I think that this theme of science versus religion, so strongly present in the film that it is heavily conveyed in the opening sequence of four minutes, is especially interesting when the age of the film is taken into account. This is because I believe that it was the perfect period in history for this theme to make an impression upon the audience, and that it is this, in conjunction with the rather crude horror sequences that caused to it to be so terrifying. 1931 was a period in history where there were rapid technological advances being made, thus making the science-fiction aspect of the film more real to the audience, but so new to most people that they were unsure of what to expect, therefore making the possibility of Dr. Frankenstein’s monster a gruesome reality. This explains why, of all the themes present in the original text, it is this one which is picked out and used to exploit the audience’s fears. It also explains why such a theme is in no way so strongly present in the newer version, which resorts to the theme of unnatural strength and violence in the original text, backed up with very competent special effects, to shock audiences.
By doing so, Whale’s version does not need advanced sound and special effect techniques- the sound used, however primitive, has a great effect on the overall mood and realism of the film, and works together with the mise en scène aspects of media to achieve a sequence that is very effective, especially when its age is taken into account (although in a different way to the success of the sound used in the newer adaptation).
The sound is purely diegetic (forms part of the characters’ world within the film, and would be heard by them if the events occurring were real); there is no non-diegetic sound (such as a soundtrack or voiceovers). It is also mostly parallel (in accordance with its surroundings) -although exaggeratedly so- as it begins with a bell ringing (a death knell in a cemetery) and continues with the sobbing of mourners (all of which serve not only to set the mood and atmosphere but also to provide religious connotation so apparent that it is impossible for them to be overlooked by audiences). The contrapuntal sound (that not in accordance with its surroundings or the events occurring) is provided by the actions and dialogue (abrupt and short) of Dr. Frankenstein and his assistant, Fritz
The atmosphere of the cemetery is hushed, decayed and isolated, so the abrupt conversation between Dr. Frankenstein and Fritz, which consists of merely the giving of instructions, is, to a degree, contrapuntal. But more noticeably contrapuntal is the sound produced by the pair’s actions- a hanged body thumping against the floor as it is severed from the gallows (which is an extremely unsubtle prop, but one which adds to the feeling of decay and horror that the setting attempts to convey), the sound of soil thumping against the coffin and the creaking of a coffin, sounds which might not be so contrapuntal were they not carried out in such a hurried and disrespectful manner.
Mise en scène extends to clothes and make-up, and the way Dr. Frankenstein and Fritz are portrayed using the above says quite a lot about how the director wishes you to see them- thus causing you to judge them more or less harshly for the events that ensue. Dr. Frankenstein is dresses fully in black, apart from a white shirt, and looks very smart. You can tell by Fritz’s facial expressions and way of moving that he is inferior to Dr. Frankenstein- he limps and does not exert as much control over his way of behaving. You can also tell by what he is wearing the he is Dr. Frankenstein’s servant, as he is wearing a butler-type uniform. Their make-up is also exaggerated to clarify their roles and relationship, and is used to bring out the pallor of Fritz’s complexion, especially in comparison to the darkness of his eyes, which makes him look diseased, deceitful, and to an extent, evil.
The fact that Dr. Frankenstein and Fritz are so stereotypically portrayed is interesting when James Whale’s background in theatre is taken into account. Fritz is depicted almost as a caricature of a typical villain, and having the make-up revert him to an archetype is a technique traditionally used in pantomime and on stage in general, a decision which could have been influence by James Whale’s experience in working as a theatre director.
Kenneth Branagh’s version of Frankenstein, ‘Mary Shelley’s Frankenstein’, develops different themes to achieve the level of success as a horror film that it does. It was released in 1994, in full colour. It was directed by Kenneth Branagh who also starred in the film as Dr. Frankenstein. The monster was played by Robert de Niro, who was already quite famous in his career as actor when this film was shot. He was probably chosen because this film was released at a time when Hollywood films are commonplace, meaning that directors have to think of new methods, as well as using state of the art special effects, costumes and editing to keep audiences engaged. Having an already famous film star playing a main role is another way of making people want to see a movie when there are so many other similar ones around.
Branagh is a British-born film director who also has a distinguished background in theatre and is famous for adapting several Shakespeare plays into films.
In his version of ‘Frankenstein’, Branagh also makes a very good use of sound, although in a completely different way to Whale. The sound quality is, of course, much better, and there is a great deal of non-diegetic sound, present in the form of a soundtrack. This is used to great effect in achieving tension and in creating the atmosphere that suits each part of the sequence. The music is orchestral and in a minor key, making it sound eerie. It is mostly unobtrusive, present in the background and used only to heighten and complement the action taking place on screen. However, in moments of tension, such as the argument between the captain and one of the sailors, there is a crescendo to create the correct atmosphere for the moment.
When Dr. Frankenstein’s monster roars, there is a drum roll which blends into the sound of the wind. It is interesting to see how Branagh uses diegetic and non-diegetic sound together to build atmosphere. When the diegetic sound is parallel to the action on screen, there is orchestral music in the background, using dynamics to punctuate important or tense moments. However, a different technique is used when the diegetic sound is contrapuntal, for example, the sound of Frankenstein’s monster’s roar or the sound of the dogs being killed. In these cases the non-diegetic sound becomes simply an effect, such as the drum roll which blends into the howling wind before disappearing, or, as in the other case of contrapuntal sound (when the dogs are killed) the music simply stops, and then returns once again after they have been killed and the captain gives the order to return to ship. In this way the sound is used not only to punctuate action through the dynamics of the soundtrack, but also to manipulate your emotions through the eeriness of the music or by replacing it with either an effect or with silence.
The diegetic sound is mostly parallel, apart from the monster’s growling and the death of the dogs. At the start of the sequence you hear the sound of wood being chopped, and the sound of orders being given. The rhythmic sound of the wood being chopped is amplified, so that the methodical sound is what is most audible, conveying to the audience the impression of the dutiful work being carried out by the sailors and leaving you free at that point to notice some of the other aspects of camerawork, such as the mise en scène- the setting is outstandingly realistic.
The sequence is able to very effectively build suspense through tricking the audience. It is engineered to make you think that Dr. Frankenstein is the monster, and this is partly achieved by the lack of dialogue and diegetic sound when they first see Dr. Frankenstein. The shocked silence, in conjunction with the way the mise en scène and camerawork make him look, create a very tense moment when the fact the audience know there is a monster and the sailors don’t make the audience believe that Dr. Frankenstein is the monster.
The way the camera angle is used to create atmosphere is a good way of subtly leading an audience to believe things or people and also to make the audience feel for characters. The sequence starts with a series of long shots, so that you have a chance to survey the setting and what is going on at the camp. Point of view (POV) shots are used when the sailors are not aware of what or who the approaching creature is. By doing this, you are out in the position of the sailors and thus share in their uncertainty. The camera the zooms into the captain’s face so you can see his expression, and when he talks to the stranger the shot is a POV from the captain looking down at the stranger, showing the captain’s authority over the bedraggled Dr. Frankenstein. The scene ends with an extreme close up (ECU) of the monster’s hand when he finally appears- you do not see him throughout the time when he is slaying the dogs. This dramatic jump cut (a form of editing where the audience’s attention is drawn sharply towards something on screen) is a good way of ending the sequence on a note of suspense, which shows just how well the atmosphere has been built throughout the scene.
Both sequences are completely different, but both managed to impress the audience at the time of their release. I believe that this was done by developing the themes present in the book that could shock an audience of that time period most, taking into account the resources and special techniques available at the time. In James Whale’s version this is the theme of science versus religion, whereas in Kenneth Branagh’s it is the theme of the unnatural violence that the monster is capable of. This is why I believe the two films differ so much- the older version does not need high sound quality or subtlety- it simply needs to show its audience the sacrilege that Dr. Frankenstein is committing in digging up the graveyard. However, for this reason, the newer version requires strong special effects and state of the art sound quality- the horror is in the reality and the reality cannot be achieved if the above look even remotely unrealistic. This is why the atmosphere of the two sequences is so different (and therefore the techniques used to create it, too), yet they are both so successful.
