The sequel (4 years after original apparently because Whale would only agree to do it if he had complete artistic control) lacks some of the narrative genius (this is far removed from mary shelley’s book) and originality of the 1931 original but we have a much heavier influence of gothic set design, the cabinets of dr. caligari german expressionism and I think that makes this the superior film and a borderline masterpiece
There’s a very interesting homosexual reading of the film which came to light decades after the film—the monster and his bride to not hit it off and we have him and the hermit getting along so well
The hermit sequence is pure narrative tenderness but is a pretty quiet period stylistically
Very detailed sewer, lab, cemetery and prison—the visuals here are superior—we have gorgeous gothic interiors at the castle as well- almost every scene is laid out with ornate woodworking, great work in shadows with the lighting, candle work both add to the lighting and the detailed and busy mise-en-scene
Elsa Lanchester dual role here with her playing the bride and the shelley character in the very good opening prologue author introduction and recap
Harshness again- two fatalities in the first two minutes
Many love the intentional campiness and humor here in the second film—mainly here from Una O’Connor’s crooning and tongue-in-cheek wit.
Many of of the shots are taken from expressionistic odd angles—changing the floor or baseline or even blocking part of the mise-en-scene intentionally a la von Sternberg
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