Frankenstein vs Bride of Frankenstein

Episode Transcript
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Speaker 1 (00:12):
Do you go, Anthony Nuniez, Yes, Hi, do you think
the Bride of Frankenstein is more popular than Frankenstein?

Speaker 2 (00:20):
Yeah, I'm gonna have to say yes to that.

Speaker 3 (00:24):
You know, it was funny because when we talked about
this episode, I did throw it into the ringer about
talking about Bride because a lot of the stuff that's
in the pop cultures Egeist kind of derives a lot
more from Bride than you would think than the original.

Speaker 1 (00:38):
Shockingly enough, but I like that this is a feminist franchise. Yes,
and like Frankenstein, this podcast is alive, so I'm gonna
say hello and welcome to Geek History Lesson. I am
Ashley Victoria Robinson and today I am joined.

Speaker 2 (00:53):
By Diego Anthony Nunez.

Speaker 1 (00:56):
Welcome to your mind University because you have stumbled onto
the Podcas cass where we take one character construct or
months different popular culture and teach you everything you need
to know about them in about an hour. We are
joined today by the egor of Geek History Lesson writer
and research GHL assistant Diego Anthony Nuniaz. You've heard him here,
you know him, you love him. Because we are celebrating

(01:18):
the run up to GDTs A Frankenstein.

Speaker 2 (01:22):
Movie is so exciting.

Speaker 1 (01:24):
I was gonna ask real quick before we dive into it.
Are you excited? What are your hopes and dreams for
gambleto Toro? Swing at it?

Speaker 2 (01:29):
I love Del Toro in general.

Speaker 1 (01:32):
But wait, sorry, other sidebar, what is your favorite Gamble
del Toro movie? I think it says a lot about
a person.

Speaker 2 (01:38):
You know, that's very interesting.

Speaker 1 (01:39):
It's like, who's your favorite Game of Throne's character?

Speaker 3 (01:41):
So because there's two that immediately popped to mind, you
can give us both. I loved Pinocchio, really taking.

Speaker 1 (01:49):
You for a Pinocchio girlie. I like that.

Speaker 3 (01:51):
You know what's so weird is it's actually one of
my favorite Disney movies. Uh huh, Like, I don't know
what it is, but I really enjoy Pinocchio a lot,
and I really enjoyed his version.

Speaker 1 (02:02):
I really loved.

Speaker 3 (02:03):
How much he took a hard stance of like stop
motion and animation and really advocating for it. But the
other one, and this is just a more personal sauce spot,
is Blade two.

Speaker 1 (02:14):
I should I should have known, dang, I should have known.
I'm a pacific grim. Shape of Water girl. I really
loved Shape of water. I really love Creature for the
Black Lagoon. Jason was not as warm on it. He's wrong,
but yeah, Pacific Groom for the record, yeah he's objectively wrong.
Pacific rim is my favorite dumb movie.

Speaker 3 (02:35):
I guess that's what's nice about Del Toro, because you
got the one that's like for him and the art
house stuff, and then he's got the studio stuff that's
like just as fun you know, like are just as
endearing and entertaining.

Speaker 1 (02:45):
One of my favorite stories I've ever heard about him
is that when he went to see the sculpt that
was going to be the Abe Sapien costume. Obviously, if
you know Abe Sapan played by Doug Jones in the suit,
really tall, really thin guy Gamo Deltorro the opposite of that,
right physically. Apparently he fell to his knee. He's in
the studio and said, why am I so fat? And
I just love that so much. I just think that's

(03:05):
so endearing and so funny.

Speaker 3 (03:07):
I just realized, I don't think i've ever shared that
Del Toro story I've had with where I met him,
but didn't realize I'm met him. Ashley knows there's an
art gallery I'm very close friends with, say I would
dare I even say intimately involved with yes, very yeah, yeah,
like Hyena Art Gallery and Burbank. And this was, like
I want to say, in two thousand and ten, I

(03:30):
was just out there hanging out like I usually do,
you know, Like I'm you know, Jane Simon, Bob, you know,
just hanging out with the.

Speaker 2 (03:35):
Owner, right. Yeah.

Speaker 3 (03:36):
So I'm hanging out and this little man comes in
and he's like got his big old glasses bifocals and stuff,
and he's just.

Speaker 2 (03:43):
Like a kid in a candy store.

Speaker 3 (03:45):
Yeah, and he's walking around and like I'm looking at him,
but like I'm not thinking much of it, and the owner,
Bill's not saying anything to me. We're just kind of
carrying on our conversation. But every few moments Gilliarmo will
chime in with something and be like, oh, this is
really cool, you know, just something like that.

Speaker 1 (04:00):
It was really horrible, the thickest accent in the world,
and he.

Speaker 3 (04:04):
Was so childlike, and it was and you know, but
it was obvious that there was a bit of a
rapport and I was just kind of like, I don't
I don't want to overstay.

Speaker 2 (04:12):
Like, yeah, I hung out for a minute.

Speaker 3 (04:13):
So I was like, all right, Bill, I'll see you later.
He texted me later he was like, Hey, I don't
know if you realize, but that was Gilliabodot. I was like,
I was gonna say because his demeanor was just not
what I would expect because he was just like and
apparently he just goes there all the time and he
just a lot of his art collection, fun fact, is
from that's gallery, and.

Speaker 2 (04:30):
It's just that's just how he is.

Speaker 3 (04:32):
He's just one of those guys that's just like he
loves what he loves and he's so passionate about it
and it just brings the like inner child out in him.
But it was so like ever since then, like he's
just always been so endearing to me. And plus, like
you know, vcicians represent what that you know, Like it's
just there's so much that like I actually really do
a door about the man. So to bring that all
back around, I am very excited about Frankenstein just because

(04:53):
of the fact of just so many layers with him
as a filmmaker, his sensibilities and just you know, there's
a lot of in terms of just representation of being
a Mexican filmmaker his sensibilities, and you.

Speaker 1 (05:05):
Know you're getting Oscar Isaacs to keep in the LATINX representation.

Speaker 2 (05:08):
Yeah, exactly.

Speaker 3 (05:09):
Yeah, it's just it's there's a lot that I'm just
and plus, like, who doesn't love a good Frankenstein story.

Speaker 1 (05:14):
It's the best man. Yeah, I'm I'm so excited because
I think Frankenstein because it's so smart. It requires I'm
reading Dracula now for the first time, and it's dry.
It's a real dry You want to know what Jarnath
the Harker was eating. He'll tell you. I'm not far
enough into it. I'm about twenty five pages into it,

(05:36):
and I'm like, but yeah, and every single person who
comes across is like, don't go, and he's like, my,
I must go. Yeah, he's such a dumb man. I
have to get that paper sign. Yeah, I'm sure I
will pick up, but I'm finding it very dry, and
by by contrast, I just think Frankenstein is it's so smart,
and I think you have to be you have to
have an understanding of the genre right in a very

(06:00):
in a heady kind of intellectual, pseudo intellectual way, because
that's who Mary Wilson crub Shelley was when she was
making it, and I think he is the right person
to do that. I think there's only a handful of
directors like him, maybe Ari astor Robert Eggers that I
would be like psyched.

Speaker 2 (06:17):
I could do something that would hit.

Speaker 1 (06:19):
What I want right right, which is not to say
that's what everyone wants, but that's what Ashley wants. All right.
We've touched up against this, But if you haven't seen Seen,
if you haven't listened to them, or if maybe you
want an overview on Frankenstein, either in DC comics or
in larger pop culture, we do have two episodes from
twenty twenty four covering those. So this episode is going

(06:40):
to be strictly discussing the nineteen thirty nine original Universal
Monster movie Frankenstein. In nineteen thirty five's right of Frankenstein,
but because Diego didn't get to be part of those
said face, I want to do your meat cute. So Diego,
how did you begin your relationship with Frankenstein.

Speaker 3 (06:58):
That's very interesting because obviously it was some tiny little
green cartoon you saw. Yeah, because it's one of two things,
It's either it's either Alvin and the Chipmunks, me it's Frankenstein.

Speaker 1 (07:09):
Oh what a great what a great special, what a
great home.

Speaker 3 (07:12):
Yeah, because it was either that or back in the
day when Burger King used to have like a lot
of ties with Universal, they used to do like annual
like toys that they would just released in like Happy
Meals and stuff like that or whatever the Kid's meal,
whatever the hell whatever. Yeah, And and I remembered I
had like a little toy Frankenstein, you know, you get
one of the Mummy or Dracula or something like that.

(07:34):
So I always like was very familiar with you know,
the image of you know the I mean, you know,
even in a as a kid, like you know, any
cartoon you watch, you know, there's always gonna be that
Halloween special where someone's going to have a flat top
head with bolts or something, you know.

Speaker 1 (07:47):
Something toilet paper as the Mummy, someone as the Fang exactly.

Speaker 3 (07:52):
And it's always like through osmosis, whether it's like Scooby
Doo or like I mentioned, Alvin and the Chipmunks. I'm
sure Rugrats has done something like you know a certainly, yeah,
like just something where it's always alluded to it one
way or another. There is some other things that I
do have some memories for but I'm going to save
it for when we get into our deep dive because
there's certain things that like, certain scenes that I want

(08:12):
to call back to.

Speaker 1 (08:13):
But yeah, nice, all right, it is time for the
history one oh one. That is the main meat of
the lesson meat being a very apt word. I think
this time around where we're going to talk about both
of these movies, we're going to get into a discussion.
We're going to compare, we're going to contrast. I'm going
to ask Diego a bunch of his opinions. So I'm excited.

(08:33):
I think it's time. I think the storm outside looks
pretty good. Yeah something good, friend, Yeah friend? Oh man,
that blind Girl, we're gonna talk about that, ye girl,
So Diego quick overview. What are your thoughts on the
original nineteen thirty one Universal? Frank, it's Dyne.

Speaker 3 (08:54):
So I'm really glad we did this because it's been
sort of a long time coming where I need to
reassess these movies because it's been a minute and they
weren't my favorite or no, particularly the first one wasn't
my favorite.

Speaker 2 (09:07):
I did like Bride a lot, my favorite.

Speaker 1 (09:11):
Record Invisible Man. It's my favorite universal monster. Well great, sure,
I mean again mine is Creechure from the Black Ligod
but Invisible Man pre code yes, so good.

Speaker 3 (09:20):
So gay and fun fact, it is James Welle as well.
So there's a lot of carryover because between those movies,
between Frankenstein and Bride, he made Invisible Man, and there's
some carryover from Invisible Man into Bride.

Speaker 1 (09:33):
Oh, there's a lot of queer subjects in Bride that
we will touch on for sure.

Speaker 2 (09:37):
That casting certain just certain things. There's just a lot
of certain motifs.

Speaker 3 (09:40):
But I did get a lot of I got something
different this time, which I'm really excited about. I'm really
excited to deep dive into that and kind of just
dissect it with you as well, because I because my
overview issue with Frankenstein was I always just felt it
had a lot of lacking in story and a lot
of the meteor stuff is in Bride. But and as

(10:03):
we will go into it, I do think there is
a nice like visual poetry that's going on in the
first one. That yeah, and it's in Bride as well,
But I think in the first one there's a lot
of nice, interesting elements that are just like just some
striking visuals that I really liked that I got a
lot of it out at this time, where it just
sort of kind of builds up to almost makes Bride

(10:25):
like a companion piece where they almost work as a whole,
because I did them back to back and again of
it makes a very fascinating watch when you kind of
watch it cohesively like that.

Speaker 1 (10:33):
That's interesting. I definitely think that Frankenstein from a visual
standpoint is stronger and definitely lives stronger in the public consciousness,
but I think the framing device of Bride is better. Yeah,
with Mary and Percy Biss, Yes, which is which is
the story of how Frankenstein originally came into being his book, Like,

(10:55):
I really like how close Mary Shelley feels to that,
even though it steps further away from this material.

Speaker 3 (11:00):
Yeah, yeah, because you've read the book, right, Oh yes, Yeah, Okay,
so that's gonna be fun too. Okay, So that's gonna
be fun to kind of dive and get those details
like sustuts.

Speaker 1 (11:09):
The book I think is imminently readable. I think it
reads very modern. I'm actually surprised at how readable it is. Okay,
I will say the same thing about Dracula, even though
I find it just dry, I think the pros is
very very modern for something written in the eighteen whatever. Yeah, yeah, sorry,
I don't know it off the top of my head, Ashley,
I know, I know.

Speaker 2 (11:27):
I should have done research. Look I am.

Speaker 1 (11:31):
Yeah, we all know that I die on the hill,
that the creature is called the creature? But what are
your hot takes on? Is he the creature? Is he
the monster? Is he Frankenstein? How do you look at I.

Speaker 2 (11:43):
Like to be annoying and say the Frankenstein monster.

Speaker 1 (11:45):
That is annoying.

Speaker 3 (11:48):
I do like to be annoying like that because it's
very It just sounds so like proper, like it's Frankenstein's possessive,
so it's monster.

Speaker 2 (11:57):
I gotta be annoying like that. But I do like
the monster.

Speaker 3 (12:01):
It's just because I think it because it adds a
tragic element, because creature kind of implies something a little
bit more animal, where this one it just feels like,
for lack of a better word, an abomination kind of
thing right now. And that's sort of what the first
one kind of is about. Is that idea of characters

(12:21):
or you know, the character trying to emulate God right, Yeah, and.

Speaker 1 (12:25):
He is supposed to be this like eight foot tall
collection of corpses, like a monstrosity. I don't think is
an incorrect adjective.

Speaker 3 (12:31):
Yeah, And I mean and you know, and it goes
to his first visual, like you know, you see, and
there's fun facts about that with the makeup where it's
just because he didn't have a lot of lines or
no lines, like there's certain tricks that they did with
his cheeks where it's just he looks very sunken in
and just very like just abnormal, you know, abnormal, you
know that kind of stuff.

Speaker 1 (12:51):
The makeup designer and the costumer is a man named
Jack Pierce. He also designed the iconic look of the Bride.
I think he does not get enough credit, Like I
had to google his name, like the fact that he
is not a name that we all know and laud
Like I bet makeup nerds and drag greens and break
up artists and designers, I bet they know his name.
But I feel like we should know Jack Pierce the

(13:12):
way we know like Carl Lagerfel.

Speaker 3 (13:15):
So yeah, and so much so that like his designs
are copywritten yes, by Universal, which is like I I
didn't know that until I did my little research on it,
I was like, that is it.

Speaker 2 (13:24):
I mean, it makes sense, but that is so insane
to think about.

Speaker 1 (13:27):
They were like that Wig, you cannot simply.

Speaker 2 (13:31):
Money please, yeah, money, Please.

Speaker 1 (13:34):
Let's talk about the opening sequence, because I think this
movie is beloved for two reasons, and I think there
are two reasons that it sticks in the public non consciousness.
I think it's the opening sequence, and I think it's
a sequence with the blind girl. Yes, so I would
love to throw to you, So give me your reaction.

Speaker 3 (13:51):
The opening sequence with the man and the curtain. Yes, okay,
I always forget about the sequence I was. I always
got because you know what it is. It's you almost
forget that. This is probably one of the if not
the first time they've ever done like an opening like
this because of when it came out, because like immediately
brought me back to something like the opening the Treehouse
Horror with Marge when she would come out.

Speaker 1 (14:13):
Or the sensors as Yeah.

Speaker 2 (14:15):
Yeah, exactly, you know, immediate callback. Yeah.

Speaker 3 (14:19):
It reminds me of like Alfred Hitchcock when he did
his trailer of Psycho and he you know, just those
those weird interesting things to just kind of like give
you a calm sense of like hey warning, but you know,
and it's weirdly a lot more unsettling because of that,
just that weird psychological aspect of just being like, Okay,
we're gonna prime you that like this is what's going

(14:41):
to come.

Speaker 1 (14:42):
You know, clutch your pearls, but you know, be careful.
But like the modern version of this is when you
see the trailers for like the one hundred and eighty
fifth Paranormal Activity, and it's the view of the audience
and people are fainting being escorted out of the I
feel like that is where we've gone. Like there's this
direct line between the opening of nineteen thirty one Frankenstein
and those trailers, and it's like.

Speaker 3 (15:02):
That thing of like breaking the fourth wall, right, you know,
and it's like, I mean, it's it's funny.

Speaker 1 (15:06):
I mean that bull didn't invent that, yeah, right, I
guess yeah.

Speaker 3 (15:12):
But it's it's so fascinating because it's just it's one
of those things that it's just it's so appealing and
it's so iconic because it's like again, like we mentioned,
like it just pops up in so many different things,
like they did in Ed Wood and Plan nine, like.

Speaker 2 (15:24):
Edward Dewood Junior did it and Plan nine, you know.

Speaker 1 (15:27):
But I did no original thought in his head. Let's
be so for real, for real. Yeah. Also, if if
anybody's a little bit confused by uh, maybe the timeline
or where this falls in film history, this is nineteen
thirty one, was it? Of oz is nineteen thirty nine? Yeah,
so we're still we're even further back in the annals

(15:48):
of film history.

Speaker 3 (15:49):
And actually even more fun fact, because do you know
the fun fact of who wrote a draft of.

Speaker 1 (15:52):
This opening I don't so.

Speaker 3 (15:54):
One of my favorite filmmakers, John Houston. Huh if you've
ever seen The Treasure of Seattle or the Asphalt Jungle
like a bunch of what a great Yes, he was
a staff writer for Universal and wrote a draft for
this opening sequence.

Speaker 1 (16:10):
How cool.

Speaker 3 (16:11):
Yeah, And because I was very curious about this sequence,
and I looked it up and it was sort of
like a preliminary kind of thing of an anticipation of
religious groups being upset about the movie, And so they
wrote this sequence as an attempt to just sort of like,
you know, try to try to playcate that stuff where
it doesn't be like, hey.

Speaker 2 (16:30):
We're acknowledgeing that.

Speaker 3 (16:31):
Yeah, so it's not credited by anybody that was involved
in the production. More so it was like an intern
basically staff writer for the studio.

Speaker 2 (16:39):
But yeah, that was added like way last minute.

Speaker 1 (16:41):
Well, we also know from Jason's experience that sometimes there
is stuff that's not considered as important and assistant or
new writers or staff writers do get whacked out of that.
They're like, you do this, Yeah, take care of that.
Actually doesn't arise me whatsoever. Okay, before we get into
I guess what I'll call the birth sequence, what are

(17:03):
your thoughts on Boris Karlov? Because people love to hold
up Karlov the lego se right right, you know, there's
a lot of comparisons to be thrown around. There's obviously
eighty five thousand people who played frankent Sein since then,
but he's the OG.

Speaker 2 (17:18):
So what occurred to me this time.

Speaker 3 (17:23):
Was how much I enjoyed him as a visual performer.

Speaker 1 (17:28):
Yeah, very physical.

Speaker 3 (17:29):
Very physical, right, because it's like it's just one of
those things of just the way he walks and is
posturing and even just stuff what he does with his eyes.
It reminds me a lot of another callback to Conrad
vite it from the Man who laughs.

Speaker 1 (17:44):
Ye.

Speaker 3 (17:44):
I don't know if you've ever seen that film, The
Original Joker, Yes, the Original Joker movie movie.

Speaker 2 (17:48):
Yeah, exactly.

Speaker 3 (17:48):
And as the name suggests, it's about a man who's
afflicted with a cursed smile. And it's such a beautiful,
beautiful movie where Conrad does a lot of acting through
his eyes even though he's smiling. And it's a silent
film on top of that, so it's very physical.

Speaker 1 (18:04):
It's all mime essentially. Yeah, everyone is mister bean.

Speaker 3 (18:07):
Yeah right, it's mooth and that's what that's what Boris
was really reminding me a lot of of just that
just to do so much through the makeup and just
to wear all like because you know, infamously it's been
reported to that he lost like twenty pounds, yeah, while
being getting makeup for this for both of these movies.
And it's very impressive and it made me really shine
a lot to his liking for that, just because of

(18:29):
just like how much he was able to convey just
just with just his physicality, you know what I mean.
And so cause it takes it takes quite a lot
from like a very mindful actor to do such things
like that, you know.

Speaker 1 (18:41):
Yeah, for sure, And we don't get to him for
a little while, which is kind of interesting, right, Like
we do spend a lot of time with Henry frank
not Victory. Makes me live it. I will if I
accidentally call him Victor. You're just gonna have to go
with my friends because that's not his name, and it's
gonna make me swear, And we don't swear on this

(19:03):
podcast because it's not a nice thing to do. What
I do appreciate is the film does give us a
look at who Henry Frankenstein was before then, and he
is this annoying, young, upstart young man who thinks he
knows better than anyone and she goes on to play god.
But you can see the spark in him of a scientist,

(19:24):
and that's why he goes to push these boundaries. And
I think that is one of the great tragedies of
the book, is that there's so much promise here that's
obviously squandered because he's a bit of a lunatic. So
what do you think about I don't know. The first
twenty or so minutes where we're just kind of seeing
Henry give us his thesis, we meet his his assistant Fritz.

(19:45):
He's got a mentor, doctor Valdman, and then we get
to Elizabeth and everything will change. Do we like him?

Speaker 2 (19:56):
Yeah?

Speaker 1 (19:57):
I like?

Speaker 2 (19:58):
You know it, that is a very interesting question because
it's do I like.

Speaker 1 (20:05):
But he's also not the film.

Speaker 3 (20:06):
And it's interesting because, like, you know, things I might
like about him might just be the stuff that stems
from other versions.

Speaker 2 (20:14):
You know. It's kind of a weird.

Speaker 3 (20:16):
It's a weird thing to just see this just kind
of isolated, especially and then it is so daring because yeah,
I was like fully ready to be like writing notes
about Victor and I'm like Henry and just like how
his partner is named Fritz in Factor is in the
third movie.

Speaker 1 (20:32):
But he's in all the parodies because it's a much
funnier name.

Speaker 2 (20:34):
Yeah, exactly, So.

Speaker 3 (20:38):
It I I like the idea of Victor, let me
put it that way, like, you know, and in any sense,
like I'm looking forward to how Oscar Isaac's gonna handle this.

Speaker 2 (20:48):
Yeah, all that really I am.

Speaker 1 (20:49):
And I really like what both Bennis Kumberbach and Johnny
ye Miller did with him in the play.

Speaker 3 (20:53):
Yeah, and so yeah, exactly, so that because it's like
you're saying, there's so much meat to it because it's
a man who has air, but like you can kind
of understand that arrogance a little bit old where.

Speaker 1 (21:03):
Shake experience, right, it's like.

Speaker 3 (21:06):
And it's funny because it's like one of the blessings
in curse with the Universal movies because they're so short,
because it's like, you know, you you noted that he
doesn't cut.

Speaker 1 (21:15):
Oh the run time is seventy hot minutes.

Speaker 2 (21:17):
Yeah, it's a good movie, yeah, exactly.

Speaker 3 (21:19):
So it's like the fact that we don't get our
monster until halfway through. It's like that's a good chunk
of change. But it also because it's like because of
the pacing, it's kind of moving at a very kind.

Speaker 2 (21:30):
Of fast pace.

Speaker 3 (21:31):
Yeah, so it's like it's it's kind of almost bare bones,
you know, with uh, Henry Victor whatever whatever.

Speaker 1 (21:37):
Whatever his name is, you know what I mean, Yeah,
what I mean.

Speaker 3 (21:41):
So it's like, I I like the concept of him
rather than specifically in the movie himself.

Speaker 1 (21:46):
If that makes sense, It absolutely does. And you know what,
I think this is a good time for everyone to
digest this double check how the Lightning Rods is. Listen
to some ads and we will be right back to
talk about Elizabeth and her involvement in RAG. It's that
we are back on geek history lesson with Diego Anthony

(22:06):
Nuniez talking Freggan Stein, Breden, frankan Stein, all things Freggan's dye.
We it's so eerie when you do that. I mean
that complimentary.

Speaker 2 (22:18):
I know, I'm so sorry.

Speaker 1 (22:19):
It's fine, Everything's fine. We meet Elizabeth, who is going
to cast a very long shadow over the whole discussion
from this point, for we meet her before we meet
the creature, right, and I'm not gonna say she's all
that interesting or likable in this movie. To be to

(22:40):
be very unkind and very frank. I don't know if
you have a different reading.

Speaker 2 (22:43):
I don't. I'm kind of.

Speaker 3 (22:46):
It's almost kind of like I wish it wasn't in
the movie. Yeah, you know, it's like and it's hard
for me because I'm such a big Invisible Man fan that,
like I see it. I see those elements done better
in that movie, yeah than in this because it's like
in in comparison, in The Invisible Man, it's kind of
the same thing where you get a young professor who

(23:07):
just you know is working on experiment, he discovers this
thing he can do.

Speaker 2 (23:10):
He has a lover that like.

Speaker 3 (23:12):
Knows who he is and is concerned about him, knew
him before the you know, before this experiment changed them
all this kind of stuff.

Speaker 4 (23:18):
And she's also his sister in this step sister, so
she's like a ward that the Frankenstein family took in
and they grew up together and were.

Speaker 1 (23:31):
Raised as siblings, and then he goes away to medical
school and then they get engaged. And I've always thought
it was icky. I understand in the eighteen or whatever
different maybe that was a little more normal, but it
does not make me a happy girl.

Speaker 3 (23:45):
YEA ship it, Yeah, I understand, Yeah, because like, you know,
that's what her character should be in this instance of
just somebody that's like sort of our our anchor right
of the per She's the one that knows him before.

Speaker 2 (24:02):
He discovered he tried to be god right.

Speaker 1 (24:04):
And she she should be his goodness.

Speaker 3 (24:06):
Yeah, and should give us that insight. But we don't
really get that arc. And then we get like and
not to jump ahead, but then we get ahead, we
get the wedding stuff, and I'm.

Speaker 2 (24:15):
Just I just I'm like, I don't care like, unless
the monster.

Speaker 3 (24:17):
Is going to kill her, I don't care, because at
least at that point it's some sort of personal stake.

Speaker 1 (24:22):
But alert that's what happens. Well, no, just because.

Speaker 2 (24:25):
Doesn't she live?

Speaker 3 (24:26):
And then like she carries out with a new actress
in the next tu yeah's what you're talking about in
the book.

Speaker 1 (24:31):
Then so in the book, in the book, she is killed. Okay,
but she's played by May Clark, who, if you go
to her Wikipedia page, is most famous for this role. Yeah. Okay,
so she's been in a bunch of stuff, but this
is sort of the most iconic thing. And I don't
know if it's in the writing or if it's in
her performance. I'm tending to want to blame the performance
a little bit more because, uh, future incarnations of this

(24:55):
character have a little bit more depth to them, right,
even though they have less line.

Speaker 2 (25:00):
Yeah yeah, that says a lot.

Speaker 1 (25:03):
Yeah, because because I don't really care for her, and
then she shows up and you're like, oh, yeah, Elizabeth is.

Speaker 2 (25:10):
We're here again?

Speaker 1 (25:11):
Yeah yeah? And then eventually, yeah, we get the wedding
whatever whatever, it's very whatever. And then basically after this,
the storm builds and we get it's alive, yes, which
is if you know nothing else about Frankenstein, you know,

(25:31):
I mean the opening of Van Helsing is this not
shot for shot but but pretty close. And then again
Simpson's South Park every yeah lifts this.

Speaker 3 (25:43):
Fun fact because I don't do you know about the
shot with the thunderclap and the castle thunder tell me okay,
So even though it was recorded for this movie, it
is technically the first instance of our castle thunderclap of
just that shot of just a asshole on you know,
on a dark night.

Speaker 2 (26:01):
And yeah, it was.

Speaker 3 (26:02):
It was, it was technically used the it was it
was recorded on Frankenstein first, but it was technically used
on screen by a technicality of a movie that was
released like three months later, sure studios, because yeah, all
that stuff, but it was recorded for frank Yeah specifically. Yeah,
but it was the first noted of that of that,
like you know, and it's so funny because again you're
not thinking about that because it's such a cliche thing

(26:24):
now that we see all the time in any basic
horror movie of just like oh, you know, dark experiment,
you know, science mad scientist is going to do a thing,
and it's like.

Speaker 1 (26:32):
Oh, I I could go on to any royalty free
stock footage website right now and I could find I
guarantee you I could find footage of basically this entire sequence,
or like of the thunderclap of a castle of rain
and then maybe of some like experimental pieces of glass
smoking inside on a table somewhere like for free. Like

(26:52):
it's so now in the pop culture zite guys, yeah exactly,
which I think just really speaks to the power of
this movie and like how good everyone working on it was. Yeah,
also for La friends. This was produced by Carl Lemley
of who the theater chain is Y is named after.

(27:15):
Here's a funny story. When I was like eight years old,
my school class entered a local TV station's Halloween art contest,
and so I drew Frankenstein an igor over the creature,
saying like it's alive. And so we got to be
on the local Rogers shout out to my Canadians TV

(27:37):
station talking about our art, and the anchor who interviewed
me told me she liked it because she was being
nice to a child, and so I gave it to her.
I was like, you can have it. And now that
I'm an adult, I just think about this like grown
woman who was like, I do not want this. I
was being kind to you, and you know, like those

(27:57):
things that you get like backward embarrassed by. That's one
of those things that like I wake up in a
cold sweat at night thinking about that woman whose name
I don't know, that anchor that I plagued with my art. Yeah,
I mean, I guess I hope she's still doing news.
I don't know. Hopefully he's not still talking to children
doing human interests. That stuffs very boring, but you know

(28:17):
it's not boring. Uh is frankan science monster as it
is as he is named and referred to in the film,
basically gets born uh and then goes on a rampage.
Immediately he stares poor Fritz. It gets chained up in
the dungeon for a little bit.

Speaker 3 (28:35):
That's actually my favorite shot in the movie really, Yeah,
when they first chain him up, because it's like it's
it's kind of part of the thing I was alluding
to earlier about like almost like the visual poetry of
the movie where it's just you see him getting because
again it's like it's a it's almost very tragic, right,
because it's a it's a creature or a monster that
can asked for life and listen, and he's innocent because

(28:58):
he doesn't know what's going on and he's just kind
of thrown into this and all he knows is just
kind of anger because he's just you know, because again
he just doesn't understand what's going on is horrible, horrib
and you know, and it's like, it's what I love
about these universal monster movies is just it's almost so
classic because it's you know, clearly on a stage and
he's just chained down and it's just heavy shadows, and

(29:19):
it's just the even just the set that's just slanted,
ye off kilter, you know, and just the.

Speaker 1 (29:25):
Way all that a dutching yeah and my filmmaker nerves.

Speaker 3 (29:29):
And the way that just all just comes together. It's
just it's so visually striking and it's like and it's
those kind of little elements that really like elevated this
movie for me.

Speaker 1 (29:40):
What do you think about the idea that and we've
kind of danced around this that when the creature comes
to life, he's nonverbal, because this is something that's often
carried through uh stories of reincarnation, particularly in horror, like
even in something like American horror story Covin when they
bring Evan Peter's character back to life, like he can't
speak anymore, right, loses that ability. It's interesting because in

(30:04):
the book he's very, very talkative and very eloquent.

Speaker 2 (30:08):
You know.

Speaker 3 (30:08):
It's it's a lot of that stuff is very bleeding
heart for me because it's like you see that to
allude to the day job that I know, but Ashley
knows very well. And if anything, I think just a
lot of creatures want to be understood, you know. I
think in most aspects they just want kindness and to
be understood, and they try to yeah exactly, yeah, exactly.

(30:33):
They don't know how to communicate, you know, and it
and it's one of the most frustrating, Probably one of
the things we take for granted the most is our
use of our words, you know. And so with the
Frankenstein Monster, you can understand why he's reacting.

Speaker 2 (30:48):
The way he does.

Speaker 3 (30:49):
Frustrated, Yeah, because to me it builds a lot of
sympathy and it's you know, way way down the line.
But when we talk about Bride, you know, when he
does get a little bit of more verbal sponds, is
you get another side of him that you unders like
that was there in the in the original aspect of
just he's just misunderstood and he doesn't know how to
communicate and his only thing is just frustration and anger

(31:11):
and just and then you have people that are whipping
him and chaining him, and it's just like, well, of course,
who wouldn't react to such things, you know, like in
that instance, Like, so, yeah, I love it because in
that sense, it just builds up a lot of sympathy,
you know, and it's just heartbreaking.

Speaker 1 (31:25):
Okay, I think I think we should just skip right
to the scene with the blind girl, because I think
that really embodies what you've talked about. Yes, and I
think it's really beautiful and frankly, all the sudden Henry
and Elizabeth is kind of boring.

Speaker 2 (31:37):
Yeah yeah, yeah, because he escaped, he.

Speaker 1 (31:40):
Brust some doors, Yeah exactly, they get scared whatever, and
then they learned that Henry's mentor was strangled, and they're like, oh, I.

Speaker 2 (31:52):
Think he kills Fritz in the mist.

Speaker 1 (31:53):
Yeah, but then he comes across a girl, baby girl, Mariah,
and because she's blind, she just treats him like a
human being. Yes, And I don't love children on camera,
but I don't. I know, I shock her, But I
do think that Marilyn Harris, who plays as Maria Coma

(32:18):
a little girl, is best known for this role. In fact,
I think she does a really beautiful job for being
a little girl, not that annoying. She was born in
San Fernando and died in Los Angeles. Wow, next right
next to our hearts. She's divorced. Good for her, Good
for you, Marylyn. But this is my favorite scene in

(32:39):
the whole movie.

Speaker 2 (32:40):
I agree, because once.

Speaker 1 (32:41):
You get over like it's alive, is very cool. The
opening sequence is very fun. This is the scene that
really makes me feel something, and I feel his betrayal
when she touches his face and gets scared. Yeah, even
though I can understand it because having been a little girl.

Speaker 3 (32:55):
It's a it is such a it's such a sad
scene because again it'll loudse to what we were just
talking about of just being misunderstood, right, Like, Yeah, he's
wandering around and then he finds a pal and they're
hanging out, the throwing flowers on the you know, on
the pond, all that kind of stuff and like and
it's just like, like you're saying, it's that sense of
betrayal and he and again he just doesn't know his

(33:18):
boundaries right because he just he's a newborn basically, you know,
or even.

Speaker 1 (33:23):
Like a gorilla would be a very apt Yeah. Can
you imagine if you put a small child with a gorilla. Yeah,
they have a lot of humanity in them, right, but
they might break their arm, yeah, just because they know.

Speaker 3 (33:36):
Yeah, And it's crazy because it's like that scene in particular,
it's like it's interesting how it's a step too far
because I don't know if you know the controversy, but
like for almost sixty years they cut out just that
simple shot of him throwing her into the lake. Yeah,

(33:57):
and just that little gesture makes all the difference in
that movie because you know, and again, like I am
someone that does love subtlety and I love implications, but
it's that moment because again, it's it's when he throws her.
It's the carried awayness of it of it all right,
because you're just having fun throwing flowers.

Speaker 2 (34:15):
He's out of flowers, and he's just like, I'll throw.

Speaker 3 (34:18):
You, yeah, And and then it's just like and it's
startling because you see her and then that poor little
girls just like she doesn't come up.

Speaker 1 (34:26):
You're just like, but it was almost have been kind
of a scary thing to film as a small girl, Yeah,
being huked into a pool, Oh my god, I imagine
like a monster.

Speaker 3 (34:36):
I did read somewhere that Carloff was very like aware
of that, and he made sure to build like a
rapport with the little girl to be like, to not
be so afraid of him, to know that they were
friends and stuff like that, because apparently they would like
ride on the golf carts together, just that cu just
little things like that to like.

Speaker 2 (34:51):
So when they did.

Speaker 3 (34:53):
That scene, it was easier for her to just be like,
you're safe, You're you're okay, Yeah exactly.

Speaker 1 (34:59):
O uh. And then as a result, we yet the
ending that I think a lot of people know. I
think this is also quite a famous uh sequence where
the peasants basically figure out the local riff raff. Yeah,
figure out what Dunban did. They drag back the creature,
they lock him the windmill, they light him on fire,
they burn it all to the ground, and inside the.

Speaker 2 (35:21):
Gas he throws Henry out too. He has Henry with them,
and that throws him out, Yeah, his daddy.

Speaker 1 (35:27):
And then inside the castle everyone's like I'm having a
nice time.

Speaker 2 (35:30):
And they're gonna have a baby.

Speaker 1 (35:32):
And it's it's such a it's such a bizarrely happy ending, yeah,
amidst all of this brutality.

Speaker 2 (35:42):
And it I mean, I know, you know this it
feels like a studio thing.

Speaker 1 (35:45):
Oh for sure, you know, because it's like they were like, no, no, no.

Speaker 3 (35:48):
Too dark, too dark, too Yeah, because the the iconic
ending is the windmill, like that is the end of
the movie, because it's it's just the beautiful poetry of
the whole thing, right, But it's like, we gotta let
everyone know that, like, hey, Victor's okay.

Speaker 2 (36:00):
I mean even so much so.

Speaker 3 (36:01):
I read upon this too where the actor that played
Henry Colin Clyve, they that that scene when they let
us know that he's okay.

Speaker 2 (36:12):
Yeah, they that was shot way way way later.

Speaker 1 (36:15):
Yeah, it's screen and this was a time when now
everything reshoots. This was a time when we weren't rife
with reshoots.

Speaker 3 (36:20):
And he didn't know they wanted to do the scene,
and he was already doing another movie. That's why when
they shoot it, he's in the background and you don't
see who the actor is. They just tell you, oh,
Henry's over there with Elizabeth. Everything's cool. Almost certainly a stand.

Speaker 1 (36:34):
In exactly because this was a time when, and we're
actually back in this right now in a weird way,
where we had what was called the studio system, so
you would sign a contract with the studio and you
would have first looks with them. That's why Frankenstein was
or the creature was originally supposed to be played by
Bella Legosi following the success of Dracula, and he was like, no,
I'm going to go make another movie, right, And that

(36:56):
was quite controversial, and that's why when Oris Karloff was introduced,
this kind of rivalry between them, however much you want
to believe that that is, you know, been told through
the lens of history or was actually existed between the
two of them. But they were sort of rivals for
who was the big star at Universal for a long right, right?

(37:17):
I mean I understand, but uh, I cannot imagine Bella
Lego se playing I can't. I really can't.

Speaker 3 (37:24):
And allegedly to that fact because I guess when they
tried to court Bella to do it, yeah, they he
they shot some footage of him trying like doing a
makeup test with a different director and it was like
twenty minutes of footage that was sort of like that does.

Speaker 2 (37:38):
No longer exist. It just it was only screened once.

Speaker 1 (37:41):
Yeah, and I mean it.

Speaker 2 (37:42):
Might it might. Yeah.

Speaker 1 (37:44):
It also could have been eaten by moths. That's true,
by the chemicals that it was made with, right, right.

Speaker 3 (37:49):
But but but yeah, and I have a hard time
imagining it too, because, like I said, like it's just
they're they're just two different kind of actors, you know
what I mean, Like because Bella is very much a.

Speaker 1 (38:02):
Verbal performer.

Speaker 3 (38:03):
It's just like it's the voice, yes, yeah, and just
the eyes.

Speaker 2 (38:07):
And the eyes.

Speaker 3 (38:07):
Yeah, just when you think about his performance as Dracula,
it just it makes sense, right, And it's so iconic
for a reason. With Boris, it's like what we were
just noting on. It's all the physicality, and it's like
and he's such a towering figure. He's such a presence.

Speaker 1 (38:22):
Yeah you know that.

Speaker 2 (38:23):
Yeah, Yeah, he's big.

Speaker 1 (38:25):
He's a big man. I want to wrap down, but
I want to talk about one thing in the credits
before we roll into Bride. In the credits, borls Karlov
is not credited as the creature's credited, Yeah, as the monster.
He's credited simply as the question mark in the opening credits,
and I find that delightful. It's great and whimsical. More

(38:46):
of that, please, Yeah, before we get into Bride, Is
there anything else you want to discuss or shout out
about nineteen thirty one's frank Zion?

Speaker 3 (38:55):
Uh No, because Yeah, like I mentioned, it's just that
it's just a visual poetry at all of it all,
Like just from his first shot of just when he
opens the door and you just get that like zooming
of his face. It's just that it's so sunken and sullen,
and then like I've mentioned, what, Yeah, it's just there's
a lot of visual poetry in that movie that I
just I've grown to appreciate this time around.

Speaker 1 (39:17):
So, in between nineteen thirty one and nineteen thirty five,
very important thing happens in the film industry, and that
is the motion picture production code. So when you hear
movies referred to as pre code or postcode, it's movies
that were made before nineteen thirty four and after nineteen
thirty four. Frankenstein has made before nineteen thirty four. Brida
Frankenstein was made after nineteen thirty four, which means you

(39:39):
have to be a little bit more clever with how
you do things. Basically, they tried to remove things like sex, adultery, crime, homosexuality,
all the fun stuff. Oh you know, all that good
stuff rats, and we've sort of slowly whittled away at
that in film. So obviously the code was wrong, but
I just think it's so interesting thing.

Speaker 2 (40:01):
I didn't know that. That's very fascinating because again.

Speaker 1 (40:03):
I do agree with you that that Bride sort of
supersedes Frankenstein in its power and pop culture, and the
fact that it was made post haze code is so
fascinating to me. You know, necessity is the mother of infation.
And maybe we'll stew on that for a little bit.
We're gonna redo our hair. Listen to some ads. Come
right back. We're finally gonna get into Bride of Frankenstein.

(40:27):
We are back. The hair dryers are off. We have
stripes coming out of our brows. Diego, it's time to
talk Bride of Frankets.

Speaker 2 (40:35):
Dine good.

Speaker 1 (40:37):
It's so eerie. I do not like it. Dun dun, dun, dun, dun, dud.
I had a question for you, but we talked a
lot about it in Frankenstein. I was gonna be like,
do you know the bride's name, because that's my favorite
thing to like trot out to people. Uh, it's the
character's name.

Speaker 3 (40:55):
Oh, the character's name. No, I don't think I do.
I know the actress's name, but I don't know the
the actor.

Speaker 1 (41:00):
Elizabeth Elizabeth, which is why in uh, the nineteen ninety
four Keneth Brana adaptation, they kind of cram both of
these stories into one and a bottom Carter plays Elizabeth,
and then she becomes resurrected as the Bride in the
latter half of the film.

Speaker 3 (41:16):
So, forgive my ignorance, is is the bride in the book?

Speaker 2 (41:20):
No?

Speaker 1 (41:21):
No, okay, this is like she was invented right here
by Jack Pears. Okay, but it's been I actually think
that's a retcon that she's Elizabeth. But she is considered
to be Elizabeth, which I think is that is interesting
and it ties her deeper into the lore that stems

(41:42):
from Victor specifically sort of as the godhead of all things.
Right Againstein, So I like that. Uh, tell me what
you like about Bride. It's man, the story is compelling,
you know, it's so weird and it shouldn't be. Yeah,
there is there their son of frank Sein, their son

(42:02):
of Dracula, their daughter a Dracula, and you're like, none
of them hit, but Bride really hits.

Speaker 3 (42:06):
Yeah, and it is, and it's fair to say it
is weird, likely in like the best way possible. It
is in the best way possible, because it's like you
got you got weird scientists, man, doctor. I almost wanted
to call Fosphorus Petrus, but he's like, hey, I grew
little people, Henry, you want to go back at it
one more time? And he's Henry's like no, but like

(42:28):
he's just like and it's it's just so funny.

Speaker 2 (42:31):
That's his pitches, like I grew people, Like.

Speaker 1 (42:34):
Hey, you know what a homunculus is. You're gonna love this.

Speaker 3 (42:38):
But you know how to like animate life, so like
imagine our powers combined. Like it just that is such
a weird sequence concept.

Speaker 1 (42:46):
It is so masculine to be like I can't create life,
so this is what I'm going to do. Like it's
it's such a it's such a like man having psychological
breakdown things to do to create dead people.

Speaker 3 (43:02):
And then in sharp contrast to that, it's what I
wanted from the first movie, which is understanding the creature
a bit more, because there's.

Speaker 1 (43:10):
So much more humanity in this movie.

Speaker 3 (43:11):
Yeah, because it's like you get way more sequences of
basically him being rejected.

Speaker 2 (43:16):
Yeah, like that's the whole movie.

Speaker 3 (43:18):
Is almost every scene except one in particularly that he's
just getting rejected by society and everyone around him, and
you know, and it's something I felt would have been
benefited in the first one. Just but it's like, you
just get the one scene of him breaking out, he's
roaming around, meets little Maria. Then like you know, the
village gets mad and they chase him down, and you know,

(43:38):
when we get to our ending, we're here, it's like
scene after scene after scene of just like, oh, maybe
I could have make a friend here, maybe I could
know oh oh oh, or you know, just all that stuff.
But like, yeah, I just think and I think as
a story wise, I think it just benefits and works
a lot better. And then plus, like you know, it's
just you know, you've seen Young Frankenstein. Most of the

(43:59):
jokes come from this movie.

Speaker 1 (44:00):
Yes, a lot more, Yeah, which is interesting. Uh So
you said, do you know the name of the actress
who plays the.

Speaker 3 (44:08):
Bride, Yes, Elsa Lanchester Lancast last Yeah, I would say Lancaster.

Speaker 1 (44:15):
Okay, I know it is spelled Lanchester, but British. Okay.
If I'm wrong, don't sell me. I don't care. Uh.
She also plays Mary Shelley, Yes, which I thought was
really cool. Yeah. Yeah, like I said, I really I
really like. I really like the inclusion of Mary Shelley
because I love Mary Shelley's icon. She created sci fi
when she was eighteen, and I will fight anybody on that.

(44:38):
This movie also, which is not something that we tend
to see a lot of in early film. This movie
is full of retcons because it's like, hey, you thought
you thought they died. No no, no, no no. Oh you
thought you're never going to see her again? No no, no, no, no, no.
We we've been doing this. We've been doing this now

(44:59):
a little about Oh no, she's maybe she's right and
she's not the right. No, she's over getting okay. Like
it's funny how it also plays with the continuity Yeah,
the first film, in order to drive to where the
narrative is trying to tell excuse me, good lord, get
drunk here thinking about the brider freak, it's down. I
love that. What do you think about Pretorious?

Speaker 3 (45:23):
He's goofy. I love him because he's goofy, like very silly. Yeah,
I will say he has some iconic lines that means
something to me that I didn't realize, like because then
it's like, again, you know, I've seen this movie several times,
but it's just funny when for some reason the brain
it doesn't click. And then when you hear a certain phrase,
you're like, oh, like when he you know, when they're

(45:45):
first talking and they make a toast and he says
to gods and monsters and we're.

Speaker 1 (45:51):
Like, hmmm, where have you heard that lately?

Speaker 3 (45:53):
Yeah, or one that means something to me where he
just says, you know, hate the living, love the dead,
and I'm like, oh, misfitch.

Speaker 2 (46:02):
Yeah, it's cool, Like you know, just just little things
like that.

Speaker 1 (46:04):
So it's like nothing is original, man, I know all
it is something something modernism.

Speaker 3 (46:11):
He's a goofy character, but I think in the best
way possible, Like it's just it's one of those things.
It's just like in sharp contrast to Henry, where like
Henry sort of had to bear the burden of like
I have this wacky idea of resurrected dead, but I
also have to I'm kind of like you said, he's
the protagonist, so he has to be China grounded. Yeah,
and in this it's like Henry can be the straight man.

(46:32):
Totorus is like maniacal goofy you know, Matt scientist thing.

Speaker 1 (46:36):
You know. Do you know who were two actors who
were also considered to play Pretorious but ultimately disregarded. No
Bella Legosy oh okay, circling back around and Claude Rait
Can you imagine? And instead we got Ernest this cigar

(46:56):
and that would have made sense. It was so old
that his picture on in on Instagram, Jesus Christ on
wikimedia is a is a pencil sketch, is not a photograph. Wow,
there's not a lot of photographs of this old man
sitting around the internet. I find that very I just
find it fascinating that because Bella Lugosi was still Universal's

(47:16):
golden boy, they were Harry bringing him back.

Speaker 3 (47:19):
Into the hole, and then Claude Rains makes sense because
it's right after Invisible Man.

Speaker 2 (47:23):
Yeah.

Speaker 3 (47:23):
Yeah, so like same just in that same family. Because
you do get some cast members from Invisible Man in
this as well.

Speaker 1 (47:29):
Yes, May Clark was also originally supposed to come back
as Elizabeth, but she was quite ill, so she's replaced
by Valerie Hobson. Okay, okay, yeah, so the cast change. Okay,
all right, give me your give me your invisible many Striggs.
I know you're dying.

Speaker 3 (47:43):
Well, it was so funny because, like I just caught
it when I was watching it, the immediate appearance of
Una O'Connor.

Speaker 2 (47:50):
Yeah, I like that.

Speaker 1 (47:54):
And she very much has an old lady in the
nineteen thirties, look about like an old timey old lady.

Speaker 3 (47:59):
Very I'm not gonna dare to do an impression because
it's a very screechy voiced woman. Yes, but she very
much has a presence to her that's just like that's
very familiar. But and she's the tavern woman and the
Invisible Man, and it's the and it's kind of the
same thing where it's just like she just ostracizes the
monsters like that's just their thing.

Speaker 1 (48:18):
That's just not a witch. But she does feel like
in another movie she would play the witch. Yeah, was
revealed to be a witch. Yeah, yeah, that's fair. No,
I won't say that that's a spoiler for quite a
recent movie. Do you know? Because the bride also don't
speak a lot right, much like much like Frankan Sid

(48:39):
Do you know who she modeled her sounds after. It
was a goose or something swan? A swan?

Speaker 2 (48:44):
Yeah, because it's a hissing and that.

Speaker 1 (48:46):
Yeah, And let me tell you, I grew up in Stratford, Ontario, Canada,
which has many swans and they're horrid and they do
hiss a lot. I mean geese also, okay o his
but the quote that I and I'm sure she said both,
but the quote I found to swan's Okay. I like
that because I like birds.

Speaker 2 (49:04):
It's really cool.

Speaker 3 (49:06):
Yeah, because because it makes sense when you think about
it where it's just like I mean, it's funny too,
because when you think about that in the in a
pop culture sense of like somebody like you know, the
reaction is like yeah, and it's kind of funny now
that I think about it in that sense of like, oh,
it's deriving from a bird.

Speaker 1 (49:21):
It's also a very Shakespearean thing, and a lot of
shakespeare text villains will hiss like Yago will be like
it's supposed to be, like yeah, and I think that's
I think that's sort of an old timey thing that
we just don't really do anymore, Like it's just falling
out of our lexicon. Yeah, yeah, you know, like the
way that we like snapped be like yes, yeah, it's

(49:42):
been replaced by other is yeah, yeah, but I do
think it. I think I find the haressing a little
bit funny. Yeah, I just think because it's because it's
not part of our Yeah. I did like it because again,
it's just a strong choice.

Speaker 3 (49:55):
It's a strong choice, and I like it because it's
just it's different from what you would expect the monk,
you know, Frankenstein monster, because he's got his grunting and
so like for her, it just.

Speaker 1 (50:04):
Really knows what a great observation.

Speaker 3 (50:07):
Yeah, because it's like you kind of you don't want
her to do the same thing. Yeah, And there is
something a little bit more and it is interesting because
it's from a Swan, so it feels a little bit
more elegant, you know, feminine and feminine, yeah, comparatively to
a masculine just.

Speaker 2 (50:22):
Exactly.

Speaker 1 (50:23):
Oh my god, that was so funny. Though. Let's talk
about the wig because I bet it was heavy.

Speaker 3 (50:30):
Oh, I can't imagine looks heavy.

Speaker 1 (50:33):
It looks so heavy, like she has to have been
wearing a helmet underneath, Like there's no way it's a
wig cap. I just want to know they had to
have exclude it to her head. There's no way, Like
it's just spirit gum stuck to her hairline.

Speaker 2 (50:46):
The whole thing is insane because I.

Speaker 1 (50:48):
Mean, and it looks good. You can't see the hairline
like the like yeah, because it's like Pierce, they do.

Speaker 3 (50:53):
That man, they put her on stilts. Yeah, and so
she's seven feet tall.

Speaker 1 (50:57):
She's also kind of you can see her kind of
hunch and I don't know if that's an intentional or
if she's just trying to keep everybody because it gives
very drag queens and she.

Speaker 3 (51:06):
Can't move and it's like they had to actually like
wheel her around Like it's such as but it's so
cool because it's such an iconic look, like it's just
worth it for that.

Speaker 2 (51:17):
So it's like, but I understand, but it is so wild,
like it's.

Speaker 1 (51:20):
One of the few times where the style is worth
it over substance, Like now you would just cast a
woman who's like seven feet tall like you would cast
Gwendolen CHRISTI six' five and you put her on risers
and you put her in a wag and you'd be,
like now she's eight feet. All or you would Cast
RuPaul and be, like it's, okay, sweet you don't have

(51:40):
to save the. Lines you'll be, yeah, yeah H Actually
i'm not gonna. LIE i would love to See RuPaul exciting.
Something sixty seven year old Root. Aul she gonna be, Amazing.
OKAY i also want to talk about The monster's, boyfriend
the Old Bloyd hermit a.

Speaker 2 (52:02):
Friend, good, yes good.

Speaker 1 (52:04):
Good there a lot of people this scene is. Beautiful it.
Is it's absolutely. Sweet it just shows you brotherhood and
love between humans and, humanity. Kindness, yeah and uh and
then the you, know the two hunters come, along the
brute and.

Speaker 3 (52:22):
Everything of course two boys come. In, yeah they're, like,
hey what are you doing? Here you'll get out of.
Here BUT i love that scene because it's so. Beautiful
but it's also absolutely ruined because Of Gene. Hackman. Yeah but,
like but it is interesting too because again because of
osmosis and how many times this has been, adapted all

(52:44):
this kind of, Stuff like the scene starts with him
being lured because of music because he's playing the, violin
and it's so funny because it's like an element that's
used In Young frankenstein where she uses that to lure the,
monster but it's not you, know it's it's from a
different scene, altogether and in this it's like sort of
all put together where it's just like he's lured in by.

(53:05):
Music he interprets that as a good, thing like he,
likes like and like because the scene is wonderful because
it is him, learning like, learning like he has actually,
learning like he's learning how to.

Speaker 1 (53:14):
Communicate but it also shows an appreciation of, beauty, yes
and a sense of uh maybe not, aesthetics but like,
yeah just a sense of. Beauty, yeah and just.

Speaker 3 (53:23):
Certain, concepts right of just even like good and, evil
but even just good and bad or however he wants
to trade. It, yeah, yeah, right because it's like he
looks as fire is a bad, thing and the hermit
tries to make.

Speaker 2 (53:33):
Him understand, yeah and he's like, no, no, no.

Speaker 3 (53:35):
Fire helps, Us like it's almost like it's a necessary
evil kind of. Thing but like trying to get him
to understand it and using his you, know use his,
words you, know and all that kind of. Stuff but
because there was an interesting fun fact about that where
UH i wanted to deep dive more into, it but you,
know information is so scarce on such an old. Movie,
yeah but like Apparently James whale did a recent search

(54:00):
of like forty four specific vocabulary words to have The monster,
teach and they based it around vocabulary used by ten year.

Speaker 1 (54:09):
Olds oh.

Speaker 2 (54:10):
Interesting, Yeah and so it.

Speaker 3 (54:11):
Was just because it is a lot of just simple, phrasing,
right just good, friend you, know all that kind of
stuff that's just and like simple words that kind of
makes you understand wide, concepts you, know and it's in
its most simple basic forms and stuff like, that.

Speaker 1 (54:25):
WHICH i think they'll distill.

Speaker 3 (54:26):
Things, yeah AND i think it makes it powerful with
him because again it's like you, see AND i guess
that's why it also works as a companion piece with
the first, one because the first one he's very, nonverbal
just very.

Speaker 2 (54:37):
Grunting and then like this scene.

Speaker 1 (54:39):
Does feel like a spiritual successor to The Blind. Girl,
YEAH i MEAN i think is obviously meant to.

Speaker 3 (54:44):
Be, so, yeah, exactly it just that same sense of
kindness where it just it still goes, wrong but not
because of Anything the monster did you know in any
of that. Sense but it's just, like but, yeah it's
like Him AND i love it too BECAUSE i think
it's the vital scene that makes the ending because again
with him learning about good and. Evil And i'll elaborate
more as we get to the, ending but, like there's

(55:05):
a lot of foundation built in this sequence that makes
the ending feel very.

Speaker 1 (55:10):
Earned SO i also think the scene is interesting because
it's one of the many moments in this movie that
are pointed out as being homosexual or having homosexual undertones
because Of James, will like a straight person could make
a gay, movie and vice. Versa the first and foremost
Is Our Beloved pretorious is considered to be or has

(55:31):
been criticized as being homosexually. Coded this scene is considered
to show homosexual, love Which i'm, LIKE i think that's.
UH i reject that in the way THAT i reject
people being Like froto And. Sam, sure And i'm like
Or sherlock And, watson And i'm, LIKE i just think

(55:52):
you fundamentally misunderstand the concept of, brotherhood, yes and between two, men.

Speaker 3 (55:58):
Yeah just emotional, connections, RIGHT i mean, like and, Look
i'll say it's like actually very. Much well knows how
MUCH i love my two best guy, friends you. Know
and it's like and there's nothing more to it than
just we are brothers and arms like you, know it's
just we're going through life, together and like they're the
PEOPLE i am most open, with and it's LIKE i
can be the most vulnerable.

Speaker 1 (56:16):
With and it's, like you, know it's other guy friends
who love them growing up.

Speaker 3 (56:20):
Exactly AND i tell them that all the. Time it's
never an issue like. You so it's LIKE i say,
Bye i'm, like all, right love You, corey love Your Diego, yeah, yeah,
yeah your Other, Diego, yeah Other.

Speaker 2 (56:29):
DIEGO i JUST i find.

Speaker 1 (56:31):
IT i find it so sad, because, uh first of,
All i'm here for all the homosexual overdriss, yes, right
And james will is not subtle about, it like, Right
we're gonna have to eventually do an episode On The Invisible.
Man it's so, fun you gotta do. It that's a gay, movie,
Yes and that's a pre code. Movie. Yeah that movie
is so, gay so. Gay it made me giddy right.
Now it's it's also we all got a little bit

(56:52):
gayer thinking About it's also just very impressive from a
visual effects practical. Effect, yes like it is a feat of.
Engineering that film is so. AMAZING i think If James
will wanted there to be more gay in this, movie
it would have been, you we're, obvious. Pretorious, sure, SURE
i could see a little light and as, LOAFERS i.

Speaker 3 (57:11):
Could see THE i could see that argument comparatively to
the hermit.

Speaker 2 (57:15):
Scene BUT i find.

Speaker 1 (57:16):
IT i find it sad that they want to take
this moment of real beauty in the film and just
use it down to like but they gave. Though i'm,
like we don't have to know homo every.

Speaker 3 (57:26):
Especially because that's not what that seems about, now you.
Know it's like like we were just talking about it's
like about. Humanity it's literally about the monster learning about
humanity and learning a lot about.

Speaker 2 (57:35):
Himself, YES i also like.

Speaker 1 (57:38):
That henry takes almost the entire, film like three quarters
the way Through he's, like you know, What i'm not
Gonna i'm not gonna work with. You thank you for
this was. Great i've had a lovely time, life but like,
thanks but no, thanks And you're, like what a. What
it's the one moment in the script Where i'm, LIKE
i find it, funny But i'm also LIKE i would

(57:58):
have asked for a.

Speaker 2 (57:59):
Rewrite, right it's and that's like one of.

Speaker 3 (58:02):
THEM i don't want to say, clunky BECAUSE i do
love the, movie but like.

Speaker 1 (58:06):
It, is it also might just be clunky by our contemporary.
Sensibilities it was almost one hundred years, old.

Speaker 3 (58:11):
Right, exactly because it's, like you, know because again you
have to put things in, context, Right and it's like
something we didn't talk about in the, beginning was with
When Mary shelley was talking about the, movie they do
a recapep which was not a thing for most modern day.

Speaker 2 (58:25):
Movies for, sequels, yeah.

Speaker 1 (58:26):
We get some weird borrowed, footage yeah.

Speaker 2 (58:29):
Exactly and.

Speaker 3 (58:31):
So it's the idea of like a, sequel and you
have to go and assume that the accessibility of the
first one was just not a.

Speaker 2 (58:37):
Thing yeah.

Speaker 3 (58:38):
Right so it's like so because even just the idea
of Like henry's basically doing the same. Arc he's just
repeating the same, thing but this time he's just a
little bit more resistant towards.

Speaker 1 (58:47):
It AND i think that's supposed to make us like
him more a little bit. MORE i also think it's
supposed to make us like the bride more Because, basically
his arc in the first movie is is that of
And i'm mean saying that this is in the, book
it's that of childhood into. Adulthood, Okay and here like
he is foolish and that he recognizes his. Folly, yeah

(59:09):
the difference between being eighteen and twenty, five, right if
you're twenty three right, now it's coming for you our.
Problems whereas whereas here he kind of does a. Circle,
yeah there's not as much character development for him because
we're trying to get to the cool visual of the. Bride,
yeah and she's not in very much of the.

Speaker 2 (59:25):
Movie, no, no not at.

Speaker 3 (59:26):
All and, yeah and to your, point because it's like
and both movies are very different in terms of what they're,
about but they are about a sense of, control, right
because like the first one is about the idea of Emulating,
god and in this one it's very, like at least
in my, INTERPRETATION i look at as a.

Speaker 2 (59:42):
Way of controlling.

Speaker 3 (59:42):
Nature, yes because you, Know petrus brings up the fact of,
like look with my brains and your, brains and imagine
we can make mass productions of these, creatures, Right and
all we need to do is make him a, mate
because you got to think one plus one you're gonna get.

Speaker 1 (59:56):
To, right like that literally no way they could, procreate and.

Speaker 2 (01:00:01):
By that simple, audio there's just no. Way but then it's.

Speaker 3 (01:00:03):
Also the humanity of it all and the in the
essence when you, know not sorry, spoilers where it's just
she rejects, him she really like she looks at, him
and JUST.

Speaker 1 (01:00:12):
I think that is such a good piece of. Writing
it is it is so ahead of it's so modern
for her to suffer the same fear that everyone else,
does right is like that is so. Harsh, yeah it's, brute.

Speaker 2 (01:00:27):
It, is and and and then too.

Speaker 3 (01:00:29):
TOO i meant to make a note on this earlier
BECAUSE i thought it was interesting that in the first
one we needed a brain for the monster and in
this one we needed a, heart and and and and
both were collected by different, means where it's just, like you,
know in the first one it's like, this and in
the first one it was like just a glass jar

(01:00:50):
of an abbynormal, brain and in this one it's a.

Speaker 2 (01:00:53):
Murder it's just straight up a murder of a.

Speaker 3 (01:00:55):
Woman and just they took her heart And, thenbeth, yeah,
yeah yeah, Exactly and, SORRY I i kind of got
lost in the votary of it. All but, yeah it's
just that that, uh that sharp contrast between the.

Speaker 1 (01:01:09):
Two because one of the most complicated things that he
says in the whole movie is she hates, me, yes
and you're, like but also you can't make someone like.

Speaker 3 (01:01:19):
You, yeah, YEAH i mean it's it's It's and it's
interesting in the writing when you when it comes to that,
too because it's, like on one hand's like you could
See Frankenstein monster wanting to be in love and all
that kind of, stuff but he even just notably says
like she does not want to be my. Friend nobody
wants to be my. Friend, like and he's just, Like i'm.
Done i'm.

Speaker 1 (01:01:39):
Done we are going to wrap up our discussion On
frankenstein and be done very. Soon but first we got
to find some mates of our, own listen to some,
adverts and we will be right. Back geek history. Lesson
we are back Talking bride Of, frankenstein wrapping up talking

(01:01:59):
about the. Movie they all done died at.

Speaker 2 (01:02:03):
The N diego we belong, Dead we belong.

Speaker 1 (01:02:06):
Dead you, Stay and then he says to at the
end Of, frankenstein the creature gonna Hucks henry of The
windmill and saves his. Life here he has much more
of a moment With henry And elizabeth than he tells
him go, live you, go even though they've been nothing
but wretched to him from everything that from the moment

(01:02:28):
he came to. Consciousness. Uh and and this to me
is WHAT i think is so brilliant about the story
the original story to begin, with is that he has
more humanity than everybody else. Combined that's, yeah that's. Beautiful
like it, hurts it's, sad it's a.

Speaker 2 (01:02:44):
Tragedy it is, tragedy and it's.

Speaker 1 (01:02:45):
Like and he cries in the last, moment so good.

Speaker 3 (01:02:48):
Because, yeah it's like it's it's just one of those
beautiful distillations of this monster's journey where he's just kind
of like born into a world he doesn't, understand, frustrated,
fire all this kind of, stuff getting a bunch of.
Mistreatment then it's like in this, movie it's like he's
just trying to find, companionship, friend whatever that may, mean

(01:03:09):
but just something. Good, Yeah and you, know and then
when he feels like he found that in the, bride
and whether that was intended to be sexual or not
for the for the. Monster the idea, was, oh you
can understand me because you're made under the same circumstances as.

Speaker 1 (01:03:24):
ME i like the implication that the monster might be.
Ace that's fun.

Speaker 3 (01:03:28):
Because you, know it's funny because it's like it's it's
so easy to kind of try to sexualize, things and
in my head it's, like SO i always try to
at least just take certain things like as it is
and just reading, it like you, KNOW i do think
of it in that terms of just like you, know
kind of what we're just talking. About you can be,
friends like you can have. Companionship AND i think more than,

(01:03:48):
anything that's what was important to the, monster and even
the bride sees him as a monster instead of just
understanding like hey we're both, Monsters well let's go through this.
Together but instead he gets rejected by that, too and
it's just like and.

Speaker 1 (01:04:03):
Then she just, dies like she kind of gets. Nothing
she doesn't get to see the, world she doesn't guys
to throw no kid into a. Lake she just. Dies
everyone decides for, her how like being a.

Speaker 2 (01:04:12):
Woman he's, like you know WHAT i desire your rejectively.

Speaker 1 (01:04:17):
Dead. Yeah, Yeah he's, like Well i'm a, man SO
i still have to kill, you, right so we're, not
as a statistically most likely to happen someone your close
romantic partner will be the person who kills. You that's
a Classic diego before we go on to some of
our rankings and best. Ofs is there anything else we
need to talk about In Brida frankstein AND i think
we miss a.

Speaker 2 (01:04:38):
MAN i know we could go on for, hour we,
could that's.

Speaker 3 (01:04:41):
True the only THING i do want to note on
is there's a very surreal shot and it's one of
the earlier scenes when he's out in LIKE i, think, oh, actually,
yeah there's two shots, again kind of calling back to
The Invisible, man because like some of the.

Speaker 2 (01:04:56):
Violence you see in this movie is kind of.

Speaker 3 (01:04:59):
Unreal so like WHEN i think they rename, him but
it's the father Of, maria, yes and he he falls
down and it's when the creature turns out he's.

Speaker 2 (01:05:10):
Alive g's a.

Speaker 1 (01:05:10):
Name his name Is, hans, yeah AND i think his
name was different in the first.

Speaker 3 (01:05:14):
Movie they, like like you, said like a lot of
is so, yeah so he Kills. Hans but then when
he gets up there and he finds the wife and
like throws her, down and you get the shot of
her like hitting the the, wheel and it's just like
and you know it's it's a, Dummy like you, know
it's obviously like it wasn't, real but the fact that
you see, it like there's just something about the visual.

Speaker 1 (01:05:35):
Representation so that's pretty.

Speaker 3 (01:05:37):
Dark, yeah and, again and it's like one of those
things you would see like In The Invisible man when
he causes a train, wreck like, yes it's a, model
but like it's the added layer of goes off the so.
Cool So i'm, Like james well hats like screams And
you're like and so it's like one of those moments
Where i'm.

Speaker 2 (01:05:56):
Like, oh but it's so, cool you, know BUT i
derailed a little.

Speaker 3 (01:06:01):
Bit but like my favorite shot in the movie is
like after that he's discovered to be alive and the
villagers find out and they gang up on him and
he's like on a hilltop and it's just you get
a bunch of amountain of people and it looks like
a painting betiful and it's Sub, yeah parts of it
are probably because it's like right before they like like
tie him, up because, yeah it looks, unreal like just
the way all these like people just mount on him

(01:06:24):
on this like curvy looking hell and just it.

Speaker 2 (01:06:28):
Just it's such a beautiful.

Speaker 3 (01:06:29):
Shot but, YEAH i would have been remissed IF i
didn't note on that because it's IT'S i think it's
just adds again to the visual poetry of both of these.

Speaker 1 (01:06:35):
MOVIES i want to hit you with a fun fact
before we wrap. Up do you know who played one
of our? Hunters very famous old Timey hollywood. Actor, NO
i don't THINK i, Know John, carrodine, really father Of
david and The Carrodine, dynasty is, uncredited but but it

(01:06:55):
has dialogue and plays a. Hunter oh, wow go back
you look for that if you're like a kartye.

Speaker 3 (01:07:01):
GRIT i do have a fun another fun fact, too
when he gets to the, Village Little maria is in
the movie as a different. Character she's like one of
the school, girls like she's in the head or something
they won't draw attention to and you don't see.

Speaker 2 (01:07:13):
Her but, like, no, no, yeah. Exactly that's the best
Cun easter. Eggs.

Speaker 1 (01:07:17):
Yeah, NOW i do love Star Trek GLORID, x which is, like,
oh we Got easter, Eggs BUT i love a real
Subtle easter.

Speaker 2 (01:07:21):
Egg, yeah that's. Fun, Okay.

Speaker 1 (01:07:23):
Diego we got some wrap up questions about The frankenstein.
IS i think the answer is pretty, clear AND i
think you AND i agree on, this which between the
two of these is your.

Speaker 2 (01:07:33):
Favorite It's bride for.

Speaker 3 (01:07:35):
SURE i will say, that, like BECAUSE i did Think
frankenstein was the weaker, film but it has elevated all,
because LIKE i already thought highly Of, bride AND i
Thought frankenstein was very. Inferior but after this recent, rewatch
it has elevated to me where it's just sneaking just
a little, bit just for differing, reasons like what it
lacked in, story it makes up a lot for for.

Speaker 1 (01:07:57):
VISUALS i do think they also deserve to be wh in,
tandem like like a couple of days, apart back to,
back like when you watch them, TOGETHER i think they're. Strengthened,
yeah AND.

Speaker 3 (01:08:07):
I because it WAS i, guess, yeah because that was
a unique, experience because, yeah when we talked about doing,
this that was something that it was.

Speaker 1 (01:08:14):
Diego suggestion actually that we Chuck bright into the, DISCUSSION
a really good ONE i.

Speaker 3 (01:08:19):
Think, okay, yeah because like that's WHAT i, wanted because you, know,
again they're not long.

Speaker 2 (01:08:24):
Movies they're both like an hour and, chance so.

Speaker 3 (01:08:27):
Like if you watch them back to, back it's like
two hours and a half, maybe and that's not that.

Speaker 2 (01:08:31):
Bad, yeah, Really and it just it adds a.

Speaker 3 (01:08:35):
Layer it just adds a different kind of fundamental like
layer to both of those movies THAT i think makes them.

Speaker 2 (01:08:40):
Stronger you, know who.

Speaker 1 (01:08:42):
Do you think is the best actor between the two.
MOVIES i gotta go With.

Speaker 3 (01:08:47):
Boris like it's just for differing reasons for both, movies because,
like you, know while we were doing the first one,
discussion you, KNOW i was talking to a lot about
his non verbal.

Speaker 1 (01:08:55):
Cues this is literally doing a lot of heavy, lifting
a lot.

Speaker 3 (01:08:58):
Of heavy, lifting and then in this one we didn't
get to talk about too too. Much but it's like
it's a different kind of performance in that.

Speaker 1 (01:09:05):
He gets to use more tools in the.

Speaker 2 (01:09:06):
Toolbox he gets to use a lot more, tools AND
i think they're. EFFECTIVE i.

Speaker 3 (01:09:10):
Agree, yeah it's just like because again it's just small short,
words but it's like they're very powerful words and just
everything that he does to kind of LIKE i think
it's too like to his, credit it's just like when
you see his brain evolving as he's learning and, like
it's so beautiful when it's with the, hermit but then
when he kind of uses everything he learns to assess

(01:09:32):
the situation with the. Bride, yeah and he's just like
welove and he strings a sentence just saying we belong,
dead and you're just, like, oh.

Speaker 1 (01:09:40):
DUDE i, MEAN i Think Colin, clive who Plays, henry
does a very good. JOB i don't think there is
a very weak. PERFORMANCE i think it's very. Capable BUT
i just Think karlov has a lot of heavy lifting
to do and he does it with such a Plom,
YEAH i also want to give just LIKE i really
Love Elsa lanchester As. Mary she's. Great, yeah and she's

(01:10:00):
she's Not she's also credited as Question, mark.

Speaker 2 (01:10:02):
WHICH i love that missus Question.

Speaker 1 (01:10:05):
Mark she's not Playing missus Question mark long enough THAT
i think Or mary THAT i THINK i can Outstrip
karlov's Important BUT i really think she brings a. Lot
and she also brings an elegance and a grace to
a very difficult. Performance and you, know again to differentiate
it from the first.

Speaker 3 (01:10:21):
One i'm glad they did this and just not a
repeat of just Like man behind The curtain explaining a,
Story Like I'm i'm glad they did something a little
more different and, LIKE i don't, know kind of, Cooler
LIKE i think it was kind of cool that it
was just like a conversation piece which Just Mary shelley
just kind of like talking about, what you, know what
happened prior to leading into, This and it's like because
it makes her stand out more and then it kind

(01:10:42):
of makes the bride a little bit more special in
that instance of just when it especially when you know
it's the same.

Speaker 1 (01:10:47):
Actress it's also a history lesson and a learning, opportunity
which is something obviously that we love here ON, ghl
but it's something THAT i think is a little bit. Lost,
yeah in modern pop. Culture IF i can offer a, Note,
diego what is your?

Speaker 2 (01:10:59):
Face it's c uh so between both.

Speaker 3 (01:11:02):
MOVIES i, mean we talked about them to, death but
it's like the first one is definitely the Little maria.

Speaker 1 (01:11:08):
SCENE i IT'S i think it's hard not to give
it that it's so coold we copy it and. Bride, yeah,
yeah which what is arguably the other scene in contention
for best.

Speaker 2 (01:11:18):
Scenes, yeah, yeah. Exactly.

Speaker 3 (01:11:20):
Yeah, yeah it's just because they're both senses of the
monster learning about humanity and just his capabilities and his
boundaries and just again it's just it's learning curves kind
of thing that just leads to, tragedy.

Speaker 1 (01:11:32):
You, know and then, lastly, diego what is the cultural?
Impact oh, MAN i, mean it's just it's a big,
question it.

Speaker 3 (01:11:40):
Is it's just like you don't even know where to,
begin because it's like it's all the things you take for, granted,
Right it's.

Speaker 1 (01:11:45):
Just Like Monster high has a character whose name Is
frankie and she looks like the. Bride it's. Innumerable, yeah
IT'S i.

Speaker 3 (01:11:52):
Mean like you, know you go from the subtleties of
the castle, thunderclap you, know it's just like that's been
in pop culture for.

Speaker 1 (01:12:00):
Ever and probably that exact same film stock shot that
has gone on to be in a million other movies
that you AND i aren't even aware of right.

Speaker 3 (01:12:07):
Now, yeah and just you, know it goes from that
to just certain set, PIECES i mean just even to
just the fact that the look of the monster is. Copywritten,
yeah you, know it's like it's such an iconic look
that universes like we get money for, This LIKE i.

Speaker 1 (01:12:22):
Do hate the design of the of the.

Speaker 2 (01:12:24):
CREATURE i hate it if you don't like.

Speaker 1 (01:12:26):
It looks LIKE i hate that he's. GREEN i know
he's not green in the, film but, yeah it's always,
RIGHT i KNOW i hate it.

Speaker 3 (01:12:32):
Interesting really it's it's Because i'm such like a book. Snob,
okay so can you do you mind contextualizing that for?
Me like it's it just sort of like sown pieces.

Speaker 1 (01:12:41):
Together it's just like a. Corpse, okay just look?

Speaker 3 (01:12:44):
Interesting so uh for less so for more visual like
kind of more closer To frankenstein AND dc comics kind
of is?

Speaker 1 (01:12:51):
HE i, Say i'd say closer to closer to like
The Keth brana film, okay where, like uh, rep what
a what a wild chesting? Choice can't wait to talk about?
That not my favorite rankings where he he is supposed
to be like an amalgamation of different body.

Speaker 2 (01:13:12):
Parts, Okay i'm gonna.

Speaker 1 (01:13:15):
Guess they were probably all white guys given that this
Was germany And, switzerland, right but they there's a lot
of notes about how like the pieces don't fit. Together well,
okay so it's like so that the idea of making
him green and he's supposed to be, rotted, Right but to,
me like it's scarier if he's just in a bunch of, corpses.

Speaker 3 (01:13:36):
And i'm wondering if that was also a bridge too
far for the studio at the, time you.

Speaker 2 (01:13:40):
Know because it's, like you, know just too.

Speaker 3 (01:13:42):
Scary, yeah just, THAT i, like because it's already one
thing of just a reanimated, corpse because like you get
the implication that he's sewn together because you just see
it in its rest or rest, stuff but like to
have it kind of all over the, place it's like.

Speaker 1 (01:13:53):
They gloss over WHAT i. Think And i'm assuming THAT
gdt is going to touch on this the real body
horror aspect of what must be like to wake up
and be that. Creature, yeah, oh you just got excited about.

Speaker 2 (01:14:04):
THAT i think about.

Speaker 3 (01:14:05):
That but, yeah it's JUST i mean to go back
to the question in terms of, impact it's just, LIKE i,
mean you, know the fact that like the bride herself
is now just such a big part of the lore,
now it's just, like how do you not include the
bride even though she was never in?

Speaker 2 (01:14:21):
Text you, Know, yeah, yeah it's like you better believe.

Speaker 3 (01:14:26):
Yeah, Absolutely, Yeah it's just you, know it's just it's
craftsmanship at its. Finance it's like one of those things
of WHY i love The Universal monster movies in, general
it is just because it's just it's such a just
done just shoe string budgets and just so much imagination
and creativity and just just. DONE i don't, know it's
just so much personality and just so much, creativity and

(01:14:48):
it's just, like how do you not admire? That because
it's just those things that you just take for. Granted,
again just all those little touches you take for, granted
that's just been in the pop, culture you guys for
literally one hundred.

Speaker 1 (01:14:57):
Years you. Know necessity is the mother of. Invention, yeah
so if you want to necessitate some more knowledge into
your brain about all things Frank. It'steine we have recommended
reading and some recommended. Viewing of course we are going
to Have. Frankenstein we're going to have the two films
we recommended. Here i'll probably Whack The Invisible man onto.
There you can expand your brain by going to geek,
history lesson dot, com slash recommended, reading pick those up

(01:15:18):
in your formats of choice and get yourself some. Learning,
yeah all of this is really, good and all of
it's quite, short so you can probably get through this
in a, Weekend so why not have A Ghl diego
coded weekend and interest of, THAT i gud Siye. Diego
if people liked you and they wanted to send you
their thoughts and opinions or send you, money how can

(01:15:40):
they do that all over the.

Speaker 2 (01:15:41):
Internet so, yeah.

Speaker 3 (01:15:43):
You can follow me on all the, socials, YouTube instagrama with.

Speaker 2 (01:15:48):
Threads, sorry excuse, ME i love. Threads, yeah dreads give.

Speaker 3 (01:15:51):
Me, fine we have very fine if you follow me on,
There it's LIKE i usually put a lot of opinions
and not the bad, ones just more of, like, hey
what are things you? Like?

Speaker 1 (01:15:58):
Oh this?

Speaker 2 (01:15:58):
STUFF i, like what's your top? Favorite and? This i'm like.

Speaker 3 (01:16:02):
Yeah so it's all on the Same moniker Black crow
five two, One so you can follow me over there and,
yeah and if you want to chit, CHAT i am always.
Open so if you want to TALK franki Or Invisible,
Man i'm game for.

Speaker 1 (01:16:13):
It, also be sure that you are, poking pop pucking
popping over to The patreon because our super friends we
have a very special. Lover they are Called Talking, titans
Where diego AND i host Eighteen titans watch Slash rewatch
podcast Where diego is watching the original animated series for
the first. TIME i am watching it for the eighty
seven thousandth, time and we are sharing all of our reactions.

Speaker 2 (01:16:35):
To, that and we are ramping to like the, end you.

Speaker 1 (01:16:38):
Guys season, one there's so much more left to.

Speaker 3 (01:16:42):
Go, yeah but we are, like by the end of the,
year we will be finishing season, one AND i know it's.

Speaker 1 (01:16:48):
Exciting that's actually so. Exciting the end is really. Good
and then, Also diego will be joining us today for
Geek History Lesson, extra Where i'm going to ask him
to recommend you some horror theme stuff and we're gonna
see what he's been enjoying. Lately so come over there
if you enjoyed his, opinions because he's a smart guy
with great freaking.

Speaker 2 (01:17:07):
Taste thank.

Speaker 1 (01:17:07):
You what have we learned? Today? Today we have learned
the bride is greater than the, frea the freature than the,
creature and his name Is. Victor, gosh dang, IT i.
Agree thank you so much for. Agreeing if you want
to come and share your opinions with, us you can
do that all over social media at Geek History. Lesson Like,
Diego i'm gon encourage you to check us out on.
Threads we have a lot of fun on everyone's really

(01:17:29):
nice on you.

Speaker 2 (01:17:29):
Thread so threads.

Speaker 1 (01:17:32):
Is currently my favorite social media to come check us
out at geek history lesson on. Thread you can find
everything that we talked about today at geek hisstory lesson dot.
Com you can find me all over social media At ASHLEY.
V robinson, uh and you can find this podcast where
all fine podcasts are. Had recommend it to your friend
this spooky season because they deserve. It Professor, Diego, Yes Professor,

(01:17:56):
ashley would you please dismiss the class good

Speaker 4 (01:18:02):
And

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