Another technique familiar to a horror films is the creation of wind/rain/storm. These types of weather undeniably indicate evil or generally represent an evil setting or landscape where there is upcoming evil or some gruesome events.
Special effects are a crucial element in a horror film as they display frightening scenes in an embroidered way. Generally, blood is the most common aspect of special effect. Occasionally, recent graphics and computers have been applied to create such images.
Symbolism has been a long established attribute in a horror film, as it shows the audience the signs of the future. The film has a very gothic feel to it and the film uses colours constantly to represent events to follow. Simple colours, such as red may imply that an evil, shocking or tragic scene will occur in the near future.
The opening sequence is manifested by a dark black screen, similar to that of a motion picture, which instantly suggests a film of horror. The silence implies an aura of evil.
Unexpectedly, a female narrator is heard. A sense of calm is established, but automatically the content of the script manufactures doubt. The narrator describes her intentions in writing the book. She describes how she wants to make the reader “dread to look around, to curdle the blood and quicken the beating of the heart.” This opening narration informs the audience of the subject of the film: horror. It tenses the viewer, making the film more effective because the viewer is already tense.
The music also connects with the theme as it describes it with horror. Across the screen appears some gothic text, which engulfs the screen. The music reaches its peak, when the writing is legible. The writing contains the title of the film. At this moment there is an atmosphere of classic tension.
The first scene I have selected is the opening scene in the Arctic. The horror theme of this can be recognised as the events proceed. The opening shot is a long shot, which incorporates the entire ship and entire landscape, which is at sea and infact is describing the situation of the crew. Already the Arctic atmosphere shows the coldness and frantic tension that is currently being endured. The colours are dark, which indicates forth-coming danger and the music consistently increases to maximum pitch, which coincides with the ship approaching the iceberg. As the ship has been taken off course these features create the horror, making the film frightening and menacing. Almost immediately the ship approaches the iceberg. The music reaches its height, signifying there will be damage. As soon as the ship hits the iceberg, the music is stressed, and suddenly there are rapid shots, which convey the emotions of the crew of dismay. This clearly identifies horror.
Music takes control of the scene, as it is linked with the current pictures being portrayed of the crewmen not being capable of steering the ship. The music tends to jump, but shortly after the music elevates rapidly. The film displays a crewman being tossed overboard into the icy cold water. A riveting finale ends the scene with a dramatic bang.
We can observe the ship trapped in the pure white ice, which seems to be untouched by any creature. This type of scene shows horror as it gives the impression that there is nothing in the distance to depend on or to be afraid of it, as well as indicating the isolation of the crew. The music in this scene has completely ceased giving the impression of tranquillity and calmness. The crew are anxious and agitated, shown by their tiredness and their opinion of the situation, which they presume they will not survive, due to food shortages as well as hypothermia. The captain maintains his aim of reaching the North Pole, but many crewmen disagree and may commit mutiny. The close up of the captain completes this emotion of anxiety and unease, as he insists on finalising his dream.
Unexpectedly, a howl is heard in the distance, clearly a sound effect. This, however, frightens the crew, seen plainly by the close up shot. The crew pick up their weapons swiftly. The apparent picture shot in the distance is initially the view of the crew looking upon the person approaching them. The screen however is blank and becomes distorted. This close up shows panic and consternation. The camera initially waits patiently in the distance, which represents the patience of the crew. The creature is forming to show a human, Victor Frankenstein, which generally relieves the crew.
Victor’s arrival is disrupted by the dogs’ reaction to the howls. They break free and finally attack the creature, which is closely behind them. Victor mysteriously informs the captain of the fate of the dogs by claiming that they are already dead. Such words present the idea that Victor is already acquainted with the creature on the ice. Terror is being exposed by Victor’s facial expressions, as well as his speech.
The prompt deaths of the dogs show horror vividly. The music is an example of this, as it tensely increases. The camera shows close-ups of the dogs dying rapidly, showing the power of the creature, which looks human in form. The camera shows close ups of the dogs being killed randomly, though the killing only lasts for a few second. The blood is a special effect, which formulates the mood of horror again and is vital to the scene.
The scene in the cabin of the ship seems to generate an impression of security. The bright colours emitted by the candles show this. This change in colour is dramatic as it creates warmth and security. The warmth and security of the cabin are symbolic. This is because as the film is all about rebirth and growth, the cabin, which is in the centre of the ship, is similar to that of a womb, which is in the centre of a woman. The centre symbolises that it is the safest place to be, such as the womb is the safest place for the baby to develop, as the cabin is the safest place for Dr. Frankenstein and the Captain for their story to develop.
The next scene is set a few years back and is more depressing and dramatic, showing the death of Victor’s mother. The scene opens in an elated atmosphere with dancing and entertainment. The bright, lively colour depicts this extremely clearly. The camera rotates in order to embody every character’s joyful caprice.
Not long after the finale of the dance, Victor’s mother, who is heavily pregnant, dramatically faints, a sign of peril, also linked by the music, which is generally uneasy. This part is suddenly edited to show Victor’s mother draped across a birthing chair and giving birth. Unexpectedly, horror is the theme being portrayed, seen by many features. The scene comes to be a great shock to the audience as they had been lulled into a false sense of security as the beginning leads them to a think it was joyous occasion but now leads them to a completely different situation. The blood is a special effect, which is in fact exaggerated. The camera rotates to show the birth and the characters as well as depicting dismayed hysteria. The words spoken by Victor’s mother also show horror as she utters it in such distress, “save the baby”. Doctor Frankenstein, Victor’s father, a renowned doctor, then decides to cut the vagina of Victor’s mother in order to save the baby. To add to the drama, a horrid sound effect is made, as Victor’s father makes the incision. The scene is shown as over dramatic. The blood on Victor’s mother’s dress is unreal and is exaggerated.
The next shot shows Victor and Elizabeth watching outside, when also unexpectedly a storm like the one in the Artic occurs, which is a link and so it can be insinuated that danger is ahead.
Victor’s father is then heard howling in misery and grief, and it corresponds with the howling of the monster. The blood on Victor’s father is a special effect. After Victor’s father says, “I tried to save her”, the music suddenly increases until Victor enters the room, and then it completely ceases. The music alters to gentle emotional music. Victor’s mother’s posture is like a classical painting, and this is done deliberately, to overemphasize the death pose. In addition the white dress, which represented purity is now stained.
At the end of the scene the candlelight emitted on the baby proves the emotional transformation to a happier mood and this eventually shows hope and optimism.
The last scene appears to begin tenderly, illustrating the delicate sexual interaction between Elizabeth and Victor. This is another scene that fools the audience. It subdues the audience in a false sense of security. The sexual connection made between the two is very affectionate and passionate. The glow from the candlelight creates warmth and love in the scene. The close up shots do not always concentrate on the face, but show delicate caressing and embracing, with the mild and compassionate music setting the atmosphere of love and devotion.
Both are robed in white, which is representative as it implies chastity. Suddenly a flute is heard in the distance and music terminates briskly. Victor’s face expresses concern and apprehension. The flute indicates the monster is near and his wrath is impending. There are brief camera shots of Victor picking up his pistols and conclusively reveals Victor’s petrified and panicky emotions.
Outside the storm and the lightning persist, and the dark colours indicate risk and vulnerability in this part of the scene. Elizabeth gradually lies upon her back onto the bed, which symbolises her lying in a coffin and implies her imminent death. A flash of lightning materialises. The monster is visible upon the skylight looking at her. Direct editing leads to the monster unexpectedly holding his hands across Elizabeth’s, and shows Elizabeth’s white gown and the monsters black clothes merging showing the resemblance between evil and good. The music is really tense and builds up, which coincides with the events occurring. The close up of the faces also recognises the ugliness of the monster and the beauty of Elizabeth, as good and evil are in silent conflict with each other. The close up however also illustrates the fear and agony of Elizabeth, the weakness of Elizabeth and the strength of the monster.
The camera concentrates on Victor, who suddenly sees the window of Elizabeth’s room open. As Victor bangs on the door violently, the monster appears to be disoriented and flummoxed, shown by the camera shots. The monster punches into Elizabeth’s chest and literally rips her heart out. The squelching heard is a very good sound effect. The blood and heart are examples of special effects. The heart is still efficiently pulsing and the heartbeat can be heard. This effect has been exaggerated to shock and alarm the audience. This scene horrifies the audience, as it is probably the most horrific, gruesome and inhumane scene in the entire film.
Various characteristics of the film immeasurably help to enhance the emotions of the audience. The different mediums of film creation such as special effects, setting, colour and sound and techniques such as camera angles and close up shots effectively create the horror that this film is ultimately portraying.
Shelley had the ability to horrify us without such paranormal torments but through psychological torments. The filmmakers have the power to represent such horror on celluloid.
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