Frankensteinin morsian

True, the sequel is better than the lacklustre original in almost every respect, but that still doesn't make it a film worthy of textbook analysis and endless admiration. Some scenes lack a certain dramatic lightness, the atmosphere is, with all due respect, not very horror-like, and Karloff's monster is far and wide the only character who can evoke emotion and complicity. And yet, as a look back at the early sound film era and other filmmaking priorities, Bride of Frankenstein still has its undeniable charm, and certain passages, such as the poignant scenes with the blind man or the romantic-action ending, could not have been filmed better. And the good impression is also helped by the short runtime, which basically keeps the ambitions of the film only within the limits of classic, unpretentious and, by today's standards, very clever entertainment. That's all I wanted from this legend. 80% (11.07.2014)

Bride of Frankenstein is the most complete merger of dramatic, horror and fantasy motifs on the big screen. It’s the classic of classics, a vitally important event for a movie fan that conveyed to me the euphoria of viewer happiness, enrichment and fulfilment. (11.04.2002)

Bride of Frankenstein offers a slightly better and higher quality cinematic experience than Frankenstein thanks in large part to the great framework, which consists of a discussion between the literary greats of the time "about the way things were." The scene with the mini-actors in bottles was absolutely charming and humorous. And the "mad" maid added a little more juice to the plot. Of course the facial expressions and acting of the two monsters were unforgettable. Technically and acting wise, a great sequel to an immortal classic that managed to appeal to me even today. (01.09.2011)

“Lover. Girlfriend. Wife." James Whale returns to the story exactly where he let off four years earlier. And he did the impossible. He filmed a sequel that is better than the original. He improved on both shortcomings of last time, making this one of the best classic horrors of all time. You see, this time he makes full use of music (and what music!) and, primarily, of the story (and what a story!). Everything remains the same as last time, in other words outstanding actors and atmosphere. Plus, we get to see an incredibly diabolic Ernest Thesinger. I have just one objection. Why the hell didn’t Frankenstein kill Minnie right at the beginning, when he had the chance? At least we would have been spared her irritating face-making. (08.03.2008)