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Lee as the evil aristocrat who indifferently runs his horses over peasant lads and or rogers the chateau servants. Memories are invoked of his sinister presence in Moby Dick (1956), Ill Met by Moonlight (1956), The Traitor (1957) and above all Lee’s Frankenstein’s monster, which he first played on screen in 1956. His definitive impersonation of Dracula was also on release at the same time as A
sexuality is released in the Dracula films at the end of the decade, so the repressed spirit of scientific enquiry finds its way into the figure of Dr Frankenstein. 9 For a fuller discussion of this actor and of the values he represents, see my essay ‘Madness, Madness: The Brief Stardom of James Donald’, in Bruce Babington (ed
preservationist concerns. To give just one example, the Universal horror classics Frankenstein (1931) and The Mummy (1932) were revived at the Puchon International Fantastic Film Festival, South Korea, in 2001, within the context of a desire to explore knowledge around this particular genre. 18 To be sure, there was a ‘reason’, a justification, for such revivals – the appearance of
made in an interview published in the Sunday Times in July 2010,79 in which he described Hitler as a ‘Frankenstein’ but that the monster also needed a Dr Frankenstein: the implication being that others both inside and outside Germany, including American industrialists, assisted with Hitler’s rise to power. Stone also bluntly suggested that Hitler may have done more damage to the Russian people than he did to the Jews. The American Jewish Committee was quick to claim that Stone had effectively ‘outed’ himself as an anti-Semite.80 A swift apology on the same day was
the brutality of the drug wars, but the pervading awareness of ‘otherness’ projected from north to south at the border. In the film Mexico has something of the monstrous about it, but as with Mary Shelley’s depiction in Frankenstein (1818), this monster is the product of its creator and, crucially, of a creator in denial.55 In its use of the imagery of violence and death, its reflections on the American Dream, its treatise on business ethics, and indeed its explicit and implicit commentary on the drugs industry, Savages tapped into Mexico’s emergence as monstrous
, Henry has appeared in numerous and varied American productions. In 1935 he featured as a miniaturised monarch in The Bride of Frankenstein (James Whale, 1935), with A. S. ‘Pop’ Byron playing Henry. He was a female-obsessed cartoon character voiced by Mel Blanc in the Looney Tunes cartoon Book Revue (Robert Clampett, 1946). A half century later, in the ‘Margical History Tour’ episode from the