Joseph Lanza, in his essay, states:
"While demystifying the horror, Whale does, however, manage to weave more subversion into this Hays-era production than in any of his other films. The slant on sacrilege (already present in Frankenstein) is here augmented ad absurdum."
Think cinematically about this quote and discuss in at least 2 well-developed paragraphs. I'd like you to use at least one quote from the essays I gave you (your choice), mention any sociocultural influences, and discuss CINEMATICALLY. This means using your vocabulary and telling me what is on the screen and what the director is trying to imply to the viewer.
Take your time and have fun with this one.
James Whale weaves much subversion in this film. So much implicit detail that does not involve to much thinking to realize. The biggest examples are the implications of homosexuality. There are so many implicit homosexuality references and themes of the society not accepting it that it may have been the film's primary purpose. This is evident in many scenes. One of them being the scene when the miniature king and queen are shown to Dr. Frankenstein. The king has an obvious sexual attraction to the queen, a heterosexual attraction, but Dr. Pretorius does not allow him near the queen. Since the king is a miniature he is therefore much smaller than Pretorius and Frankenstein. This represents that homosexual relationships (implicitly represented through the partnership of Pretorius and Frankenstein) is dominant over the heterosexual relationships (implicitly represented through the kings desire for the queen). Whale is flipping the status' around from what the society of the time had. Back then (and still now) heterosexual relationships were dominant and 'normal' and homosexuality was looked down upon and uncommon. Whale changed that in this film. Another subversion questioning heterosexuality is when the monster is living with the blind hermit. When he is here, the mise-en-scène is very happy and cheery and joyful. There are lovely looking trees, the monster is free to roam, the area is peaceful and clear, and no one is chasing him, and the is out. Everything seems to be going well. Gary Morris states that: "...the only successful, loving ....relationship in the film isthat between ....the monster and an old blind hermit"(Sexual Subversion - the bride of frankenstein). This states that a homosexual is more comfortable being who they are instead of trying to be who they're not. The mise-en-scène is a lot more menacing and distorted when the mob finds him and takes the blind hermit away from him. The trees are distorted, bent, sharp looking, and frightening. The sun is gone, it is dark, the graveyard is barren of life, especially when compared with the forest being full of life. This represents the situations faced by homosexuals, because when they are found out, they are usually ridiculed and not welcomed. The monster cannot be with his friend, which represents a homosexual man not being allowed to marry his partner who he loves.
ReplyDeleteWhale definitely mocks religion, primarily Christianity. This is evident when the mob finds the monster and tie him to a log and pull him up and makes him look like Jesus on the cross. Whale is mocking a religious symbol that is considered very sacred. This is possibly due to the fact that since Whale's considered a homosexual and Christianity definitely looks down on them, Whale wished to mock the thing that does not accept him. Another point is when the monster is running through the graveyard and there is a slanted cross in the background. This represents how little power the religion has (in Whale's eyes) and also the monster destroys the grave of a bishop in order to reach safety. This is another mock at religion. These sacred symbols or figures are being destroyed or mocked by the monster, which shows Whale's view on religion and how he does not have kind feelings for it. Also, when the doctors are creating the bride, they are viewed with close ups which represents their power. They are doing what was previously thought that only God could do, create life. This is a mock at God himself. Since they can do what God can do, then man has no need for God. If man has the power of God, then they do not need God. The laboratory in which they make the bride is very dark, this represents the dark and unnatural things that they are committing (in the public's eyes). They are creating life. This represents when a homosexual couple tries to settle down together and start a family, they are ignored by the public and ridiculed. Whale tries to embrace the acceptance of homosexuality and mocks Christianity, most likely for not accepting it.
Whale's subversion of religious convention is particularly effective (and stinging) as he draws direct parallels between Christianity and homosexuality, between the supposed vice and that which condemns it.
ReplyDeleteFrankenstein runs from an angry mob, recalling the crowd that called for the freedom of Barabbas. As Jesus did, he looks down from a high-angle shot that follows his line of vision at the crowd that calls for his blood. Angry clubs wave and rocks fly through the air as he’s lifted like Jesus on the cross.
Frankenstein is a Christ-like figure-sensitive, misunderstood, and rejected by the world. As a simultaneous representative of the gay community, Whale’s draws parallels between society’s condemnations of three entities: a monster (explicitly), Jesus and homosexuals (implicitly).
The second parallel is that between the old man and God. If the blind man’s relationship with Frankenstein is intended to hint at homosexuality, and given the other subversive subject matter implicit in the film it’s well-likely that it is, then their relationship may be seen as a deliberate perversion of their roles. By portraying both Father and Son as tacitly homosexual, Whale was spitting on the conventions that limited his rights as the religious had deprecated his lifestyle. He would relish the delicious irony of the fact that his tormentors were paying for, and entertained by, this egregious sacrilege.
Before the violin-playing old man even speaks, he is introduced by way of mis-en-scene. In an intimate eye-level close-up, soft-key lighting diffuses gently across his face, drawing out his kindly eyes that seem to laugh even while his mouth is drawn taut. His hair, beard, and robe are all elements generally associated with God’s appearance. But instead of aggrandizing low angle shots, the old man is constantly shown in personal eye-level shots. He is a loving New Testament God, comforting his dejected son, caring for him when no one else would.
In "Bride Of Frankenstein," James Whale manages to sneak in subversive ideas about sexuality, as well as religion that most viewers, especially those at the time of the film's release, might not notice. One of the most blatantly religiously blasphemous images occurs when the monster is running away from a mob through a cemetery. While he is doing this, he stands in front of a grave in the shape of a crucifix, creating an allusion to Christ and his strife at the hands of people who don't understand him.
ReplyDeleteThe ideas presented on sexuality in the film are more subtle. The two creators of the monster are seen as an allusion to two homosexual males, and they can also be seen as literally being such. By creating the monster and his bride, the two men "[replace] the heterosexual model of male and female parenting and [replace] God," (Sexual Subversion: The Bride Of Frankenstein) thus presenting subversive ideas of both religion and sexuality. Additionally, one other way that the film presents its subversive ideas of sexuality is through the relations between the characters. Relations between two men (the two scientists, the monster and the blind man) are seen as healthy and functional, whereas the relationship between the monster and his bride fails to work in any way.
James Whale led a private life, though he is commonly accepted today to have been a proudly gay man. In his legendary campfest sequel to "Frankenstein", the strangely titled "Bride of Frankenstein" (odd because 'Frankenstein' is the name of the Doctor, not the monster; and also because the Bride comes into the movie only at the very end), Whale worked to subvert the Conservative audiences and motion picture studios of the '30's with a picture that alluded heavily to homosexuality, as well as "necrophilia and sacrilege" according to Roger Ebert.
ReplyDeletePretorious is seen is a very effeminate gay man - "his dislike of conventional love is oft-repeated" (Sexual Subversion), as he openly disdains heterosexual relationships ranging from a king and queen to the monster and the bride herself. Also, the way that many see the Doctor's experimentation with resurrection as a threat to normalcy can be seen as an extended metaphor for the way Conservative heterosexuals (especially those of the '30's) feel threatened by homosexual experimentation and feelings. Elizabeth feels that the Doctor's experimentation with death "[takes] away" from her. The film has many allusions to Whale's pro-gay stance.