Episode 55 - Bride of Frankenstein (Mayor McCheeseburger Meister) - Middle Age Movie Reviews Podcast

Episode Transcript
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Speaker 1 (00:00):
You're listening to the Electronic Media Collective podcast network. Yeah,
it's a mouthful. For more great shows like the one
you're about to enjoy, visit Electronic Mediacollective dot com and
now our feature presentation.

Speaker 2 (00:23):
Hello, Welcome to the Middle Aged Movies Podcast. Three guys
saying and we three we fatuous three within. I should
like to think that an I rate Jehovahs was pointing
those arrows of lightning directly at our heads, the unbound
heads of Matt, Joey and Tim movie reviewers' greatest sinners.
But we cannot flatter ourselves to that extent. Possibly those

(00:45):
thunders are for our dear Shelley Heaven's applause of England's
greatest poet. My name is Tim, and my podcasting partners.

Speaker 3 (00:54):
Are Lord Matt Joey.

Speaker 2 (00:56):
All right, Joey, why don't you tell us what movie
we're watching at the picture house tonight?

Speaker 4 (01:01):
Tonight, we are watching the nineteen thirty five movie Bride
of Frankenstein, Number ninety seven from the book of one
thousand and one Movies You Should Watch Before You Die,
written by Mary Shelley, William Hurrell but and John L. Bolderston,
Directed by James Whale and starring Boris Karloff, Elsa Lanchester,

(01:25):
and Colin Clyde.

Speaker 3 (01:26):
Well, thanks, Joey.

Speaker 5 (01:27):
Now, before you step off the mic, how about you
let us and our audience know, when was the first
time you watched this ninety year old film, Bride of Frankenstein.

Speaker 4 (01:39):
I've probably seen all almost all of the sequences from
the end of the film in a music video or something,
some kind of clip show, but I never saw it.
It's in its entirety, including with the beginning with doctor
Pratorus' own creations, until it was probably on SENGOULI not

(02:02):
maybe not even ten years ago, maybe a little more
bits and pieces of this if I saw it. I
remember watching the blind Man interaction a long time ago,
but again, it might have been part of a clip show.
I'm not sure. So it's it's a different movie, and
it's a sequel, if you guys didn't know that, and.

Speaker 2 (02:23):
Sequels aren't always as good as the original.

Speaker 5 (02:28):
How about you, tim, when was the first time you
saw the Bride of Frankenstein.

Speaker 2 (02:32):
Well, the words of Comic book Guy first viewing, ever,
I've always wanted to watch all of these Universal monster movies,
and I think so far, I've made it through one
now too. Two?

Speaker 3 (02:46):
Nice? Nice?

Speaker 5 (02:46):
All right, Well, I have to say that the first
time I seen this movie, I only saw little clips
in the movie Weird Science, because you guys remember from
the movie Weird Science, the two guys Michael Anthony Hall
and the other kid are watching The Bride of Frankenstein
when they get the idea to make Kelly LeBrock. So

(03:07):
that's the first time I was exposed Bride of Frankenstein.
The first time I seen it all the way through,
I think I was a teenager. And that was back
when the lasers player was real popular and you could
rent laser just from the local video store, and we
rented a two for flip disc. One side was Frankenstein,
on the other side was The Bride of Frankenstein. And

(03:29):
I remember sitting down in front of the TV and
watching both movies back to back. And it's funny because
there's so much the Bride of Frankenstein that I thought
was in the original Frankenstein movie that a lot of
the scenes got mixed up in my head.

Speaker 3 (03:42):
So it was kind of nice to go back.

Speaker 2 (03:43):
Yeah, like the like the Blind Guy. Yes, in the
second one, I think it's because of young Frankenstein, because
I thought that was in Frankenstein, like the hermit guy,
and I'm like, oh crap, it's in this movie.

Speaker 3 (03:54):
Yeah, And it was nice to refresh my brain on
this movie.

Speaker 5 (03:59):
What with that being said Tim, as our monster maker tonight,
what are you giving me for the for the synopsis?

Speaker 2 (04:06):
Come on, Matt, can you not guess this evening what
I'm gonna have you do? Come on, take a guess?

Speaker 5 (04:10):
Uh, Lord Byron from the opening sequence rolling my rs,
you are so wrong.

Speaker 2 (04:16):
Although I thought about making you do that, when I
honestly did, I was like, I wonder if I can
get him tone, but I thought that'd be too cool,
so instead I thought, you know, we gotta go for it.
I mean, this is the first time we get to
hear the monster speaks, so tonight, speaking as frank and

(04:38):
science monster as you give us a synopsis?

Speaker 3 (04:40):
All right, let's see what I can do here.

Speaker 6 (04:44):
Towns people angry, bring fire, burned down mill. I I
hide and water recavern below until angry people leave. Woman
sees me and runs away. Screaming makes you hurt. Maybe
they won't believe Frankenstein no longer want monster or any other.

(05:08):
Only wants life with new bride. Doctor Pretorious want him continue,
want own monster.

Speaker 7 (05:16):
He failed to create. Angry people find me again, put
me in cage too strong, I break free. I wander
in green leafy place. Only they follow Old man play music.

Speaker 6 (05:32):
Make me happy, he share food, drink, stinky burning stick.
I speak to nice man friend, but then come attack me,
burn down happy place.

Speaker 7 (05:44):
I run. Doctor Pretorious find me in two. Gets me
to take old Master's wife. I like wife, Want one
for me, Doctor Preetorious, get me to make me one
after old master may electric wife. She not like me,
just like angry villagar paying too great. I free creator

(06:09):
and wife, destroy Master's lab to end badness.

Speaker 3 (06:14):
There you go, and I did that with a post
nasal drip.

Speaker 2 (06:18):
Very very well done, Very well done. And you talk
like this. Rest of podcasts.

Speaker 3 (06:26):
Yay movie.

Speaker 7 (06:27):
Okay, me like it with little woman net look like
Chloris Leachman.

Speaker 3 (06:34):
Let's go ahead and dive into this, into this movie.

Speaker 5 (06:37):
We are mainly doing this movie as part of our
whole anniversary year. This is a ninetieth anniversary for the
Bride of Frankenstein came out in nineteen thirty five, and
of course the movie opens up with a castle on
a stormy night, and we see Percy Bay, She Shelley
and Lord Byron and the wonderful Mary Shelley who wrote

(06:59):
the you know, Frankenstein, and their night when they actually
created the monster that day or that night when they
were when they had their discussions and everything. I thought
it was a great, great callback to the original thought
of the story. And then it was also a great
way to segue in to recap the first movie. We
have Lord Byron rolling his ours and telling us how

(07:21):
much he likes Mary Shelley's story of Frankenstein and gives
us a whole recap with some nice montage of the
first movie. What'd you guys think of this opening sequence?
And I'll go to you first tim what did you
think of the opening of Bride to Frankenstein.

Speaker 2 (07:38):
I do like that they do the recap, but man,
is it an exaggerated stage play that they're putting on there.
I mean, it just feels like such a weird stage
play as they do it, and it felt awkward. It
felt a little weird, a little strange, especially with the
three of them kind of hanging out together. And I
guess I'm not going when it felt that way because
apparently they had to cut several scenes because sensors are like, uh,

(08:01):
oh no, because there was a weird love triangle between
the three of them, uh for real, Mary Shelley and
you know, Percy Shelley and Lord Byron, and they allude
to that much more during this scene, and the sensors like,
oh no, no, no, no, we're not doing that at all.
So they had to cut that out. They did not

(08:21):
want them even you know, hinting that there was some
kind of strange, perverse sexual arrangement going on there, but
you still kind of get it. So that was shot, Yeah,
it was. They cut it out. Does it exist? I
don't know if it exists anymore, but I read about it.
We're like, no, I haven't had at all. So they
cut that down, took that out, and uh and it

(08:43):
just like I said, it's very over exaggerated, but it
gets us where we want to be, and I like
that it kind of covers the original story and then
it gets us into the let me tell you about
the story I got. You know, Mary, Show's like, this
is this new story I'm thinking about, and it puts
us into the movie. Then and then we're basically viewing
the story as she tells it to her husband and

(09:03):
Lord Byron.

Speaker 4 (09:04):
It makes a lot more sense if they did leave
that in, because there's these themes of bisexuality that come
up later.

Speaker 2 (09:11):
Oh yeah, absolutely, But I mean back when this movie
was made, there was no way that was ever making
it to film, right, not on a universal picture. I
think the.

Speaker 4 (09:19):
First weird reveal of a male male female relationship in
a movie was Fist Full of Dynamite, and it comes
out of nowhere at the end. If you if you
want to see people with really bad teeth that are
Irish terrorists and kissing the same girl and happy about it,
watch Fifthful of Dynamite is Sergei Leone's one of his

(09:41):
last westerns, and it ends with a big reveal about
these three friends.

Speaker 3 (09:47):
Interesting.

Speaker 5 (09:48):
Well then, so yeah, we we had this opening the
opening up of the film, and of course it segues
right into our movie. And if you hadn't seen Frankenstein,
the first Frankens Time film, we kind of wind up
back at the the old mill that the last movie
ended on, So it starts off there. We see that

(10:08):
the villagers are now being dispersed by a Burgermeister, and
I'm like, the only time I remember hearing about a
burgermeister was in everyone's favorite claymation movie.

Speaker 4 (10:20):
You say, I'm gonna google it.

Speaker 5 (10:23):
It's oh gosh, it's the year without Santa Claus. Or
no Santa Claus is coming to town.

Speaker 2 (10:28):
Okay, I didn't the mayor.

Speaker 3 (10:30):
Yeah, yes, Burger Burgermeister is the mayor.

Speaker 2 (10:33):
I was thinking it was a Burger King character, the Burgermeister,
you know, and maybe it was.

Speaker 4 (10:39):
That sounds like somebody trying to get their own McDonald's,
like uh mascots and failing miserably with the Burgermeister.

Speaker 2 (10:46):
And they had one. The Burgermeister is Mayor mccheese, so
it is kind of true. Yeah, oh my god. Did
they ever call Mayor mccheese a burgermeister. No, but they
should have. That's a missed opportunity.

Speaker 5 (10:58):
Yeah, but of course, you know, the the Burger miters
got that classic handlebar mustache. And he's telling the villagers
to disperse and they're getting sent away, and we're introduced
to what I assumed at first was a gypsy lady,
but it turns out her name is Many the maid
and I kid you not. She reminded me so much
of Frau Brooker from Young Frankenstein because she had that

(11:20):
same kind of facial features and her her character was very,
very odd in the in the in the opening sequence
to this movie.

Speaker 2 (11:28):
She invented trauma act. Well, we have seen her, Matt.
Do you remember where we've seen her?

Speaker 3 (11:32):
Where?

Speaker 2 (11:33):
You don't remember it all?

Speaker 6 (11:34):
No?

Speaker 3 (11:34):
I don't.

Speaker 2 (11:34):
She's best. She's the handmade in robbin Hood. Really yeah,
same actor?

Speaker 5 (11:39):
Holy cow, Wow, that's that's a nice callback actress.

Speaker 2 (11:42):
I should say, yeah, yeah, that's her. If you think
about now, you're seeing it now right, Yeah, totally, yeah,
I see it now. Yeah, it's interesting.

Speaker 4 (11:48):
Wow, she looks like, uh, I don't think it's her.
It looks kind of like George Bailey's mom.

Speaker 2 (11:55):
Okay, I talked about the same actress, Una O'Connor at
she was in Ramin. I guarantee you Uncle Belly's in
the looney bin.

Speaker 4 (12:03):
And if you know him, you must be crazy too.
That's what I thought it looked like. But no, this
is this is just a different ugly old woman.

Speaker 5 (12:11):
Well, anyway, we're introduced to many and she kind of
helps move the story along we see that they take
Henry Frankenstein from the burnt down mill back to Castel Frankenstein.

Speaker 3 (12:22):
That's where we find out about his bride.

Speaker 5 (12:24):
It was their wedding night and they were planning on
getting married that morning, which I don't understand. If it's
your wedding night, wouldn't you've gotten married during that day?

Speaker 2 (12:31):
Well, they did things different back then, you know.

Speaker 5 (12:34):
Evidently it got timey windy on me there.

Speaker 2 (12:38):
You know, you gotta have the weddings later in the
evening because everybody's got to get in their horse and
ride through the wedding. It takes a long time, right.
You don't get in the car and you're there in
thirty minutes or less. You know, you gotta get in
the horse. You gotta, you know, get the stable master
ready to go. You gotta get your you know, your
actual carriage. You know, operator on there. It's a big
to do man, big to.

Speaker 3 (12:57):
Do, right.

Speaker 5 (12:59):
Were juiced to Henry Frankenstein's bride? Beautiful woman?

Speaker 3 (13:03):
I mean we're talking nineteen thirties.

Speaker 5 (13:06):
You know, the height of Hollywood beauty. I thought, Wow,
there's a woman that you know, was probably a screen
actress for years. What did you guys think of the
introduction of Frankenstein's bride.

Speaker 2 (13:21):
I didn't really give it a whole lot of thought. Actually,
I mean she she served the purpose to kind of
move the plot along, But I mean overall she's a
super significant character. I mean she is, but from the
acting perspective, by any you know, by any means so yeah,
I don't know. I mean, yeah, she's beautiful for sure,

(13:44):
but her acting is one of the last things I
even considered her thought about while watching this movie.

Speaker 5 (13:49):
How about you, joy any thoughts on Frankenstein's Bride, not
the Bride of Frankenstein, but Frankenstein's Yeah, you.

Speaker 2 (13:56):
Know, Elizabeth, your name title is really is it? Yeah?

Speaker 4 (13:59):
Because it's not called the Bride of Frankenstein's Monster, it's
called the Bride of Frankenstein. Did her character exist in
the first film.

Speaker 5 (14:06):
I don't remember it in the first film. I only
remember it here.

Speaker 3 (14:09):
Yeah.

Speaker 2 (14:10):
I think they added it in as a that's a
hell of an adding.

Speaker 4 (14:13):
It's like, he's supposed to be getting married, but you
know what I'm gonna I'm gonna go animate this dead person.

Speaker 2 (14:21):
Well, I think it harkens back to he's all about
the job, and the job falls through because of his
face of things went bad and he got fired technically,
so he's like, oh, I should probably, uh probably focus
more on my home life. So plus, she's a major
She's a major element in this film. Like, without her,
the film kind of doesn't exist. So you have to

(14:43):
have her. She becomes a very important key element that
gets him to continue his work later on.

Speaker 3 (14:49):
Right, Yeah, she's she's. She basically becomes a plot device
for the for the entire movie.

Speaker 4 (14:54):
The character of Elizabeth is in the first film.

Speaker 2 (14:56):
Oh, okay, did we not see her though she's just
spoken of? No, I think they had a different actress
than everything.

Speaker 3 (15:02):
Okay, and now I'm reading.

Speaker 4 (15:04):
This from the nineteen thirty one Frankenstein May Clark. Who
do they have playing Elizabeth in Brider Frankenstein Valerie Hobson.

Speaker 2 (15:11):
Okay, so she got recast.

Speaker 5 (15:13):
Okay, I don't I only remember her from the Brider Franknson.

Speaker 3 (15:17):
I don't remember again.

Speaker 5 (15:18):
Memory cheats, you know, I get this movie, I get Frankenstein,
and I get Young Frankenstein. All kind of whibbli wobbly
stuck in my head.

Speaker 2 (15:25):
Well, and I'd imagine she wasn't a major character in
the first one because they never intended to have a sequel.
Then they decided they did want to have one, and
Boris Karloff was like, no, I don't I don't want
to do this at all, and they begged and begged
and begged him. Then he finally relented and decided he
would go ahead and do it. Had to use something,
you know, to kind of write the story along, and
I think they picked her up. It's like, Okay, let's
add her in and make her a major component of

(15:47):
the storyline now. But I mean, in the first one
she was super insignificant and she's only minorly important in
this one.

Speaker 5 (15:55):
Really, yeah, it is neat since she spoke with Boris Karloff.

Speaker 3 (15:58):
Let's go ahead and take.

Speaker 5 (16:00):
A look what the monster's doing. Right when the movie opens,
he's now down in the basement of the mill.

Speaker 3 (16:07):
This is where it was weird.

Speaker 5 (16:08):
It's like, why is there a pool in the basement
of the mill, because I know sometimes a windmill is
has the same purpose as a regular mill, but a
regular mill is using your body of water. So why
is this windmill got all this water in the basement.

Speaker 2 (16:24):
Yeah, because it's a windmill, not a water mill.

Speaker 5 (16:27):
Exactly so that they could have a storyline of one
of the villagers falling into the basement so that the
monster can kill him and escape.

Speaker 2 (16:36):
It doesn't look like a well either. There's moving water.

Speaker 3 (16:39):
Yeah, well it's because it's all kind of like rushing in.

Speaker 2 (16:41):
But they can't have indoor pools back then, what you
guys are that update that you don't think they could
afford it. I mean they can afford a windmill, they
can afford the ground at home pool. There you go.

Speaker 5 (16:52):
It's not a cistern, it's an in ground pool. So
Frankenstein's monster manages to escape and he sees Many, and
of course Many then is startled, runs off and warns
the people at Castle Frankenstein. Meanwhile, everyone is convinced that
Henry Frankenstein is dead. By the time Many shows up,
something happens to where I don't know if she touched

(17:13):
the body or something, but Henry Frankenstein wakes up and
everyone's all happy.

Speaker 3 (17:18):
And that's kind.

Speaker 5 (17:19):
Of where we go from ending the first movie. Segueing
into the second movie, we're getting the storyline where Henry
no longer wants to peel back.

Speaker 3 (17:29):
To the Veil of the dead.

Speaker 5 (17:32):
What did you guys think of this whole resurrection of
Henry Frankinson.

Speaker 4 (17:36):
I look pretty pretty friggin dead, so he resurrected himself.
Apparently as bad as he looked. I feel like it
was less silly, you know, finding out that the monster was.

Speaker 2 (17:48):
Fell into a well or whatever.

Speaker 4 (17:50):
We gloss over the fact this oohna the comic relief
of the movie Oh my God, we find We find
out the little girl who drowned in the first film,
she has these way too old to be her parents parents,
and the Freakstein's monster drowns the father, and then the
mom falls in, and then he scares our actress Una,

(18:13):
and suddenly we're thrown into Oh you know, the doctor
lives too.

Speaker 5 (18:17):
Well, Joey, speaking of thrown in, that lady hasn't fallen.
That lady is thrown in by the monster with a
very bad dummy going past the camera, much like in
our episode of Verdio. We we're talking about Madeline.

Speaker 4 (18:31):
Oh yeah, you're right. She thinks it's her husband. She
gives him a hand and the Ronx's like, hey, it
thinks let me get out of here. And then she
turns around and seas it's him. But yeah, I thought
she literally fell in from fright. But if she's got
thrown in, I think it had been funnier.

Speaker 2 (18:45):
She just fell in. The Here we're.

Speaker 4 (18:48):
Introduced to the fact that this film is a comedy.
It's I don't think James Whyal had any intention of
doing a sequel to this, but since it was a success,
he kind of did it his way and he hammed
it up. Years decades later, Toby Hooper makes a sequel
to Texas Chainsaw Massacre, and it's a comedy. I mean,

(19:09):
they have a chainsaw duel.

Speaker 2 (19:10):
Let's face it. Many is the eighteen hundred version of
a carrot Gota thse up in everybody's business. She's shrilling
all the time, and she's not getting awagh or not
getting attention. I mean she she serves that purpose. She's
annoying as shit. She's the one that just goes along
and ties the story. Kind of the story kind of
gets tied around he because each time she's up front

(19:31):
and you know, in front and center, each time something's happening,
and has some kind of comment to say about she
should have been in Hoa. She should have been like
the Hoa president. That's that one is. I mean really,
you know, and then we get to you know, the
Henry Frankenstein where they kind of show us and they
think he's dead, and that again is another plot device
out of necessity because Klin clives. He's a huge alcoholic

(19:55):
at this point, I mean raging alcoholic, and he's not
going to do very many films after this before he dies.
And but they kept him on because they needed this
like weird hysterical quality that he had, so they wanted
to keep him on from the last film, so they
went ahead and you know, cast him again. But he
actually breaks his leg in a writing accident just before filming.

(20:17):
So if you notice a lot of his very early
scenes in this film all shot with him laying down right,
that's why he's shot supposedly dead to begin with. And
then you see him later he's in the bed recuperating forever.
Apparently legs take a thousand years to heal back then
or whatever. You know, he's always oh he's weak and
he's sick and he you know, he needs to rest
or whatever. So that's why we're seeing us because the
dudes actually got a broken leg. It was not necessity

(20:39):
that I think they kind of wrote it that way,
But how do you not know this guy's not a
lot come out pulse, put a mirror in front of
his mouth, all the typical things you can do back
in the eighteen hundreds. You're going to figure that out,
not just having waiting for you know, the hysterical Karen
to see his arm flop off the tables like he's
still you know, and then it was like, oh, happy day,

(21:00):
although I was foretold that this this day in my
wedding night and stuff, and again a little over traumatic man,
there's a purpose moves the plot along.

Speaker 3 (21:10):
Definitely.

Speaker 5 (21:11):
Hearkens back to that whole you know, stage play, movie
acting qualities. It is interesting that you mentioned that everything
kind of happens with Many, so you know, the next
thing we get is, uh, Henry gets a visit from
this doctor Septum pretorious, and of course he's pounding on the.

Speaker 3 (21:30):
Door, and who should answer the door?

Speaker 5 (21:31):
But the made Many holy a classic kind of labra
for Torus is like, yes, I'm here to see you know, Frankenstein.
And she tells him, well, he's he's he can't see
anyone right now, you know, he's recuperating or whatever, and
he's quite adamant about seeing her. So she's like, all right,
well wait here, I'll go get him, and he's like, well,
I'll just walk with you, and so he like sneaks
behind her, and when she opens the door to talk

(21:53):
to Henry Frankenstein, he's right there to talk to Frankenstein.
And of course he we find out that he's Frankenstein's
former professor, which if I remember right, we don't hear
anything about in the first movie either. Of course, Pretorious
has heard about what Henry Frankenstein has done, and he
wishes to work with Henry to create a mate for

(22:16):
the monster, with the proposed venture involving Pretorius's own creations.
And I think you had probably one of my favorite
lines in the movie here where Pretorious says you need
to come with me, and Henry's like, well, you know,
is it?

Speaker 3 (22:32):
Is it far?

Speaker 5 (22:33):
And and Utorius is like, no, not far, but you
will need your coat.

Speaker 7 (22:38):
Okay.

Speaker 4 (22:39):
Yeah, yesterday was presumed dead. I think he spent the
whole night and day in bed, and then the next
night he's going out to this professor of philosophy's house
who's also somehow a mad scientist.

Speaker 3 (22:50):
Now, yeah, we're.

Speaker 2 (22:51):
Back to Mighty Python. He's dead. I feeling much better now.

Speaker 5 (22:54):
Exactly what did you think of Pretorious then, Joey.

Speaker 4 (22:57):
Well, I'm not a bit fan of his creations. I
thought that those really took me out of the movie.
Is that he grew his own little people and made
one of them m king and one of them MC
queen and one of them a bishop. And then he
skips from you know, all those chess pieces over to
like quote unquote the Devil. But it looks like it's

(23:18):
a little mini Dracula. Pretorious is just I mean, let's see,
the name comes from It's German and it means leader.
He's named appropriately because he ends up leading doctor Frankenstein
on this new journey to create life. He like he
he wants to create a bride so they could have

(23:38):
their own race of people, and he never really says why,
but essentially, like I think he thinks these two dead
people are gonna fuck is I mean, because like what
else does that mean? Are they gonna have like little
Franken babies? Yeah, it's it's fucking preposterous, right, But so
is little people in jars.

Speaker 3 (23:56):
Yeah, when they ran out of air, well, they had
like little like.

Speaker 5 (23:59):
Paper lids or the top of them because the one
the king like manages to escape.

Speaker 4 (24:04):
And how the fuck did he grow them? I mean,
doctor Frankenstein goes, this.

Speaker 2 (24:08):
Is more like black magic than science.

Speaker 3 (24:11):
Yeah.

Speaker 5 (24:11):
The little people, the little homuncular as they're referred to,
really kind of threw me off in this.

Speaker 2 (24:17):
I like Notorious Basically, instead of making Frankenstein's monster a horrible,
cold blooded killer in this, they introduced us to Pretorious,
who has that cold blooded element to him, so, you know,
they make the monster more innocent in this, and they
make Preorious this evil, cold hearted mad scientists. So I

(24:39):
think it's a It's a cool, you know, turn of events,
because you expect, you know, going into it, that Frankenstein's
going to be this monster and he's kind of that really,
so I kind of like the character. I thought it
was interesting. I think the reason we don't hear anything
about him and the first film is because if you
if you remember right, Frankenstein is not a he's never

(25:01):
referred to as a doctor ever, He's not an actor.
He drops out of medical school because he decides that
they cannot teach him what he needs to know, and
then he goes on his own course of study where
you know, you Getius. He is a doctor, so you
could say he's a mad scientist, but he's not a doctor. Well,
I mean he is doctor Petorius, he really is a doctor.
The other one's just truly Frankenstein is. Yeah, but Petorius

(25:25):
is like you succeeded where I could. And Pretorius he
gets kind of blacklisted because they see what he's into,
and so he's kind of drummed out of the whole
medical field or whatever, and so he seeks out Frankenstein.
And I thought Little People were very interesting. I really
dug it. I mean I thought was cool how they
looked and things like that, especially considering how old this
film is, Like, that's some really good practical effects that

(25:48):
they did. Yeah, it's weird that he dresses one up
like a queen and one like a king and another
one like a you know, a bishop and things like that,
and then it's a ballerina. It's just like, Okay, it
makes no sense. And they're dressed and they just he
shows them they start doing the little dance or whatever.
A little too convenient for the story, but again we're
not up to storytelling that we're used to. Now that

(26:09):
makes a lot more sense it's just again, it's the
shock value seeing these little people in jars. And I
imagine when this movie was made that. I mean, can
you imagine seeing something like that? You're like, what that? Wow,
that's that's freaking crazy. It was really interesting as far
as how he creates them. If you remember, he says,
I did it as nature intended. I created them with
seed and grew them. Right now, we see we hear that,

(26:30):
and we're thinking seed, drop it in the soil, and
I grew them. But I don't think that's the seed
he's talking about. And how they got that through the censors,
I'll never know. But I mean, let's face it, he's
using another sea to create these things. Oh you know,
like he's into some really weird stuff.

Speaker 4 (26:44):
He just in the dirt because I know he didn't
sleep with a tiny woman, no, because he's very much
not into women.

Speaker 2 (26:51):
Whatever he's doing to plant his seed, he's not doing
it right because he's just creating little tiny, you know,
one foot people or whatever. I'm guessing that's about a
foot piece or whatever. But he needs to refine this process.
As icky as it is with the stuff that Frankenston
has done is icky as that is to create a
human high bred, so that that's kind of kind of

(27:12):
what he needs him for and he's he's definitely off
his rocker. That guy is nuts. I mean, there's no
doubt about.

Speaker 5 (27:17):
It because he says that he wants to create this
bride by using a brain that he's going to grow
as opposed to using a dead person's brain. Can't help,
but wonder so he was able to make little people,
So did he make like a little brain? I mean,
is his scale factor like completely off? That's That's that's
what I was curious about because you don't actually see

(27:37):
the brain.

Speaker 2 (27:38):
He's doing some kind of cellar generation. I mean, that's
how he supposed to create it. Because that's what also
differentiates the bride of franken Sein versus frankens Sein's monster
because she's not as scarred up and jacked up looking
as he is. And it's because of the cellier generation.
It makes a more refined cadaver, you know process, It

(28:00):
makes them look much better.

Speaker 4 (28:02):
So did anybody else get confused because Elsa Lanchester is
in the opening sequences?

Speaker 2 (28:08):
Mary Shelley, No, I didn't.

Speaker 5 (28:09):
I thought it was a neat callback Beyonce.

Speaker 4 (28:11):
They I immediately recognized her. I'm like, oh, that's the bride. Yeah,
how is this gonna play out? It's like, this is
making any sense to me? For a moment, I'm just like, Oh,
they think people aren't going to catch on it.

Speaker 5 (28:21):
No, I think they did it so that they can
get the idea that the writer is injecting herself into
the story.

Speaker 2 (28:28):
That's exactly what I was going to say.

Speaker 5 (28:30):
You know, sympathizing with her making you know, putting her
in herself into the story. That's that's kind of how
I viewed it.

Speaker 2 (28:36):
Well, and they even do it during the credits. Did
you notice when they say you know the bride and
it's got a question mark? Yeah, and it does. And
again at the end you never get her name. She's
never associated with being the Bride of Frankenstein. So I
think you're right. She's absolutely she's telling the story, and
when she pictures the Bride of Frankenstein, she is picturing
herself as that monster. Yeah, you hit it, Matt, totally.

Speaker 3 (28:58):
They want to hit it. Thank you.

Speaker 2 (29:01):
Well.

Speaker 5 (29:01):
Speaking of I'm gonna go back a little bit. So
Tim had mentioned that the monster is actually a little
more sympathetic in this in this movie, and you're right
because while all this is going on, the monster kind
of has some of his own adventures. He's he's in
the woods, he's he's off by himself, he's he's trying
to stay away from the villagers, just trying to make

(29:22):
his way through the world today. And he runs into
a shepherdess and she sees him get startled and falls
into another body of water, and of course he jumps
in and saves her, and then two villagers see him
save her and then take pot shots at him. That's
when he comes across the old blind monk that was

(29:44):
beautifully redone in the movie, Young Frankenstein with everyone's favorite
blind Monk, Gene Hackman, Ri PJ.

Speaker 3 (29:53):
Gen.

Speaker 5 (29:53):
What did you guys think of this? The whole monster
sympathetic monster scenes.

Speaker 4 (29:58):
This is the one and that people write about. It's
both very touching that you have these two lonely characters
who get together and become friends. The blind Man's not
afraid of him, so you this childlike creature, you know,
you know, shows that he you know, he just wants
to wants a friend. He's just lonely, and this is

(30:20):
the only guy who's not afraid of him and he's
being kind to him.

Speaker 2 (30:24):
It was, it was.

Speaker 4 (30:24):
It was very sweet and and it's super sad that
that he didn't just get to live out his days
be in friends with the blind old man. They redid
this recently in James Gunn's Creature Commandos, where the Frankenstein
Frankstin's monster is very sentient and intelligent, and it said,

(30:47):
it's a it's a blind old woman and she's nice
to him, but he reveals himself to be an asshole,
and she's like, well, you're not leaving me, you know,
because eventually he's like, oh no, I need to chase
after my bride, who's also a character and creature commander,
and and you know, he goes, oh, I would never
leave you alone, and he just breaks her neck. Yeah,
he even locks her out of a cabin so the

(31:08):
dog doesn't have to see.

Speaker 2 (31:11):
And yeah, there's a dog.

Speaker 4 (31:13):
And he murders the old woman because that's his his
weird egocentric way of oh, I'd never leave you alone.
I'm gonna kill you because you know I don't that. Yeah, anyways,
watch Creature Commandos. I've ruined it for you. And Frankenstein's
a dickhead in that in this movie, let's just say it,
Frankenstein's Monster's basically like a mentally handed capped adult.

Speaker 5 (31:36):
Well, it's because he's got a abnormal Yeah, I want
to say he's got an abnormal brain. But he's got
a dead brain. It's been reanimated, so, you know, not
all the neurons are firing.

Speaker 4 (31:47):
And when he killed the little girl in the first movie,
it was totally because he thought she was gonna float
like a flower. Oh you're pretty too, I'll put you
in the pond.

Speaker 2 (31:54):
Right, he didn't murder her.

Speaker 5 (31:56):
It was accidental dot Right, I did think it was neat.
He develops this friendship with the hermit. The hermit kind
of helps teach him to talk. Any any thoughts on
this and any similarities between Gene Hackman's character that you
want to mention.

Speaker 2 (32:12):
Yeah, even going back before that to the whole Shepherd's scene.
At first, I thought that Shepherd's scene was a little odd,
but now, as you say, it does establish the innocence
of the monster. I mean, you know, he just wants
people to be nice to him, to like him, and
when she falls over, he instantly jumps in to save her,
and it shows the misunderstanding that people when they see him,

(32:37):
they just instantly see a monster and they just start
screaming and freaking out, which causes him to freak out.
So I think it does a nice job of kind
of emphasizing the innocence of him and the inability for
people to see that he's not a monster, and then
moving on to, you know, when he gets again to

(32:57):
the to the hermit. As I said at the beginning,
I had no idea it was from this movie. I
originally thought it was from Frankenstein. Again, it's due to
the Young Frankenstein film that they kind of combined this
scene with that to create that film, and so I
think that's where my Frankenstein lore came from for years,
since I had never watched these films. I think for
the most part, it just showed like it was a

(33:18):
very sad old man who was by myself, who somehow
is still very well taken care of, has a nice house,
has food, you know, furniture, wine, violin, cigar wine. This
guy's well taken care of, even though nobody ever comes
around ever. So I found that gonna be the weirdest
part about it. But I thought it was nice that
you know, he's like, look, I prayed, and now you know,

(33:42):
God sent me this mute who can be my friend.
He can be my eyes, I can be his voice.
We can you know, share in company because no, the
world doesn't want us. We're rejects where you know, where
people that nobody wants to deal with because we don't
have any intrinsic value in this world. And I thought
it was I thought it was a sweet thing, and

(34:05):
it's nice that it's though it's not really shown, there's
a timeline that you get, you know, when they're sitting
at the table that they the monster's there for quite
a while. I mean, he learns to talk and stuff.
This hasn't happening overnight, so there was some serious time
that the monsters spent with this guy. And I thought,
I thought it was really nice, and it's it's kind
of a tragedy when those guys come along and they're like, hey,

(34:25):
can you give us some directions that they're like, holy shit,
that's the monster, Like we got to kill this guy.
And and he sets the you know again, sets the
house on fire. How the poor hermit doesn't even got
his house anymore. He doesn't understand what's going on, and
the monster's back to square one. People are trying to
burn the shit out of him, and he has to
you know, flee back into the forest and try to

(34:46):
escape this mad mob.

Speaker 4 (34:48):
Right, how many times does the townspeople come at him,
like he scares the shit out of that girl? I
think before this, Yep, they burnt they accidentally burned the
black Man's house at least four and there's for yeah, yeah,
they're they Oh, they captured him at one point and
then he escaped again, which I thought was completely pointless.

Speaker 2 (35:07):
And they're all sitting there. They just corral them. And
so if we we'll get to that, Yeah, I don't
want to start. Yeah, that scene.

Speaker 4 (35:12):
Yeah, I think this movie more so than the first one,
or you know, you get the townspeople with their pitchforks
and torches. This is the movie, pitchforks and torches, like
we're going to go find the monster. It's like that's
all they do. And it's just that, you know, the
townspeople are a character and all they want is monster blood. Apparently,
by the way, Tim, what does a leader in the movie,

(35:33):
what is what is the monster? Refer to the bride.

Speaker 2 (35:36):
Ass just woman for me? Or something right.

Speaker 4 (35:39):
He says that with a question mark, don't I don't
recall now just one word wife. No, it's the same
word he used with the old man friend question mark.

Speaker 2 (35:48):
Well, but that could be just the limited vocabulary. I mean,
the Master doesn't have a lot of words that he uses.
In fact, when the director decided how he wanted to
have the dialogue of the monster are written, they actually
had I think, like ten year old kids on the
studio lot, and the studio psychiatrists gave them tests and

(36:08):
based on the words that the kids used in these tests,
those were the words that they used to give to
the monsters. So he's basically, for all intentsive purposes again
mentally handicapped because of his abb you know, Abbey normal brain.
He's thinking at a ten year old level, so his
language is not even at a ten year old levels.

(36:29):
Language is more like a you know, uh, you know,
somebody just learning to speak. So he has very limited vocabulary.
Everybody who's nice to him as a friend, everybody who's
not nice to him as you know, an evil villager
in their dick. But like that, you know, he hasn't
learned that word yet. Yeah, bad, I mean they're bad.
Isn't that what he says? They're bad? Good?

Speaker 5 (36:49):
Yeah, he's he's basic words like good, bad, friend, smoke music.

Speaker 2 (36:56):
Yeah, and freaking stein.

Speaker 5 (37:00):
Yeah, I kind of I did kind of mix up
some some of the timeline, but before he sees the
old Man, he does get captured after the Shepherdess, because
they've managed to chase him up a hill and like
the whole village, and then they tie him to a pole,
very much like Luke and Han in a Return of

(37:20):
the Jedi, and they take him back to the village
and that's when they chain them up, and again he
escapes from there, much like in Young Frankenstein. So I
did kind of mix up the timeline there, but I
just wanted to bring everybody up to speed. So he
has been captured before he would he did get he
did get out before he sees the herbit.

Speaker 2 (37:38):
This doesn't make any sense. These villagers have all gone out.
They've hunted him down because apparently it's a group village activity,
and they've they've cornered him on top of that hill
and they basically, you know, beat him down to the
ground and then they trust him up to the tree
like you know, he's hansol Er c three po and
they you know, they carry him back to their town

(38:00):
and they drop them on you know, they bring them
down to the cell or dungeon that just happens to
have some kind of thrown down there where they can
wrap chains around them. And then they're pounding these things
into the stone, which I don't even know how that's realistic.
Like I've tried to pound things in the stone before.
It's not as as those guys make it look. But
apparently back then, these guys are superman and they can

(38:23):
just pound you know, these big nails.

Speaker 5 (38:25):
The hill they had twenty five pound sledges instead of
the eight pound sledges that had not that's.

Speaker 2 (38:29):
What it is. I'm just using the wrong sized sledge.
But and then he escapes, he busts out that door.
They're all right there. They still got the pitchforks and
the guns in their dam and the hands like the
you know, because the burgermeister, you know, he's done. He's
standing out as burgers to everybody and he's like, look,
we caught the monster monster fish Poshki was nothing, he

(38:51):
just needed to be captured. We're all good, completely safe.
The guy comes bursting out the door, and they're like,
they all run away. It's like, guys, you've got all
the same stuff we had twenty minutes ago. Just beat
him down to the ground again, bring him back downstairs.
So stupid, you know, But right, yeah, yeah, I don't know.
I just I found that to be kind of ironic

(39:11):
that it's not evenike like they've been you know, they're
just mannering around town now and not ready. They're all
still there. They also their pitchforks, their torches, their guns.
It's just, guys, just recapture this guy. I don't know.

Speaker 5 (39:25):
I tell you, what about you, Joey, do you think
recapturing the monster after he escaped the prison would have
been feasible?

Speaker 2 (39:32):
I think this was all just a bad time.

Speaker 5 (39:34):
Well, you know, the movie does clock in at an
hour and fifteen minutes, so I think they probably could
have trimmed it down to about an hour. All right,
So the Monster scapes, we see the hermit, all that happens,
and now he's out. He's away from the Hermit again.
He's running through the countryside and he manages to come
to a graveyard and breaks into a crypt and he's

(39:56):
hanging downstairs and or down inside the catacombs, and that's
when we get to see uh, Pretorious again. And Pretorius
is doing like what Frankenson did. He's excavating bodies, he's
getting body parts. He wants to get some material to
make the seed, apparently, and that's when the monster's introduced
to Pretorious. And I think it's rather interesting that here's

(40:18):
a guy that sees the monster, but he doesn't have
the same reaction as everybody else. He doesn't scream, he
doesn't try to shoot him, and I think that kind
of gives the monster an olive branch, a way to
connect to somebody that isn't afraid of him.

Speaker 2 (40:35):
I just find it interesting that Pius didn't even blink
when he sees the monster down there. It's like, oh,
I thought I was down here by myself. Come on over,
let's break bread together, Let's have some wine, smoke a cigar,
and let me tell you, my friend, this is what
we're gonna do. Like this is the plan. I'm gonna
make you a break like he's got an old planned out.
This is just it's such weird happenstance and he just

(40:58):
acts like it was all planned out or something. It
was really weird the way they presented that. Does the
Monster does he take to that instantly? Well, sure, like
this guy's gonna give him a you know, I don't
want to say a false sense of security, but he's like,
this guy's not afraid of me, and he wants to
be my friend. And he's given me food, he's give
me wine. He seems to be elated that he's met me,

(41:20):
So why not why not let this guy make me bride?
He seems all about it, Like he's seems like he's
an alright, dude, he's gonna he's got my best interest
at heart. He just goes with it because he doesn't
know any better. He just anybody that feeds him and
doesn't try to set him on fire. It's a friend
of his, so.

Speaker 3 (41:36):
He does bring him some pretty basic needs.

Speaker 5 (41:38):
So how about you, Joy, would you think of the
interaction between the Monster and Pretorious?

Speaker 4 (41:43):
It's yeah, he's clearly I mean, if you can introduce
the Monster into a room and it doesn't involve him
like breaking down the door like kool aid, many clearly
that he's formed a better relationship with him. You know,
other than Fritz from the the first film, who's just
beating him with the fucking whip, right, but at the

(42:04):
same time the monster. I missed out on where the
monster picks up that Pretorius sucks, because clearly at the
end he basically spells that out we belong dead.

Speaker 3 (42:14):
Yeah, I'm not sure.

Speaker 5 (42:15):
I think it's I think it's maybe might be a
little later on in the film after maybe after the
monster has kidnapped Elizabeth. I'm not I'm not sure where
that moment is at in the story.

Speaker 2 (42:26):
Well, I think the other thing we got to ask
yourself too, is that, I mean, I don't know about
you guys, but when I go grave, Robin, I like
to bring a nice bottle of line, you know, some bread,
a little bit in me like I like to have
a good time, a couple of candles to you know,
set the set, the you know, the pet, the mood,
the mood of the scene for me and everything. Yeah,
it's just it's so weird, man, just just really odd.

Speaker 5 (42:47):
I almost want to say that Pretorius might be a
Frenchman just because the way he acts, you know the
fact that he's he brings you know, a full lunch
to his uh grave robbing.

Speaker 2 (42:59):
Yeah, even the even the killers that are with him like,
I don't know, man, just keeps up this route. Let's
just turn ourselves into that mang us, because this is
no way for the killers to have to live, you.

Speaker 3 (43:08):
Know, right.

Speaker 5 (43:10):
So after that scene, we then flashed back, uh to
Henry and Elizabeth and apparently now that they're married and
they're visited by Pretorius, and Henry expresses his refusal to
assist Pretorious, and so you know, Pretorious is he's got
this pore now with the monster. He manages to call
the monster up, and the monster demands that Henry help

(43:33):
Pretorious to make a mate for him. So Henry kinda
isn't sure. He refuses, and of course that then turns
makes Pretorious order the monster out and apparently secretly signals
him to kidnap Elizabeth. That allows Pretorious to now blackmail
Henry to have him work with him.

Speaker 2 (43:54):
Porious is a dick.

Speaker 4 (43:55):
He'll do anything to get what he wants, including kidnapping.

Speaker 2 (44:00):
It's it's it's it's a turn.

Speaker 4 (44:02):
But it's like, why is he so hell bent on,
you know, getting too reanimated people to frolic and reproduce.
I don't I don't understand his uh motivation.

Speaker 5 (44:12):
Yeah, I'm not sure either. And honestly, if I was Henry,
I would have.

Speaker 3 (44:15):
Gone to the burgermeister.

Speaker 5 (44:16):
I would have gone to like the the authorities and say, hey, look,
this guy had the monster kidnapped my wife.

Speaker 3 (44:22):
I need you to find my wife.

Speaker 2 (44:24):
I don't know if that's gonna work, Matt. I mean, come,
it's like, hey, uh, burgermeister. Uh, I know, I just
created a monster. I know I just unleashed him on
the town. I know the town's stormed by castle. They
all think I'm a little off, but hey, I'm okay now,
I'm all right. Look I'm married man, and UH just
want you to know somebody else wants me to do

(44:44):
these horrible things. Now. I don't want to have any
part of it. But he's taken my wife. Burger Masters,
get the hell out of it. You're like, dude, you
got no credibility to this town. If you're lucky, we
haven't burned your castle down to the ground like we
did the windmill. I don't see that working at all.

Speaker 5 (45:00):
Gotcha, it wouldn't have work anyway. So with them, we
wouldn't have had a story. And of course, you know,
Henry now has to go back to his castle or
his tower, and he starts building a a bride for
the Frankenstein monster. And of course that's where we get
a recreation of the whole Frankenstein scene. You know, we

(45:20):
got the really cool set that they reused for favorite
mel Brooks comedy slash horror film, Young Frankenstein.

Speaker 2 (45:27):
Uh well, I think I think Pretorious he's help bet
I'm making this happen. So, I mean because I think
in his mind he's like, look, I know, Frankenstein beat
me to the punch here, he animated dead before I could.
But I can't do it better. But I just I'm
like in you know, I got the Kentucky Fried chicken,

(45:50):
you know, herbs, the spice, this formula, but I'm missing
just one spice, like just one that makes this whole
thing come to fruition. And and then I know that
I can. I can beat him. So uh so he's
got everything in place. Now, he's managed to signal the
monster to the kidnapped the wife. He's he's got Frankenstein
on line. He's gonna gonna make this happen. Uh. They're

(46:10):
in the laboratory, which evidently the townspeople decided not to
completely trash and destroy for whatever reason, Like you know,
we don't like what you did, but we're gonna leave
everything in tax so you can do it again again
any good burgermaster. And you know, I don't know, is
there cop of this? I don't think there is. Well,
I mean there's a couple a couple of cops I
guess said there, But like you think they'd be like, look, dude,

(46:31):
we're taking all this away. We're taking all your toys,
like you're not gonna make crack in this town no more.
That's it. You know, it's evidence. Yeah. Yeah, they're gonna
bag and tag that and put it down in the
dungeon with you know, apparently the throne where you can
change people to or whatever. But uh, but the scene
is cool. I mean again, I mean, what do we
love about these scenes. It's it's the it's the cool

(46:54):
gadgetaries that you know, all the cool pseudo scientific things,
the lightning bulls, you know, the odds, the sparks flying everywhere.
I mean, we loved it in Frankenstein. We love that
they recreated in Young Frankenstein. I mean they almost complete,
one hundred percent recreated the you know, the actual Frankenstein
movie again in Young Frankenstein, and here we get to
see it a third time. It's not quite the same.

(47:14):
They changed a few things here and there, but still
completely awesome.

Speaker 6 (47:19):
You know.

Speaker 2 (47:19):
It's just the little scientific instruments that they got going on,
like the heart thing, that little heart monitor, like the
little metronome, you know, not that shit's really real. I
mean even the phone. They're like, here, I'm going to
hand you this electronic device or electronic machine I think
calls it, you know, and you can talk to your
wife who's in the cave. So apparently they got the
first cell phone back in like eighteen eighteen, and they

(47:40):
were able to you know, like make a phone call
from the cave that she's being held in to you know,
to the laboratory. These guys are super advanced. But still
it's it's just cool to see. I mean, this is
the look of this is what we want. It's it's
everything you you want to see in a Frankenstein movie,
and they deliver for sure.

Speaker 3 (47:59):
Definitely, definitely, yeah, I agree with you.

Speaker 5 (48:00):
I especially liked when we see the top of the
tower and they had those two giant kites, and I
thought that was the coolest little effects where they dropped
the kite off and they rise up.

Speaker 3 (48:13):
I just it was a really neat effect.

Speaker 5 (48:16):
What about you, Joey, what'd you think of the effects
and within the tower and all the gadgetry.

Speaker 2 (48:21):
Uh, you know, none enough Tesla coils. I like the kites.
Uh they did? Did they recreate that with the kite? Uh?
In the Flash? That's how Batman.

Speaker 4 (48:35):
Uh Batman has a bat kite and they go totally
uh bride Frankenstein to try to get the Flash his
powers back, which was a pissfore storyline.

Speaker 2 (48:46):
But I like the bat kite.

Speaker 5 (48:48):
Well, I'll give you a point for bringing up the
bat kite because you know he needed a kite to
fight kite Man. And yes, kite Man is a character
from Batman in the common books.

Speaker 3 (49:00):
You'll have to have to look him up.

Speaker 2 (49:02):
If you're referencing kite Man from Batman. Do you really
get points for that? I mean, I think you hit
the bottom of the barrel as far as Batman references go.

Speaker 5 (49:12):
Well, well, you also have to realize, you know what
kite Man's alter ego name is, Layman Charles Brown.

Speaker 2 (49:22):
Okay, I'm on bored again.

Speaker 5 (49:26):
All right, So there's my there's my Batman reference off
of Joey's flash reference with Batman.

Speaker 2 (49:34):
Maybe the first time we've managed to get a Peanuts
reference in there with so.

Speaker 5 (49:38):
All right, so, you know, we see this really cool
scene where they reanimate the bride, and the bride is
revealed to be the same actress that plays Mary Shelley,
which I thought, as we mentioned earlier, was a really cool,
really cool reveal.

Speaker 3 (49:52):
And of course the monster shows.

Speaker 5 (49:53):
Up and uh manages to bring Elizabeth with him. We
find out that the Frankenston's bride doesn't like the monster.
She's basically repulsed by him. That then, in turn causes
the monster to realize that he's better off that And
I gotta say, it's like the total rejection. I mean,

(50:14):
this guy has no feeling of.

Speaker 3 (50:17):
Well, maybe she'll like me, maybe I can change her.

Speaker 2 (50:19):
Maybe.

Speaker 5 (50:20):
No, he immediately assumes that, okay, she doesn't like me,
I might as well just kill myself and everybody in
this room.

Speaker 2 (50:25):
I clearly blame his wanting to destroy everything and everyone
on the fact that there's no recording devices so he
can go sit in his room and be mopey and
listen to the same sad song over and over again.
Did you just go on us? I might, but yeah,
it's it's interesting. I mean it's cool that we get
to the end of the film and we get to
finally see the bride of Frankenstein. I mean, this is

(50:48):
what the whole movie's been leaning up to, and we
get the bride for five minutes tops you know if
that yeah, yeah, there is not a lot of bride
on there. It's just beautiful. I mean, they did a
nice job with her, and uh, you know again, it
shows that Taurus has taken his science of the cellular
regeneration combine it with his so he makes a less

(51:11):
repulsive monster, but still a monster. Nonetheless, she's yeah, she
sees the original monster and she's just repulses. Anybody else
would be by him. And he, dude, he loses his mind,
like fuck this shit, Like you know what, I can't
even recreate a dead woman that love me. That's it.
I'm pulling the pen in this grenade. We're all going
this is it's over. Although it's funny that he looks

(51:33):
at Frankenstein, who he had to test for earlier. He's
like frank you know, but now he's like, you grab wife,
go run, live, be happy. I killed everyone else and
he decides to kill you know, uh a pe taurus.
But I think because Petorius made a promises, he's like, oh, look,
I'm gonna be get this bride. You're gonna be totally happy,

(51:53):
You're gonna you know, you live happily after just you know,
help me, help me achieve my goals. So I think
he's kind of like, you know, dude, you you gave
me hope? How dare you give me hope? And she
did a great job visually acting. I mean, back to
stage play, there's a visually acting the visual repulsing and
then have the leader around him sitting down her looking
repulse again, and then leader over here, and then she

(52:13):
hisses at him, you know, I mean yeah, And I
guess she's that because she tried going up on some
swans at one point and they started his there. It's
like they're really actually super mean, you know, super mean birds.
And anybody's ever dealt with a and she moved like
a bird. Yeah yeah, And anybody's ever dealt with a goose.
If you got too close when a goose was next
to man, they get all kinds of crazy and hissy
like that. So that's kind of what she was doing,

(52:35):
and they worked a great effect. I mean, she just
she just they gave that poor bastard hope and she
just broke his heart and threw it on the floor
like it didn't mean nothing. So he's like, you know what,
I'm just gonna end this. I don't want to have
to go through this anymore. People just want to set
me on fire, they want to kill all my friends.
Then they create me a wife who just wants nothing
to do with me. That's it. I'm out. And so

(52:57):
he sets for whatever reason again, he says, Frankenstein's free.
I don't really know why. And then he just he
ends it all. And that's kind of how we end
the movie. And it's an elegant ending. You know, you
don't quite see it coming. But yeah, for what these
movies are and for when they were made, perfect, it's
a perfect ending. It was nice, tight, easy and decisive.

Speaker 5 (53:18):
Yeah, I mean it kind of closes everything up. What
about you, Joey, what'd you think of the end of
the movie.

Speaker 2 (53:23):
What end?

Speaker 4 (53:24):
I don't understand what you guys are talking about, because
then their son of Frankenstein, Ghost of Frankenstein, Frankenstein meets
the Wolfman, House.

Speaker 5 (53:34):
Of Frankenstein, Ghost of Franken's House of Dracula.

Speaker 4 (53:38):
Frankanstin's monster is also in that, and finally Abbott and
Costello meet Frankenstein. And they're all sequels and until the
very end, they don't just show up out of nowhere.
It literally picks up where the last movie ended.

Speaker 2 (53:53):
Yeah, but we all get to see Boris Karloff one
more time as actual Frankenstein, and then he becomes an
actual doctor in the I think that the last because
I think he plays Frankenstein Bridan Frankenstein, his son of Frankenstein,
he's actually Frankenstein's monster. And then House of Frankenstein and
the Frankenstein remake in nineteen seventy he's not actually frank
Sein Mott Frankenstein's monster, but he's like a doctor in

(54:14):
it instead.

Speaker 4 (54:15):
Yeah, that's the one where he's he's mummified, kind of
like they have her looking mummified right in frankestin nineteen seventy.
I think I want to say it like he's because
they didn't have the rights to make it look like Frankenstein.
They just made a big, square headed a monster that's
wrapped in gauze. That's probably the worst one, gotcha. But
Boris karlo Off, you know, he just he was just

(54:36):
making you know, retirement money at that point.

Speaker 2 (54:39):
Well that Poort Bass was probably just happy he's not
having to make movies at the pace he was before,
because if you look at his filmography, I mean, at
some points that guy was making like seventeen films in
a year. He was pumping them out, and it finally
around this Frankenstein time when they're starting to i think
solidify Hollywood a little bit more, he's starting to finally
crank it down to like five or six movies a year.

(55:00):
So he's probably pretty happy at that point. He's like,
I'll play for it.

Speaker 4 (55:04):
Probably under contract. It was kind of like what Vince
McMahon does with Rustlers. It's like, oh, they get paid
a lot, but they have to do like fifty you know,
fifty some shows a year, yeah or more, and so
like that was the equivalent of this. It's like, no,
you're gonna do nineteen movies. So like they were working
them like Nicholas Cage in Debt, where he's like cranking

(55:27):
out as many movies a year, except Nicholas Cage was
doing it, you know, because he had to. And these
guys were like, you know, they were getting treated like
salary employees. It's like, you know, sure they get days
and weeks off and stuff, but no, it's like.

Speaker 2 (55:43):
We're putting you back to work.

Speaker 4 (55:44):
It's gonna be in another picture, and another picture and
another picture.

Speaker 2 (55:46):
Until till people get sick of you. Probably didn't like
do the Frankenstein ones either, because I mean, each time
he's doing frank Stin, it's five hours every day in
the chair to get all that money up and stuff on,
and then that suit is so heavy in those boots
and everything. I mean, I think you love something like
twenty pounds create, you know, doing this movie alone, just
because he just sweated it off because it's just so

(56:07):
hot for him to do it.

Speaker 4 (56:09):
He sweat off his hair too, because why does the
Franks signs monster have less hair in this.

Speaker 2 (56:13):
Because it's burned. He's in charge, burned off, burning charge man.

Speaker 4 (56:17):
Does some of it kind of grow back in the sequels,
I think, I don't know, I've ever seen the Sea.
I'm pretty sure it does when they switch actors at least.

Speaker 5 (56:24):
Well, even the continuity of the hair throughout the movie,
you know, just from scene to scene tends to change
as well. It's like there was definitely no script continuity
going on to make sure that he looked the same
between from like even shot to shot and some of
the stuff.

Speaker 2 (56:37):
I think that's James Whale, though. I think I don't
think he cares about continuity because he definitely didn't care
about timeline because some of that timeline stuff's all over
there too, because this is supposed to be what like
eighteen eighteen. But then I think the woman that they
choose to be the bride, did she They say she
died in like eighteen ninety nine or something, and then

(56:59):
he's got that wine and the watch from nineteen twelfth.
It's just shit's all over the place of it, like
timeline wise, So he's he's not real concerned about like
continuity or anything like that either. He's just like, let's
just make a movie and get done and move on.
And I think that's how most of these movies back
then was is just you know, just here's the story.
We got a film as quick as we can, and

(57:19):
then were off the next one because we got seventeen
more movies. We gotta make this year right.

Speaker 3 (57:23):
We got it. We're Universe.

Speaker 5 (57:24):
We got to pump these out. We've got a contract
with Carlos.

Speaker 4 (57:28):
I think I think James Whale was doing poppers and
making out with doctor Pretorius and Frankenson.

Speaker 2 (57:35):
I think one of the other big continuity airs I
seen in this is that if you look at the
very end, I think they, if I remember, they filmed
a different ending because if you look just before he
blows up the laboratory, which is cool, yeah, oh it's
a model, but it looks it looks fantastic, but you
actually see frankensteign up against the wall as it blows

(57:58):
up and starts to implode. But yet in the next
scene he's outside with his bride. So they I think
at one point they were going to kill off Frankenstein,
you know, and and along with Petorus and the monster,
and then they were like, we need to have a
little bit of a happier ending, so they decided to
film an extra scene put them outside, having them, you know,

(58:19):
embrace each other in whrror. But you know they're going
to live on and their happy little marriage going forward,
you know, past the destruction of his laboratory in the
and the death of the monster we as we know
at this time.

Speaker 5 (58:32):
All right, well that pretty much wraps up the movie. Then, guys,
that's like a nice hour and fifteen minute movie. You know,
it's it's just a little bit less than three episodes
of a modern day sitcom.

Speaker 3 (58:45):
What do you guys think? Do you think this is
worth taking an hour and fifteen off fifteen minutes off
your death clock?

Speaker 4 (58:52):
Because it's so damn short. I couldn't believe how short
it was. My only lingering question is like, why did
Fritz become Carl. It's the same actor that I don't
remember Fritz dying in the first one.

Speaker 2 (59:06):
Maybe I missed something.

Speaker 4 (59:07):
And then, you know, we always we've got to have
a hunchback in each one of them, and eventually we
get the Igor.

Speaker 2 (59:13):
But that that.

Speaker 4 (59:14):
Really isn't until like, what's the third or the fourth
film we had the Igor?

Speaker 3 (59:18):
Right, Yeah, I think Igor. Egor wasn't even in the
books Igor.

Speaker 4 (59:22):
Yeah, I think like that, Yeah, they made they made
up all the hunchbacks.

Speaker 2 (59:25):
But yeah, we always think.

Speaker 4 (59:27):
Of like you know, in cartoons and stuff, it's Egor,
but it's like no, it's like it's Fritz.

Speaker 3 (59:33):
And then it's.

Speaker 4 (59:34):
Carl Hot Carl, and then then it's Egor, which is
gonna be played by Baili Lagosi oddly enough, and then
his brain gets put inside Frankenstein. I'm not making this up,
and but he goes blind because the blood type doesn't match.
And then Frankenstein puts his arms out, it stretched out
because he can't see. And then he's still blind. And

(59:55):
now he's played by Bela Lagosi in the next movie,
and his arms are stretched out. So in all the
car tunes you see the arms stretched out franket sign.
But they they cut out the part where like, oh, yeah,
he's blind and that's why he's fleeing, he's feeling, he's
feeling around anyhow. Yeah, I think it's uh to answer.
I think I think the fright of the thirteenth franchise

(01:00:16):
is less crazy.

Speaker 2 (01:00:18):
I think the answer your question, too, Joey, is that they,
again contractual obligation of some of these actors, they just
put him in over and over again, you know what
I mean, Like, Okay, now you're gonna play this character,
because that's not the only person from the first one
to the second one that's in there as a different character.
Because they'll remember when you see all the girls, like
it's like the school girls are leaving or something. They're
all together, and then that little girl's like, oh look

(01:00:38):
and there comes a monster. That's the girl that dies
in the first one. That's her. So they gave her.
They put her back in this one, and now she's
not the same girl, but it's the same actress again. Yeah,
I think it's just a contractual, like, who do we
got to not do anything? Throw them in the movie?

Speaker 3 (01:00:53):
Right?

Speaker 5 (01:00:55):
Well, speaking of throwing things in the movie, why don't
you throw us? To your opinion? Is this worth thinking?
And now aren't fifteen minutes off your dove clock?

Speaker 7 (01:01:01):
Yeah?

Speaker 2 (01:01:02):
I think it is. I mean, all these Universal movies,
are they the greatest thing ever?

Speaker 6 (01:01:06):
No?

Speaker 2 (01:01:06):
But they're fun. You know, they're fun. It's fun to
watch movies from them. They're simple. You don't have to
think a lot. Uh, you know, it's just like you're
just gonna sit back and enjoy them. And it's it's
not the crazy slaughterfest that horror films are going to become,
you know. I mean, I mean, don't get me wrong.
The monster's go on a rampage and they kill a
few people, but it's it's it's just done really well,

(01:01:30):
and you can you can sit down and watch these
with your kids. I mean, provided they're still old enough
that they're not going to, you know, keep you apath
tonight because you scared the crap out of them or whatever.
But I mean you but you know, you can sit
down at a certain point watch these with your kids.
You don't have to worry about it. They're they're really
well done. They're classic monsters everybody knows. I mean, Dracula, Frankenstein,
the Mummy, the Creature from the Black Lagoon. I mean,

(01:01:51):
they're all there. In fact, I've enjoyed this one. Did
you notice when he goes into the tomb although Ba
goes fu? You know, it's just like yeah, and I
was like, I wonder if that's supposed to be Dracula.
They don't miss a beat in these things. So that's
that's why they are the classic universal films. So yeah,
you definitely take some time to watch because they're just

(01:02:12):
a lot of damn fun and they're not well it's
it's a quick watch. It's an hour.

Speaker 3 (01:02:16):
Yeah.

Speaker 5 (01:02:17):
Yeah, Well I am going to echo everyone's sentiments. I
too think that it's worth taking time off your death
clock for the same reasons. You know, it's it's it's
a short hour and fifteen minutes. You know you can
you can run through it pretty quick. The story's still entertaining. Sure,
there are some you know, motivational faults. There's some you know,

(01:02:37):
weird subjects if you look for it. But yeah, I
think it's it's a fun watch. You know, it's it's
a timeless film.

Speaker 3 (01:02:45):
I mean, it's ninety years old.

Speaker 5 (01:02:47):
Now, you it's it's been re released how many times
it's gone back and gotten a Blu ray release, It's
gotten you know, DVD releases, It's out there on the
internet archive and a high quality people can watch it.
It's just a fun movie to watch. So it's definitely
worth taking time off for your death the clock. So
all right, gentlemen, that's three yeses on this on this film.

Speaker 3 (01:03:08):
So well.

Speaker 5 (01:03:09):
That brings us, ladies and gentlemen listeners to a quick
feedback section. So if you want to give us some feedback,
email the show. You know, you can leave us some
feedback via email at The Manreview Podcast at gmail dot com.
We'll read your email right here on the show. Also,
I've been going through taking a look at some of

(01:03:31):
our Facebook comments and messages. We have been replying back
to people, but I want to thank everyone who has
sent us some Facebook feedback, especially Courtney from Classics with
Courtney as well as our friend Andreas. You know, they've
been dropping some stuff on the lines. So thank you
everybody for for getting back to us. So but again,

(01:03:53):
if you want to hear your email, read right here
on the show. Email the show. Let us let us
know what you think of everything. All right, gentlemen, with
that being said, let's go ahead and say, what you
been watching, Joey, other than Briana Frankenstein, what have you
been watching.

Speaker 4 (01:04:11):
Your friendly neighborhood spider Man? I finished the series. It
is in a retro style that looks like the nineteen
sixties cartoon characters have one outfit, even if they have
alter egos. The Peter Parker wears the same clothes, his
best friend wears the same clothes.

Speaker 2 (01:04:35):
Harry Osborne wears.

Speaker 4 (01:04:36):
The same clothes, and it's so like, you know, it's
kind of like the Simpsons, where like they have their
outfit and that's what they wear. Although Spider Man has
a bunch of non Spider Man looking outfits until he
becomes Spider Man, which was different, and they really do
play around with the the origin. Some one villain looks

(01:05:00):
is classic and looks more like the comic books than
he ever has before.

Speaker 2 (01:05:05):
Uh.

Speaker 4 (01:05:05):
And then the main villain doesn't actually you know, become
you know who we know he's going to be become. However,
they changed his race. Uh, Norman Osborne is black and
finally his hair makes sense. You'll know it when you
see it. He's got he's got waves, but uh white.

(01:05:27):
Norman Osborne with that hair always looked really weird, and
I never understood the art style it was.

Speaker 2 (01:05:33):
It was good. I look forward to more of it.

Speaker 4 (01:05:36):
And I'm also I also finished season two of Severance,
which is crazy and that guy's uh that you know,
he's got his alter ego and he's uh, he's trying
to save his bride and uh. It it ends with

(01:05:58):
uh just as strange as you want that show to be.
And I cannot wait for a season three. And if
I don't get it, they kind of l ended it
on a cliffhanger where you could do that, but there's
still so many dangling participles with that show that it
demands the season three. I don't think there should be

(01:06:18):
a four, but I think we need to learn a
little bit more about Lumen and Kiir and all these
strange little things. And and I want to see more
of Gemma, the the pretty wife with the interesting face
that I can't really put a She's like French and

(01:06:39):
Chinese or something, and she's gorgeous, but she's.

Speaker 2 (01:06:43):
Also weird looking.

Speaker 4 (01:06:44):
I don't know what's the name of that other actress
whose eyes are too far apart.

Speaker 3 (01:06:49):
She's British, Olivia Cleman.

Speaker 2 (01:06:53):
Not no, it's the Mad Max movie. That's not doesn't
have Mad Max staring.

Speaker 3 (01:07:00):
She's not English, she's uh.

Speaker 4 (01:07:01):
Jesus Christ, that's not her either, And that's that's Furiosa
in the Mad Max movie. We're talking about the one
that's just.

Speaker 3 (01:07:11):
And Joey Taylor Anna Taylor Joey or something like that.

Speaker 4 (01:07:14):
Yeah, I too, are too far apart, And I thought
she was in split for a while. I don't I
was wrong. She's pretty, but she's weird looking.

Speaker 2 (01:07:22):
Then there's a.

Speaker 4 (01:07:22):
Lady with the wonky eyes that's on like Chicago Police
Show whatever it's called. These weird wonky women that are
still sexy. I don't know, but uh that that's that's why,
that's why I love sever gotcha.

Speaker 5 (01:07:40):
Well, folks, if you if you need mental help, please
feel free to to call Joey or email Joey and
try to try to try to let him know your
problems in life are.

Speaker 4 (01:07:53):
Betterhelp dot com code word Joey redballs.

Speaker 3 (01:07:57):
All right, Tim, you watching.

Speaker 2 (01:08:02):
Shit? I don't know if you want to call Joey.
I mean, honestly, you tried to help about because he
couldn't remember somebody, and then he yelled at you because
you weren't giving them the right fucking answers. So, dude,
I don't think that's the first you want to call fail.
But you know, if you're desperate, sure why not. But
it's a preview of the sinility to come. What I
was talking about, you know that thing and that thing

(01:08:25):
and then the bad guard. Fucking your generation knows nothing anyway.
Uh So, speaking of generations, by my son came home
for spring break and we beinge watched Invincible season three,
and damn does it not disappoint I? Oh my god,

(01:08:45):
I finished that too. Who was fucked up? Oh? It
was so good?

Speaker 7 (01:08:49):
I was so good? You were.

Speaker 2 (01:08:51):
I mean, if you've never watched The Invincible. Yeah, get
get on your Amazon Prime start watching this cartoon series.
It does not disappoint. It is just well written, well
played out, and uh super fun. So I highly recommend it.

Speaker 4 (01:09:08):
Did you recognize the guest starring voice in the last
two episodes? Ah, it's he had another bloody scene with
mister Yune Steven June in another show.

Speaker 2 (01:09:20):
Every episode has a bloody scene. I mean they were.

Speaker 4 (01:09:24):
Both on The Walking Dead together. That was the voice
of Megan.

Speaker 2 (01:09:27):
Oh, okay, I've always.

Speaker 4 (01:09:29):
Caught ef Free whatever his name is, I've always caught
up with Walter Goggins.

Speaker 2 (01:09:33):
You know. That's that's always the voice that I pull
out of there every time. So, but yeah, that that's all.

Speaker 4 (01:09:39):
The Royal Gemstones guy, he's in everything right now. That
guy is a voice of the main character who runs
like what the the fucking NSSA or whatever in the
apartment offense in in Invincible, he's he's on The Royal
Gemstones the last season of as Uncle Baby Billy, and

(01:10:02):
then before that he's in the season three of the
other show I'm watching The White Lotus Goggins, Walter Goggins
isn't everything this year?

Speaker 7 (01:10:15):
Oh?

Speaker 2 (01:10:15):
Yeah, but where I first seen him, and I love
him from Justified. He's like the main antagonists at the
beginning of Justified, and uh he delivers there and before that.
Totally about him on the Shield too, he was back
at you know, back in the police round of the Shield.
I mean, I just I love I love him. I
love his acting. I love the characters that he plays.
He never disappoints that dude is He's a Hollywood gemp.

(01:10:38):
He's a diamond in the rough in today's shitty Hollywood.
You know, uh group of actors.

Speaker 3 (01:10:46):
Nice. Yeah, I like him too.

Speaker 5 (01:10:47):
I've I gotta says he's a nice character actor as well.

Speaker 4 (01:10:52):
Oh and he he stole the show in the video
game TV show The Atomic Video Game Show.

Speaker 5 (01:10:58):
Yeah, follow up Yeah yeah?

Speaker 2 (01:11:02):
In season two is the Gul, Yeah, I said the Goul.
That's why I said, you know, I'm always the Yep.
He's awesome as that. He totally owns that too, and
you just totally buy into it. He's so good in
the Fallout series.

Speaker 5 (01:11:16):
Gotcha fantastic. Well, I haven't been able to watch anything.
I have been working like a dog, So unfortunately I
don't have anything to bring to the episode.

Speaker 2 (01:11:25):
This week.

Speaker 3 (01:11:26):
Other than I am still.

Speaker 5 (01:11:28):
Occasionally watching Blacklist, so I'm slowly working my way through that.

Speaker 3 (01:11:31):
I think I'm like on episode eight or nine. So yeah,
nothing new for me on what I'm watching.

Speaker 6 (01:11:37):
Thanks for listening to Bit of Late Movie Reviews podcast.

Speaker 2 (01:11:42):
We hope you enjoy review of Bride and FRANKISTI.

Speaker 7 (01:11:46):
I not enjoy Bride.

Speaker 2 (01:11:48):
Be friend like, subscribe, love Monster, the Villagers do not Okay?

Speaker 5 (01:11:56):
Follow us on Facebook, X Blue Sky and Instagram. Have
a comments or a suggestion, then email the show at
Manreview Podcast.

Speaker 3 (01:12:03):
At gmail dot com. We will read your emails here online.

Speaker 4 (01:12:07):
If you've never seen this movie, you do know the
one thing that survived, it's that wild ass hair with
the lightning bolts, the March Simpson hair before March Simpson
and before March.

Speaker 2 (01:12:22):
Dressed up with the Bride Frankenstein.

Speaker 4 (01:12:24):
So that's what's gonna survive forever. Is the iconic look
of this film

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Episode 55 - Bride of Frankenstein (Mayor McCheeseburger Meister)

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Episode 55 - Bride of Frankenstein (Mayor McCheeseburger Meister)