:26:26
Among the villagers is John George,
a diminutive actor
:26:29
whose stature - or lack of it - made him
a fixture as a decorative gargoyle
:26:33
in pictures like Babes in Toyland,
East of Java and Trick for Trick.
:26:37
You'll spot him again, pushing to the
front of the crowd before the dissolve.
:26:50
The sets for the earlier forest scenes are
lush with waterfalls, grass and fir trees.
:26:55
Here, as the monster
is pursued by the mob,
:26:58
Whale, himself a former stage designer,
has instructed art director Charles D Hall
:27:02
to provide an expressionistic
forest of the dead -
:27:05
dirt, rocks, leafless trees
like upright telephone poles,
:27:09
all the better to play
the monster's crucifixion.
:27:12
Whale is often
incorrectly called expressionistic -
:27:15
Whale used expressionism
when it suited him,
:27:18
as in this sequence and the "OI' Man
River" number in Show Boat.
:27:21
Bride, if anything, is rococo,
:27:23
a robust co-mingling of baroque,
gothic, the decorative,
:27:26
the expressionistic and the derivative.
:27:35
Dwight Frye, body snatcher to the stars,
is first glimpsed leaning against a tree.
:27:39
David Lewis's sister
is again kibitzing with the rabble.
:27:42
There's Dwight.
:27:45
Mr Levy, wearing spectacles
and leaning on his cane,
:27:47
has just darted behind EE Clive.
:27:56
The point is not that the monster is Christ.
:27:59
In Christian theology,
Jesus is the redeemer.