GCSE Media Assignment: “Frankenstein” - Compare the opening sequences of Mary Shelley’s novel ‘Frankenstein’ filmed by James Whale (1931) and Kenneth Branagh (1994). Describe and account for the major differences and similarities
GCSE Media Assignment:
"Frankenstein"
Compare the opening sequences of Mary Shelley's novel 'Frankenstein' filmed by James Whale (1931) and Kenneth Branagh (1994). Describe and account for the major differences and similarities between the versions.
The gothic horror novel, 'Frankenstein', was written by Mary Shelley during the Industrial Revolution, which was a period of dramatic change. It was a groundbreaking and controversial novel, exploring subjects previously considered taboo and even more shocking was that this was done by a female author. 'Frankenstein' is a very complex novel illustrating the disastrous consequences when man messes with nature. It is about a young Swiss student who discovers the secret of creating life and, by assembling body parts, creates a monster that vows revenge on his creator after being rejected from society. It begins with letters from the English explorer, Robert Walton, to his sister, Margaret Saville, explaining of his situation and the problems he encounters during his voyage. One day, when the ship is surrounded by ice, a man in a bad way is found and taken aboard. He is later revealed as Victor Frankenstein and tells Walton his story.
Frankenstein grew up in Geneva with an orphan, Elizabeth, who his parents took pity on. He was very possessive of Elizabeth and felt that she was his possession to love and protect and she is described as his 'more than sister'. Frankenstein became interested in natural philosophy, electricity, chemistry and mathematics at the age of nineteen and, after the death of his mother, moved to Inglostadt, Germany, to develop his interests. He became obsessed with natural philosophy and the principle of life. After four years of study he has learned enough to 'bestow animation upon lifeless matter' and created a monster made of body parts taken from graveyards, slaughterhouses and dissecting rooms. Frankenstein showed tenderness to his creation but it was soon obvious that he had made a mistake and created a horrible creature. He fled the laboratory and on his return found the monster gone. Victor spent the next few months being nursed back to health from a nervous fever by his friend, Clerval. When he returned home he learned of his brother's death. He caught sight of his creation and realised that it was responsible for his brother's murder but let his family friend, Justine, carry the blame and was ridden with guilt when she was hanged for the murder. He left his house and went searching the Alpine valleys for his creation.
When Frankenstein found the monster it told him of what had happened after it had left Frankenstein's laboratory. He had gone to the village where frightened villagers attacked him. Eventually he found refuge in a hovel next to the house of the De Lacey family, which consisted of a blind man and his two children. By observing and listening to the De Lacey family he learnt to speak and read. He felt compassion for the family and did anonymous chores for them. Longing for kindness and compassion, he reveals himself to them and talks to the blind man but when his children return home, terrified by such a monster, they drive it away in horror. Lonely and neglected the monster becomes aggressive and vows revenge on his creator. He chokes Frankenstein's brother, William, out of vengeance and incriminates Justine.
The monster promises to stay away from people if Frankenstein makes him a female companion, feeling he owes the monster something, Frankenstein reluctantly agrees. Delaying his task Victor Frankenstein fulfils his mother's final wish and agrees to marry Elizabeth. First he leaves for Britain with Clerval, Victor then proceeds alone to the Orkneys to start work on the monster's companion. When his second creation is almost finished, Frankenstein begins to question his promise, scared that he might be helping to create a whole race of these horrific creatures. When the monster checks on his progress Frankenstein destroys the female companion, the monster swore revenge and promised to be with him on his wedding night.
Frankenstein throws all his scientific apparatus into the sea and when he returns to land he his arrested for the murder of his friend, Henry Clerval. After spending some time in prison he was eventually cleared of these charges and returned to Geneva where he marries Elizabeth. Frankenstein tells Elizabeth of the monster's threat convinced that he will be killed that night. The monster, however, kills Elizabeth instead. On hearing of this news Frankenstein's father also dies. Having lost everything that he cared about, Frankenstein only feels revenge and devotes himself to the destruction of his creation. This pursuit eventually leads to the Arctic region, where he was taken aboard Walton's ship. After telling Walton his story, Frankenstein asks if Walton will murder the monster if he dies before he can do it himself.
Walton concludes the story by telling his sister of Victor's death. Walton has decided to abandon his trip and return home. Victor's health eventually deteriorated and he died. Just after his death, Walton found the monster hanging over Victor's body. The monster speaks of his sufferings. Because of all the murders he has committed, he now hates himself. Since his creator is dead, he decides it is time that he too will rest in death. After stating that he will build a funeral pile for himself, he leaves the ship and disappears on his ice-raft in the darkness.
'Frankenstein' is a classic example of a gothic horror novel, it contains many characteristics typical to this genre of literature. Gothicism is part of the Romantic Movement that started in the late eighteenth century. Romanticism focuses on passions and emotion, and this movement opened up possibilities of subjects previously thought as of immoral and irrational as it rejects reason and depicts more supernatural happenings. Gothic novels contain more elements from Dark Romanticism, which explores the darker side of human emotions and desires. Even though the genre is a stage of the Romantic Movement, it is regarded as the forerunner of the modern mystery or science fiction novel.
The first novel that was later identified as Gothic was Horace Walpole's Castle of Otranto: A Gothic Story in 1764. The Castle of Otranto, like many other Gothic novels, is set in a medieval society, has a lot of mysterious disappearances as well as other supernatural occurrences. Since 1764, many authors have followed in the footsteps of Walpole, including Anne Radcliffe, Edgar Allen Poe, Bram Stoker and Shirley Jackson. This variety of viewpoints produces a wide range of topics. There are however several characteristics which appear frequently in all works gothic: the appearance of the supernatural; the psychology of horror and terror; the appearance of the sublime; a sense of mystery and dread; the appealing hero/villain; the distressed heroine and usually a strong moral closure.
Many of the above mentioned elements appear in 'Frankenstein'. For example, nature is used frequently to create atmosphere. The bleak, glacial fields of the Alps and the mists of the Arctic serve to indicate the isolation of the two protagonists. The solitary character in Frankenstein can apply to both Victor and his creation as they both live their lives in social isolation. The idea of creating life and especially a monster is a supernatural element. 'Frankenstein' was considered a very shocking and terrifying novel and explores more sinister elements of the human psyche. The sublime is also a ...
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Many of the above mentioned elements appear in 'Frankenstein'. For example, nature is used frequently to create atmosphere. The bleak, glacial fields of the Alps and the mists of the Arctic serve to indicate the isolation of the two protagonists. The solitary character in Frankenstein can apply to both Victor and his creation as they both live their lives in social isolation. The idea of creating life and especially a monster is a supernatural element. 'Frankenstein' was considered a very shocking and terrifying novel and explores more sinister elements of the human psyche. The sublime is also a main theme throughout the novel, which portrays mans desire to imitate wholly powerful forces. This occurs when Victor Frankenstein plays God by trying to create life. In the actual book there is no obvious hero or 'damsel in distress'. The main candidate for hero is probably Victor Frankenstein, but throughout the book we also sympathise with many characters including the monster himself. Although in the book Elizabeth isn't represented as weak or distressed, James Whale's 1931 film adaptation depicts her as a more emotional and fragile heroine. Mary Shelley's characters are complex and it is hard to put them into categories as throughout the novel we see many different sides of them.
The way in which films are made has changed dramatically between 1931 and 1994. This would greatly affect the two versions of 'Frankenstein' that I have been comparing for this essay. The most obvious change is the technological advancement; better and more realistic effects can now be achieved. New inventions and more skilled and knowledgeable workers are now readily available. One of the most influential new inventions in film has been the computer. Simulation and realistic graphics can be produced to achieve astounding effects relatively cheaply. Computer Animation is now widely used in film, and, using only this technique, several films have been created. These include 'Toy Story', 'Antz' and 'A Bug's Life'. Computer simulation is also used to great effect in 'Titanic' and 'Moulin Rouge' where is very hard to distinguish between reality and computer enhanced graphics. Although we see very little of this in the opening scenes of the later version of 'Frankenstein', you can guarantee computers have been used extensively in this film.
The availability of this new technology and the huge budgets were apparent in the later version of 'Frankenstein'. Instead of building a set, Branagh was able to film on location. Although it's highly unlikely that the opening scenes were filmed at the North Pole, it is possible that they could be filmed somewhere similar. This is down to the budget and the fact that travelling around is a lot quicker and easier to do now, so films can be shot at a variety of locations. The budget of the Branagh version was probably a lot higher than that of the 1931 version. This would have limited the production because Whale would have to decide where money would need to be spent and where they could economise. .
Another huge advancement in film is in colour and sound. Nearly all films today are filmed in colour as it gives a more realistic view. Although there still is the option for black and white, it is rarely used. When it is used it is usually to indicate age as in flashbacks, or a more serious theme. It is also used in horror as the intensity of shadows obtained can achieve much more sinister effects. However, it is more often used in psychological rather than gruesome horrors because you cant achieve the same effects. Deep red blood dripping from a corpse is much more shocking and horrifying than what looks like just dark liquid. Some black and white films are still made today as they can show a more serious outlook. 'Schindler's List' makes effective use of black and white combined with colour film. One effect that was especially impressive was a black and white crowd scene. Spielberg is very clever and draws our eyes to one particular girl in the crowd by giving her a muted red overcoat. That is the only colour depiction in the whole scene so it attracts the viewer's attention.
The earlier film adaptation of 'Frankenstein' has very little music and sound, this is very noticeable to the modern viewer and contrasts to the wide use of all kinds of music and sound effects in Branagh's version. In this later version there is very little silence and when there is it is even more perceptible. There is incidental music between scenes, but the main use of music in the later version was to create atmosphere and set the scene. Music is also used to highlight important elements, we hear a loud blast of music when the monster's hand appears and Frankenstein announces his name.
The way in which the camera is used has also moved on significantly. We can now get a wide range of shots, angles, edits and special techniques which wouldn't have been available to Whale in 1931. Almost seamless editing can now be achieved, even when it is very fast. Branagh makes use of this in the fast edited storm scenes at the beginning of his version of 'Frankenstein'.
Actual ideas and concepts for films have also changed greatly. In 1931 the main purpose of Whale's 'Frankenstein' was to shock and terrify. Now storylines are a lot more complex and we, the viewer, expect more. The audience of films has become more sophisticated and is able to follow a fast moving plot with quick editing. In 1931 audiences needed simple storylines that were slow moving. Some features also had to be pointed out-for example in Whale's 'Frankenstein' when we see a signpost for the medical college as though the audience wouldn't know where the scene was set without it.
As audiences have become more experienced in watching films they have begun to expect more. Because of this, the quality of acting has got a lot better as people grow up with it and actors get paid increasingly high wages. A big name actor can make a film. Many people will go and see a film if they know a particular actor that they admire is in it. The recent release 'Oceans Eleven' has an all-star cast and this has greatly helped its success and has been the main reason that many people want to go and see it. Today acting is more expressive than in 1931. The characters played appear very stereotyped and the acting reflected this with accents and appearance. Today characters are a lot more complex and actors have become more skilful. This is mainly because they have grown up with films and television and many actors are idolised.
The main feature that audiences today want is a believable storyline that they can relate to. The vast majority of recent films have been set in 'our world' and the characters experience many events that we also experience. Imaginative plots set in other worlds have also begun to gain popularity as we have seen with the great success of 'The Lord of the Rings'. However, the plot, characters and especially the scenery have to be of a sufficiently high quality to believe that you are actually there, which is why such films need huge budgets. The props and scenery are now greatly advanced with the use of synthetic fibres; they appear a lot more realistic and help to add to the overall effect of the film.
Films in 1931 were a lot less complex than films today and there have been so many developments in film that it is unlikely that they would be as well received by today's audience. This is hardly surprising as they didn't have the same technology available and weren't able to make films as realistic as those we see today. Bearing in mind these limitations, older films are very impressive and can still be enjoyed today.
If I were making this film I would try to stay as true to Mary Shelley's book as possible as I think it is an impressive book telling a great story of tenderness, fear and love. It also has hidden morals that I would like to get across in my film adaptation. The main one being what happens when man messes with nature and tries to take the place of God. This fits in with arguments about cloning and genetically modified plants that are currently going on today. There is also the less obvious theme of society's rejection of anything other than the ordinary. My film adaptation would hopefully show these themes and stay loyal to the original text. To start my film I would have a voice over of parts of the first letter while we see Walton making his way to the North Pole much like the start of Branagh's version. I might follow him from earlier in the journey so to include the great and noble story of 'the master' mentioned in the second letter. I would also include dialogue between Walton and Dr Frankenstein to give us an important insight into the character of Robert Walton. When Frankenstein tells his story I would like to incorporate the story of his mother and father as I think this is quite important because Frankenstein and Elizabeth repeat it.
From my film opening I would want to achieve a powerful storyline that kept as true to Mary Shelley's book as possible. In some instances I would have to adapt and change the order in which things occur. To link certain events I would have to invent a storyline that lets the viewer know events, which are mentioned in the letters, without repeated use of voiceovers. I would try and use the music to create atmosphere, link scenes and highlight important parts of the story. At the beginning I would have gentle orchestral music but in a minor key so the audience would already feel apprehension at the melancholy music. Unlike Branagh I would try and use more silence, which would be very significant, especially if followed by loud music. I would also use lighting to add to atmosphere and create stunning visual effects. As much of the scenery would be impressive snowscapes, lighting would be very important to pick out important details. I would also like to achieve symbolism through my lighting as James Whale did so well in his version of this film.
Whilst I would try my best to keep true to the book I think it is more important to give the viewer a visually stunning film with strong plot and characters. I would include all major events mentioned in the novel but would be forced to leave out parts of the storyline which I don't view as important. There is always a danger of trying to convey every minor detail and creating a tedious and slow-moving film. I would have to make sure that the film is not trying to recreate the book word for word, because I don't believe it would do it justice. I would only communicate Shelley's momentous story in a way that I think today's audience would appreciate.
Mary Shelley's novel, 'Frankenstein' has been adapted for film many times. Her concepts and ideas used in the novel have also appeared in many television shows, poems and other novels. This essay is focussing on two of these film adaptations, the first released in 1931 and directed by James Whale and the second released in 1994 and directed by Kenneth Branagh.
James Whale's 1931 film 'Frankenstein' is a simple and popularised version of Mary Shelley's philosophical novel and followed the success of Tod Browning's film interpretation of the classic gothic horror novel 'Dracula'. Both these films are considered classic examples of Gothic cinema and their depiction of Dracula and Frankenstein's monster have become the definitive image. These two classic films contain very famous and memorable scenes. The surrection scene of the monster in 'Frankenstein' is among the best-recognised scenes in gothic horror. Boris Karloff's performance as the unnamed monster is also very impressive and he manages to squeeze a surprising amount of emotion into the monster's face.
Most of the traditional gothic horror classics have been remade; Kenneth Branagh's remake of 'Frankenstein' claimed to be the 'film adaptation to end all film adaptations on this novel'. This version is technically excellent and the acting is generally (although not without exception) superior to that in James Whale's 1931 version. Branagh manages to stay a lot more loyal to the original text. It begins, as the book did, with Walton's voyage to the North Pole and contains almost all the characters mentioned in Mary Shelley's novel. The gothic settings are extremely impressive and, compared to Whale's interpretation, the characters are shown in greater depth. Despite all this Branagh has not managed to achieve the same success as the earlier James Whale version, which has proven to be a timeless classic and one of the best remembered films ever made.
The opening scenes to these two film adaptations are very different. Kenneth Branagh stays more true to Mary Shelley's book, with the explorer Walton and Doctor Frankenstein's story within a story. James Whale tends to focus more on the monster and the horror and shocking aspects such as the opening scene of grave digging. This version also focuses more on Frankenstein's insane and unsettling desire to play God. The main intent of this film seems to be to shock the audience, whereas the purpose of Kenneth Branagh's later version seems to concentrate more on staying true to Mary Shelley's complex book. It would be very difficult for the earlier version to show events in the North Pole as this set couldn't be built easily and it would be unproductive and almost impossible to film on location.
The pace of the two films is also vastly different. The earlier, James Whale version, is very slow moving compared to the fast edited storm scenes at the beginning of the later, Kenneth Branagh version. This could be because today's modern audience is a more sophisticated viewer, whereas in 1931 films were still a relatively new concept. This is also reflected in the style of acting in the 1931 version, which tends to be more 'wooden'. The characters played were very stereotyped: we have a typically emotional woman (Elizabeth); a heroic man (Victor); a know-all professor (Professor Waldman); a mad and eccentric scientist (Frankenstein) and a deformed 'sidekick' (Fritz). The acting in the 1931 version reflects this stereotyping with accents and appearance. Today characters are a lot more complex and actors have become more skilful.
The complete lack of music in the earlier version of 'Frankenstein' is very noticeable to the modern viewer. The wide use of all kinds of music and sound effects in Branagh's version are more like what we are used to. Music is used throughout this film; in the opening scenes there is very little silence. There is incidental music between scenes, but the main use of music in the later version is to create atmosphere and set the scene. Music is also used to highlight important elements, we hear a loud blast of music when the hand of the monster appears and Frankenstein announces his name.
Although these films are only two different interpretations of the same novel, they show very few similarities. However, both versions of the film open with an introduction, which warns of the horror to come and prepares the viewer for the film. James Whale chooses to open his film with a master of ceremonies who almost challenges the viewer to watch: 'It may thrill you, it will probably shock you, it might even terrify you'. This fits in with the publicity surrounding the film at its time of release. The pre-release statement warned those of weak heart not to see this production. This dared the viewer to see if they were strong enough to cope with this film. The later film adaptation also opened with an introduction, this time it is a female voice, which is meant to be Mary Shelley, talking about why she wrote the novel. Unlike the earlier version, we do not see the speaker, only a black screen. This leads to a very dramatic opening as we see the white words 'Mary Shelley' coming towards the front of the screen, then we see a larger word, 'Frankenstein', nearing the audience at high speed. This overtakes 'Mary Shelley' at the last minute and disappears, seemingly into the audience. Then writing scrolls across the screen, introducing the film and telling of the explorer, Robert Walton, and his thirst for knowledge. Right from the start of this film Walton is portrayed as ruthless and wildly driven by his ambition. This contrasts to the book where he is depicted as a more sensitive character that tells his sister of his doubts and terrible loneliness.
James Whale then cuts straight to the traditional credits, which, in a later film, would come at the end. In the background there are eyes rotating behind the semi-transparent face of a monster. As the credits roll past the production team and onto the cast list we see there is no name next to who plays the monster. This leads us to wonder at its existence.
The opening scenes of the two films are vastly different. Branagh depicts a fast edited storm scene with Walton's ship struggling in a gale. We see the crew of the ship fighting with ropes and sails as the boat is tossed around by hefty waves. At this point no dialogue can actually be distinguished, as the focus is more on the visual images. When the weather and sea seem to have calmed down we see the crew hanging over the side of the boat calling out to a man who has fallen overboard. This scene ends with his hands slipping under the ice. This makes a very powerful and dramatic opening which captivates the viewer.
Whale decided to miss out Walton's role within the story, and decided, instead, to focus entirely on the creation of the monster. This could have been because he couldn't create the set or maybe he felt that this would be confusing and not an appropriate opening to such a shocking film. Instead, he chooses to open his film with dark graveyard burial scene. There is no sound other than the monotonous bell toll and the whimpers of mourners and loud thuds as the earth is piled on top of the coffin. This dark setting and sinister atmosphere would help achieve his aim of shocking the viewer.
Branagh's fast editing contrasts greatly with Whale's slow moving burial scene. As do his loud sound effects and orchestral music compared to Whale's very quiet scene. However, there are similarities as both these scenes signify what's to come, leaving the viewer apprehensive. Both open with images of death, with the burial scene and the member of crew slipping beneath the ice. Throughout the film death is an important issue with reoccurs regularly. In the next few scenes of both versions of the film there is constant reference to death. In Branagh's film a more ruthless Walton than Mary Shelley's argues that lives do not matter as long as he achieves his ambition and completes his voyage. Whilst, in the 1931 version we see two conspicuous wide-eyed men rising up from behind a fence after the mourners depart. Because these men are hiding in a dark graveyard presume them to be up to no good. The viewer's suspicions are proved right when they begin to dig up the body that we have just seen buried. Although today's audience might not find this shocking it would have been seen as appalling to the viewer in 1931. There is very little conversation between the men as it's unimportant, at this point, the story is being told visually. The important dialogue is very clear, such as when Frankenstein exclaims that the body is only 'waiting for a new life'. These scenes of grave-digging and stealing bodies would disgust and horrify many of the spectators watching in 1931. They would also raise questions in the viewers mind, such as: 'Who are these men?' 'What do they want with the bodies?' 'Why do they need a brain?' This would cause the viewer to want to continue to watch the film.
The next scenes of these two films contrast greatly. In the 1994 version we hear a haunting moan from the distance and a figure emerges out of the mist. The sinister music, the indistinct figure and the dialogue that has gone before leads to believe that this figure is the monster but we soon realise that it is a man-Victor Frankenstein. Branagh uses the power of suggestion whereas Whale clearly states the setting by focussing in on a sign reading 'Goldstadt Medical College'. However, like Branagh, Whale also uses implication of a monster. Inside the medical college there is a 'comical' scene where a skeleton pops up. The viewer at first believes it is something sinister but after hearing laughter from the students at the college we realise that it is only a joke played by the professor on his students.
The next scenes in both adaptations are very atmospheric. In the 1931 version, using a long shot, the director shows Fritz breaks into the medical college to steal the brain. It is very dark and there are skulls, skeletons and sinister looking liquids and body parts everywhere. Fritz grabs a skeleton making the audience 'jump', although for the modern viewer this is very predictable and so doesn't surprise. Another aspect of this very quiet scene designed to shock the audience is when Fritz drops the first brain. The sudden loud smashing noise shatters the previous silence. The dropping of the brain is made even more disturbing as we see Fritz return for the second 'abnormal' brain. This scene holds similar features as Branagh's scenes where the dogs break free, shortly after which we see dead and brutalised dogs being flung through the air. Then finally we see the monster's huge, bloodied hand, in a close-up sot, shockingly unexpected against the white snow. Both these scenes include aspects that are designed to shock the audience. The earlier version's 'frightening' aspects are very simple and more likely to surprise the viewer. The 1994 adaptation, especially the 'massacre' of the dogs, is more sinister and we get the impression that it isn't only dogs that will get harmed in the future and not only snow that that hand will grasp.
The next, and final scenes that I will be comparing both include people trying to dissuade others from allowing themselves to be so driven by their ambition that they will not consider the consequences. In the earlier version it is Elizabeth, Victor and the professor or are trying to stop Frankenstein from creating this monster. In the 1994 adaptation it is Frankenstein who is advising Walton against continuing with his voyage.
Although at first glance these two film adaptations are completely different, there are many parallels. These are usually not in the actual storyline but in the way it is told and the methods used by the directors to captivate and horrify their audience. When I first watched these two films I greatly preferred the later, Kenneth Branagh, version, but when I consider the limitations of the time period James Whale's 'Frankenstein' was produced in, I am forced to greatly admire his achievement. He has created an epic gothic horror, which will be long remembered, and is considered by many to be an enduring icon of the cinematic world. This is something that Branagh has failed to do. Although his film is stunning both visually and in effects and acting, it doesn't include characteristics that would make a classic film and I think that no one could represent the monster better than Boris Karloff. Although I find Branagh's 1994 film interpretation more watchable, this is probably only because this style of film and filming is what I am used to. On greater inspection James Whale's 1931 adaptation cannot fail to amaze the viewer with its ability to still captivate the modern viewer. However I would have liked to see more depth of character, as I believe that is a vital part of Mary Shelley's novel.
'Frankenstein' is a very clever and complicated novel and I think that both directors have done admirably to successfully adapt it for a film and convey the moral aspects. However, I consider both adaptations inferior to Mary Shelley's book but the films, although very different, both contain powerful images that create a lasting impression on the viewer.
