:36:04
when I went to sleep at night. It felt safe.
:36:06
Some of these youngsters -
seven, eight, nine years old -
:36:10
they know the script
backwards and forwards.
:36:13
Of course, with the advent of video, it
brought it into everybody's living room,
:36:18
and now on DVD.
:36:21
It perpetuates the availability,
:36:25
and the appeal is long-lasting
and multi-generational.
:36:28
It's a brilliant film, it's a work of genius.
:36:31
I think it's a picture in which the acting,
:36:35
particularly the performances of Karloff
and Elsa Lanchester, Ernest Thesiger,
:36:40
transcend anything you saw being done
in Hollywood at that time.
:36:43
Brilliant, almost operatic performances.
:36:46
And if ever somebody
needs to study a film
:36:49
to see how a director injects
his own personality into a picture,
:36:55
Bride of Frankenstein
is the perfect example.
:36:58
You can almost watch it and feel like
you spent an evening with James Whale,
:37:02
listening to his wit, his ideas, and
listening to his remarkable personality.
:37:08
It's all there in that movie.
:37:11
It's like an evening with Jimmy.
:37:15
1935 was an incredible year
for horror movies.
:37:18
In addition to Bride of Frankenstein,
there was Werewolf of London,
:37:20
The Raven, Mark of the Vampire and
Mad Love. All these are classics,
:37:24
but, almost 70 years later, Bride of
Frankenstein towers above them.
:37:28
As a follow-up, James Whale was
scheduled to direct Dracula's Daughter
:37:31
as a baroque black comedy even more
outrageous than Bride of Frankenstein.
:37:35
But the script was too much
for the censors.
:37:38
We missed the daughter,
but we still have the bride,
:37:41
and that's something to be grateful for.
:37:43
I'm Joe Dante.