. Nevertheless, they are wary when the son of Dr. Frankenstein returns to claim his inheritance and take up residence there with his wife and young son. Apparently, it's one thing to re-name the town Frankenstein, but quite another to have one of them actually living there.
All is well until Frankenstein encounters Ygor. A former blacksmith convicted of stealing dead bodies, Ygor managed to walk away from his own execution and has been hiding out in Dr. Frankenstein's abandoned laboratory with the not-quite-dead monster. It's not difficult to see where this is going.
Ygor suggests that Frankenstein follow in his father's footsteps by reviving the monster, and despite his earlier assurances to the townspeople, he agrees. Why not? But when dead bodies begin appearing, the townspeople become suspicious and reach for their flaming torches. Never a good sign.
The movie ends somewhat abruptly. As if the director was suddenly given five minutes to wrap it all up. And (almost) everyone lives happily ever after.
Son of Frankenstein marks Boris Karloff's last film appearance as the monster. Probably a wise decision. Reportedly, it was also Karloff's request that the monster not speak in this film. Not such a wise decision. It de-humanizes him and what's left is simply a lumbering villain. But even lumbering through creepy fog-shrouded graveyards, it isn't enough to re-capture the charm of the earlier films.
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