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Welcome back, listeners, to the Introverted Obelisk.
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I'm your host, Obi Knox, and I've been thinking about family legacies yet again.
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Last time we talked about Wolf Frankenstein inheriting his father's estate, his father's reputation, and eventually his father's monster, despite receiving several extremely reasonable warnings that perhaps that particular inheritance should be left alone.
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Wolf eventually figured that out and dropped the monster into a boiling sulfur pit, which, you know, seems like a fairly definitive way of closing the family business.
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Unfortunately, we're four movies into a universal horror series, so definitive has become a very flexible term.
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The Freigenstein family still has yet another son.
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The monster has proven remarkably difficult to get rid of, and Igor has already survived one hanging and several bullets.
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At this point, death is becoming less of an ending and more of just an inconvenience.
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So tonight, we're picking up almost exactly where we left off with Earl C.
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Kenton's 1942 The Ghost of Frankenstein.
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The movie opens back in the village, where the townspeople have finally decided they have had absolutely enough.
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Henry Frankenstein is dead, Wolf Frankenstein has left, the monster is supposedly gone, and yet everyone remains convinced that the family has left a curse hanging over the place.
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At four movies, let's face it, the villagers have probably exhausted the normal channels, and whatever complaints have been filed clearly haven't solved the problem.
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So they decide to handle the Frankenstein situation themselves by marching on the castle and tearing it apart.
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Fortunately, in trying to rid themselves of the family's legacy once and for all, they actually manage to accomplish exactly the opposite.
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The destruction disturbs the sulfur pit where Wolf sent the monster at the end of Son of Frankenstein, and Igor discovers that his old friend has survived yet again.
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And of course, Igor survived too, despite Wolf shooting him several times in the previous movie.
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Adding gunfire to the hanging he already managed to survive, in Son of Frankenstein.
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So at this point, if I were one of the villagers, I'd honestly stop trying to kill him and start asking him medical questions.
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Well, Igor and the monster survived the destruction of the castle, imagine that.
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And set out on their own adventure, eventually making their way towards the town of Viseria.
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The monster may have survived, but there is one very noticeable difference when we see him again, and that is Boris Karloff isn't playing him anymore.
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After Frankenstein, bride of Frankenstein, and son of Frankenstein, Karloff's original run as the monster has come to an end.
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Universal had no intention of retiring the character, but by late 1941, Karloff was committed to the Broadway production of Arsenic and Old Lace and wasn't available for the new film.
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So Universal essentially handed the bolts to its newest horror star, Lon Cheney Jr.
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Cheney was coming off a huge success for Universal as Larry Talbot in The Wolfman, which we've covered previously, and that film has been released only a few months before production begins on Ghost of Frankenstein.
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So now Universal was asking him to trade the fur for Jack Pierce's monster makeup and take over a role Boris Karloff had spent three movies making his own.
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And I'm just gonna point out that's a tough act to follow, but wisely, Cheney did not try to imitate him.
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In fact, I would go far as to say, his monster feels bigger, heavier, and more imposing, but also more distant than the creature we met in the earlier films.
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And some of that comes from Cheney's performance, but a lot of it I think comes from what the series is asking the monster to be by this point.
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He no longer speaks, he gets fewer glimpses of the confusion and loneliness Karloff brought to the character, and other people are increasingly deciding what happens to him.
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Example, Igor wants to control him, the Frankensteins keep trying to fix him, and just about everyone else would prefer that he be destroyed.
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The monster himself is still the center of the story, but he's gradually becoming someone the story happens to, rather than someone who drives it himself.
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Chaney does get a few chances to show us that the monster still has some Vizzle personality, and one of the best comes shortly after he and Igor reach Viseria.
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He encounters a little girl named Cloistine Husman.
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And if you've been with us since Frankenstein in 1931, seeing the monster alone with a little girl near the water probably does not inspire confidence.
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Well, thankfully, Cloistine's encounter goes very different from Maria's.
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She isn't afraid of the monster at all.
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She simply wants him to retrieve her ball, and he responds to her with a gentleness we haven't seen very often lately.
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Load full transcript
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And it's a nice reminder, you know, that the monster still isn't violent simply because violence is all he understands.
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In fact, when someone approaches him without fear or hostility, we see he's capable of responding the exact same way.
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Well, naturally, Viseria isn't going to give him much opportunity to explore that side of himself.
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Naturally, the encounter with Cloistine can't stay this peaceful.
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Her father arrives looking for her, sees the monster, and immediately understands that his daughter is in danger.
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Even if Cloistine herself doesn't see it that way.
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The monster reacts violently when Husman tries to intervene, and what began as one of the few gentle moments Cheney gets with the character quickly turns into exactly the kind of incident that keeps villagers terrified of him.
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And before long the authorities are involved, the monster is captured, and Igor suddenly has a new problem.
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He needs to get his old friend back.
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That also gives us our way into the next member of the Frankenstein family, because the monster's capture eventually brings him to the attention of Dr.
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Ludwig Frankenstein, Henry's second son and Wolf's brother.
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So Dr.
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Ludwig Frankenstein is played by Sir Cedric Hardwick, and unlike Wolf, he has made a deliberate effort to separate himself from the family legacy.
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He's a respected physician who specializes in diseases of the brain, and has built a successful career without digging up corpses or attaching lightning rods to, you know, anything, which already makes him probably the most promising Frankenstein we've met thus far.
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Well, Ludwig works alongside two assistants, Dr.
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Kettering and Dr.
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Bomber.
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Bomber is played by Lionel Atwell, who apparently enjoyed his stay with the Frankenstein family so much that he's back already.
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He was Inspector Krog the last time we saw him, but now he's traded the artificial arm and police uniform for a laboratory coat in a completely different set of problems.
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Bomber was once a talented physician himself, but a serious professional mistake ruined his career.
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The two men are working on techniques involving the human brain, which means Ludwig has managed to escape his father's particular branch of science while still choosing one that is about to become extremely relevant.
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Ludwig also has a daughter, whose name is Elsa, and she's a big part of his life.
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And she's played by Evelyn Anchors, who had just appeared opposite Lon Cheney Jr.
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in The Wolfman, which we covered a few weeks back.
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The Universal Horror family is beginning to get very comfortable with one another, I gotta say.
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So when Prosecutor Eric Ernst asks Ludwig to examine the strange man being held by the authorities, Ludwig arrives at the police station and discovers something he desperately hoped never to see, his father's creation.
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Igor approaches Ludwig with a very simple request.
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The monster's brain is damaged, and he wants Ludwig to use his medical expertise to repair it.
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Ludwig, unimaginably, refuses.
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And here I have to give him credit because after Henry and Wolf, we finally found a Frankenstein whose first response to the monster is essentially absolutely not.
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Ludwig understands what his father's experiments did to the family, and he wants no part of continuing them.
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He spent years building a life away from that history, and he has no intention of throwing it away because Igor has suddenly appeared with the family monster.
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Igor naturally doesn't take no particularly well, so he helps the monster escape custody, and before long they've brought the whole Frankenstein problem directly to Ludwig's doorstep.
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The monster kills Dr.
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Kettering, and suddenly Ludwig isn't dealing with his father's legacy from a comfortable distance anymore.
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One of his own colleagues is dead because of it.
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Elsa also discovers the truth when she finds her grandfather's records and realizes that the stories surrounding the Frankenstein name aren't simply village superstition.
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Ludwig eventually manages to incapacitate the monster with gas, and at this point he decides he's going to end the problem permanently.
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His plan is to destroy the creature, which, let's be honest, is sensible.
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But then, Ludwig sees the ghost of his father, and this is where the title finally earns its paycheck.
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The ghost appears to Ludwig and urges him not to destroy the monster, arguing that the creation represents Henry Frankenstein's greatest achievement, and that Ludwig has the opportunity to perfect what his father began.
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Now, whether we're meant to take this as an actual supernatural visitation, or as Ludwig's own mind giving form to the family obsession, I would say it's not clear, but I would also say it's not really the important part.
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What matters is that
Ludwig, who has spent his life trying to escape his father's shadow, finally gives into it.
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And now we have another Frankenstein standing over the monster, thinking that maybe he can be the one who gets it right.
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Let's just point it out, the family resemblance was bound to show up eventually.
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So, Ludwig decides that the instead of destroying the monster, he'll solve the problem by replacing his damaged brain with a healthy one.
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Because apparently, once you're dealing with a body assembled from corpses, and brought back from the dead, brain transplantation starts to sound like a perfectly reasonable treatment option.
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Ludwig intends to use the brain of his merge assistant Kettery.
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An idea that's putting a good, intelligent man's brain in the monster's body could finally create the stable being his father wanted.
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Igor has a different idea and suggests that Ludwig put his brain into the monster instead.
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Which isn't difficult to understand considering he spent years trapped in a broken body while sitting beside a creature that's enormously strong and impossible to kill.
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I mean, from Igor's perspective, transferring his brain into that body isn't merely a medical procedure.
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It's like the ultimate upgrade.
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Of course, Ludwig refuses.
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Igor takes the proposal to Bomber instead, and what does Bomber do?
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He puts Igor's brain into the monster.
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Igor, in return, promises him power and influence once that he has the monster's strength under his control.
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Ludvig refuses, so Igor takes the proposal to Bomber instead, and tells him if Bomber puts Igor's brain in the monster, Igor will give him power and influence once he has the monster's strength under control.
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Bomber agrees, which, I don't know, seems particularly ungrateful considering Ludwig gave him a job after Bomber's own medical career collapsed, you know, because of that whole disastrous mistake.
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And I don't know, I was gonna say after this, Ludwig may want to consider revising his employee screening process.
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Before the operation can happen, the monster gets loose yet again and returns to Cloistine.
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But this time, his affection for her takes a much more disturbing turn.
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You see, he abducts the girl and brings her to Ludwig because he wants her brain transplanted into his body, apparently believing that possessing it will somehow give him the qualities he responds to in her.
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And it is unsettling precisely because his motivation it doesn't seem mal it's not doesn't seem malicious.
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The monster just likes Cloistine, but his damaged understanding of that affection leads him to a horrifying solution.
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Well, Ludwig and Elsa manage to rescue her, and after which Ludwig goes ahead with his original plan to transplant what he believes is Kettering's brain into the monster.
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Of course, what he doesn't know is that Ballmer has agreed to Igor's proposal and secretly makes the switch.
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Lo and behold, the operation is a success.
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And for some reason it's never made sense to me.
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It takes two weeks for the monster to wake up.
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Like, it just takes two weeks to just recover from surgery.
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You don't see that in the first any of the previous films.
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Like, I just point that out.
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Well, here, Bella Lagosi finally gets something Frankenstein fans have been waiting years to hear.
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Because they get Igor's voice coming out of the monster.
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And it's it's one of those wonderfully strange moments that only becomes possible once a horror series has been running long enough.
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Because Bella Legosi is technically now playing Igor inside Lon Cheney Jr.'s Frankenstein Monster, which is the sort of sentence that makes perfect sense if you've been watching Universal Horror, but also sounds like a medical emergency if you have it.
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So naturally, Igor is delighted, because for the first time in his life, he has a body powerful enough to match his ambitions.
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He's no longer the broken grave robber hiding in ruins and using the monster as his weapon, he is the monster now, and he immediately starts thinking about what he can do with that string.
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Unfortunately, there's one small detail nobody checked before performing the brain transplant: blood type.
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Ludwig discovers that Igor's blood is incompatible with the monster's body, and the transplant begins damaging his sensory nerves.
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First, he starts going blind.
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Then, and I have to say there's something wonderfully appropriate a band who's survived hanging, gunfire, and pretty much everything else thrown in him, finally getting the nearly indestructible body he wanted, only to discover that the warranty doesn't cover incompatible blood.
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Well, Igor is understandably furious, and he takes that anger out on Bomber, killing the man who helped put him into the monster's body in the first place.
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Well, with the villagers
closing in at the same time, whatever controlled Ludwig had over the situation is completely gone.
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The laboratory catches fire, Ludwig is trapped inside, and Igor, now blind inside the monster's body, goes down with the building while Elsa and Eric manage to escape.
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Once again, the monster appears to be dead, and let's face it, we've heard that before often enough, and I'm really not gonna start prepping a eulogy.
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And so, that brings us to the end of The Ghost of Frankenstein.
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But, before we leave Viseria, I think it's worth looking at where the series has ended up at this point.
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So, this is the movie where you can really feel Universal beginning to change what Frankenstein is.
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The first three films were built around Karloff's monster, and the Frankenstein family's relationship with him.
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In this film, the creature's becoming something, I would say, closer to a continuing franchise character.
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The monster can survive the previous ending, another Frankenstein can be introduced, another actor can go into the makeup, and the story can simply just keep moving.
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And I don't think that automatically makes Ghost of Frankenstein better or worse than what came before it.
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But I do think it makes the movie an important step in the evolution of Universal Horror.
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Alright, now let's talk a little bit about behind the scenes.
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Production began in night Production began in December 1941, and wrecked early in January, with the finished picture reaching theaters on March 6, 1942.
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And stepping into the monster's boots apparently came with some very literal discomfort for Lon Cheney Jr.
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According to contemporary reporting collected by AFI, Cheney suffered a severe allergic reaction to Jack Pierce's makeup in late December and missed several days of shooting.
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In addition to that, I want to point out that Universal publicly claimed that Cheney, who stood 6'3 and weighed 220 pounds, became 6'9 and 284 pounds once the costume and makeup were added.
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So when Cheney looks uncomfortable, I I'm pretty sure we can go ahead and just say that's more than acting.
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So one of the things I appreciate about his monster is that even though the character has become less emotionally complicated, Cheney doesn't play him as nothing more than you know a walking thread.
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The scenes with Cloystine gives him an opportunity to show the creature responding to kindness yet again.
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And in the same way, TCM makes a very interesting observation
that this is one of the last films in the classic universal cycle to give the monster much genuine pathos.
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So for me, though I still think the real star of Ghosa Frankenstein is still Bella Legosi.
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I mean, Igor was already the standout character in Son of Frankenstein, and bringing him back gives this movie a connection to its predecessor that goes beyond simply retrieving the monster from the sulfur pit.
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Legosi gets to continue the same character, but now Igor's ambitions have also changed.
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In Son of Frankenstein, he was content to control the monster, but here he realizes that he can actually become the monster.
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He's been standing next to a body that survived fire, explosions, gunshots, lighting, and a sulfur pit.
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And if somebody tells Igor that brain transplantation is available, the dude's gonna start salivating at the mouth.
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I mean, let's just face it.
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And the other thing I like about the movie is that, you know, the actual character of Ludwig.
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So Wolf Frankenstein wanted to redeem his father's reputation almost from the moment he arrived.
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While Ludwig, by contrast, wants nothing to do with it.
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In fact, he spent his whole life becoming a respected doctor in his own right, and when the monster finally reaches him, Ludwig's instinct is to end the whole thing.
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And that makes his eventual fall into the family obsession, to me at least, more interesting.
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Because he doesn't begin there.
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Ludwig actually has to be convinced.
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And fittingly, the person who finally gets through to him is the ghost of his father.
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And I think that's what makes the ghost of Henry Frankenstein work for me.
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Because when he appears, it's not to threaten Ludwig or frighten him into changing his mind.
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He simply offers Ludwig the one temptation he apparently cannot resist.
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The possibility that he might succeed were Henry failed.
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Ludwig has spent his entire life trying to not become his father.
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But once he's given the chance to finish what Henry started, all of that resistance disappears.
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At this point, the real Frankenstein curse isn't the monster, so much as the belief that the next Frankenstein will finally be the one who can fix him.
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Henry created the creature, Wolf convinced himself that he could rehabilitate him, and now Ludwig believes replacing his brain will succeed where everyone else failed.
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Each generation inherits the wreckage left by the one before it, and somehow reaches the exact same conclusion.
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The experiment itself wasn't the problem.
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It simply needed a better doctor, or more specifically, a better Frankenstein.
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So by the time the laboratory's burning again, you know, the monster has another apparent death behind him, and another Frankenstein is gone.
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And the family has learned exactly the same lesson it learned the last time.
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Fortunately for Universal, the studio has no intention of learning it.
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Alright, so folks, just a quick check-in on things here at the obelisk.
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I mentioned last time that there was some machinery below the archive drawing electricity, even though I couldn't find any of it on the circuit diagrams.
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And, you know, I told you I decided to not investigate, and just want to be clear, I still feel that that was the absolute correct decision.
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Unfortunately, whatever's down there has apparently decided to investigate me, because yesterday I found a note outside the studio door.
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There was no envelope, no signature, just a piece of paper with three words written on it.
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Need better brain.
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I am, however, choosing to interpret that as healthy criticism of the podcast, because that way it's just criticism and, you know, not a request.
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So thank thanks for joining me for another trip into cinema's shadows here on the introverted obelisk.
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I'm your host, Obi Knox.
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Until next time, keep your lab equipment maintained, be careful what you inherit, and if Bill Lagosi asks to whether your laboratory is capable of transplanting brains, whatever you do, do not introduce him to Lionel Atwell.
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Good night.