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The Return of Frankenstein
When "Dracula" and "Frankenstein" became box office hits for Universal, Carl Laemmle Junior immediately ordered that sequels be written for both films. Scripts were prepared but Junior's choice of director - James Whale - had had enough of monster films and was doing everything he could to avoid them. Finally in 1935, after getting out of shooting "Dracula's Daughter" Whale agreed to direct "The Return of Frankenstein". In this volume is the final shooting script by John L. Balderston. Balderston added more scenes from the novel, such as the monster hiding in a peasant's hut and learning to read and speak. But Whale thought his version of the Monster's personality too brutish and evil. He wrote a new script with screenwriter William Hurlbut, added new characters such as Mini and Dr. Pretorius, keeping Balderston's script as just an outline. Most historians and fans feel that when Return of Frankenstein was renamed "Bride of Frankenstein" it became the most beloved film in Universal's Classic Monster films.
212 pages, Paperback
First published August 28, 2013
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January 26, 2025
This book really deserves two ratings: one for people who are fascinated by film history (especially the Universal horror classics), and those who do not share that specific interest. For the latter Reader, the rating would likely be one- or two-stars as two of the three story samples are ludicrous, and the third is extremely "self-important." For me, though, this filled a gap in my film history knowledge.
THE RETURN OF FRANKENSTEIN is part of Philip J. Riley's collection of film screenplays. This one is unusual because it contains the proposed sequels for the 1931 film, FRANKENSTEIN. "The Return of Frankenstein" was the working title when "The Bride of Frankenstein" was sidelined since the Mate was intended for Frankenstein's Creature, not the doctor himself. Of course, when James Whale came back into the picture, he much preferred "Bride of Frankenstein" as a title ... and the rest is film history.
I say that I was fascinated because the examples show the story idea process. While the third one would have been intriguing, I much prefer the James Whale version. Indeed, the first two proposals felt as if the writers hadn't even watched the original film at all (which was not the case).
Philip MacDonald made the first attempt. In his sequel, following the events of the first film, Dr. Henry Frankenstein has now created a Death Ray that the government powers want for their own. In a demonstration of its power, it lays waste to everything in its path. When it crosses the burned-out hulk of the old mill, however, it reanimates Frankenstein's "dead" Creature that lies underneath it. The story goes downhill from there.
The second attempt was by L. G. Blechman and finds the Doctor and his wife hiding out as puppeteers in a traveling vagabond circus. The Creature, who did not die in the mill fire, tracks them down and insists the his creator piece together a Mate who will be like him. This version is astonishing in its ineptness.
John L. Balderston was brought back for the third attempt, and his version actually made it to full screenplay form (making up the bulk of the book). This version introduces a number of concepts that did appear in the final film, such as the opening with Mary Shelley telling the continuation of her story to her husband and Lord Byron. Balderston is obviously enamored with the moral, religious aspects of creating life, and there are many pretentious sequences that are none-too-subtle sermons (mostly delivered by Father Gerard who frequently warns of the deadly consequences of such a mortal Sin).
Balderston references a number of scenes from Shelley's novel, and is more faithful to the original movie. However, if you've ever watched a sequel to a movie and wondered if the writer had even seen the original, this may provide an answer! Balderston returns the character of Fritz, the Doctor's assistant from the first movie who enjoys antagonizing the Creature and is finally killed by it. Balderston puts in a note that he realizes Fritz was killed before, but that he is sure no one will remember that!
I would have liked to have seen Balderston's version made as a movie, but the iconic Dr. Pretorius from "Bride of Frankenstein" (delightfully portrayed by Ernest Thesiger) is nowhere to be seen. He was championed by James Whale. Balderston would be so upset by the revisions to his story that he requested his name be removed from the film. He's still credited for the story idea, though.
In addition to some fun photographs, the book concludes with in-house documents from Universal that compared the various script iterations for legal purposes ... presumably to be able to defend "Writer" credits. I enjoyed that.
THE RETURN OF FRANKENSTEIN gave me an appreciated glimpse into the other "Bride of Frankenstein" versions. It also gave me an even greater respect for the film version that ultimately emerged.
THE RETURN OF FRANKENSTEIN is part of Philip J. Riley's collection of film screenplays. This one is unusual because it contains the proposed sequels for the 1931 film, FRANKENSTEIN. "The Return of Frankenstein" was the working title when "The Bride of Frankenstein" was sidelined since the Mate was intended for Frankenstein's Creature, not the doctor himself. Of course, when James Whale came back into the picture, he much preferred "Bride of Frankenstein" as a title ... and the rest is film history.
I say that I was fascinated because the examples show the story idea process. While the third one would have been intriguing, I much prefer the James Whale version. Indeed, the first two proposals felt as if the writers hadn't even watched the original film at all (which was not the case).
Philip MacDonald made the first attempt. In his sequel, following the events of the first film, Dr. Henry Frankenstein has now created a Death Ray that the government powers want for their own. In a demonstration of its power, it lays waste to everything in its path. When it crosses the burned-out hulk of the old mill, however, it reanimates Frankenstein's "dead" Creature that lies underneath it. The story goes downhill from there.
The second attempt was by L. G. Blechman and finds the Doctor and his wife hiding out as puppeteers in a traveling vagabond circus. The Creature, who did not die in the mill fire, tracks them down and insists the his creator piece together a Mate who will be like him. This version is astonishing in its ineptness.
John L. Balderston was brought back for the third attempt, and his version actually made it to full screenplay form (making up the bulk of the book). This version introduces a number of concepts that did appear in the final film, such as the opening with Mary Shelley telling the continuation of her story to her husband and Lord Byron. Balderston is obviously enamored with the moral, religious aspects of creating life, and there are many pretentious sequences that are none-too-subtle sermons (mostly delivered by Father Gerard who frequently warns of the deadly consequences of such a mortal Sin).
Balderston references a number of scenes from Shelley's novel, and is more faithful to the original movie. However, if you've ever watched a sequel to a movie and wondered if the writer had even seen the original, this may provide an answer! Balderston returns the character of Fritz, the Doctor's assistant from the first movie who enjoys antagonizing the Creature and is finally killed by it. Balderston puts in a note that he realizes Fritz was killed before, but that he is sure no one will remember that!
I would have liked to have seen Balderston's version made as a movie, but the iconic Dr. Pretorius from "Bride of Frankenstein" (delightfully portrayed by Ernest Thesiger) is nowhere to be seen. He was championed by James Whale. Balderston would be so upset by the revisions to his story that he requested his name be removed from the film. He's still credited for the story idea, though.
In addition to some fun photographs, the book concludes with in-house documents from Universal that compared the various script iterations for legal purposes ... presumably to be able to defend "Writer" credits. I enjoyed that.
THE RETURN OF FRANKENSTEIN gave me an appreciated glimpse into the other "Bride of Frankenstein" versions. It also gave me an even greater respect for the film version that ultimately emerged.
Displaying 1 of 1 review