Editing Bride of Frankenstein (section)

==Production==
[[File:Frankenstein's monster (Boris Karloff).jpg|left|thumb|200px|[[Boris Karloff]] as [[Frankenstein's monster]] in ''Bride of Frankenstein''.]]
Universal considered making a sequel to ''Frankenstein'' as early as its 1931 preview screenings, following which the film's original ending was changed to allow for Henry Frankenstein's survival.<ref>Curtis, p. 154</ref> James Whale initially refused to direct ''Bride'', believing he had "squeezed the idea dry"<ref name=vieira80>Vieria, p. 80</ref> on the first film. [[Kurt Neumann (director)|Kurt Neumann]] was originally scheduled to replace Whale but decided to film ''[[The Black Cat (1934 film)|The Black Cat]]'' instead.<ref>{{Cite web|title=The Bride of Frankenstein|url=https://catalog.afi.com/Film/5831-BRIDE-OFFRANKENSTEIN?sid=1a4f6083-fad6-4801-bf9e-28b6d91836b2&sr=0.2983323&cp=1&pos=0|url-status=live|access-date=2021-12-03|website=catalog.afi.com|archive-url=https://web.archive.org/web/20211203052152/https://catalog.afi.com/Film/5831-BRIDE-OFFRANKENSTEIN?sid=1a4f6083-fad6-4801-bf9e-28b6d91836b2&sr=0.2983323&cp=1&pos=0 |archive-date=December 3, 2021}}</ref> Following the success of Whale's [[The Invisible Man (1933 film)|''The Invisible Man'']], producer [[Carl Laemmle, Jr.]] realized that Whale was the only possible director for ''Bride''; Whale took advantage of the situation in persuading the studio to let him make ''[[One More River]]''.<ref>Curtis, p. 234</ref> Whale believed the sequel would not top the original, so he decided instead to make it a memorable "hoot".<ref name=vieira80/> According to a studio publicist, Whale and Universal's studio psychiatrist decided "the Monster would have the mental age of a ten-year-old boy and the emotional age of a lad of fifteen".<ref name=vieira80/>

Screenwriter [[Robert Florey]] wrote a [[Film treatment|treatment]] entitled ''The New Adventures of Frankenstein&nbsp;— The Monster Lives!'', but it was rejected without comment early in 1932.<ref name = dvd>{{cite video
 |people     = MacQueen, Scott
 |date      = 2004
 |title      = DVD commentary, ''Bride of Frankenstein'' Legacy Collection edition
 |medium     = DVD
 |publisher  = Universal Studios}}</ref> Universal staff writer Tom Reed wrote a treatment under the title ''The Return of Frankenstein'', a title retained until filming began.<ref name=vieira85/> Following its acceptance in 1933, Reed wrote a full script that was submitted to the [[Production Code|Hays office]] for review. The script passed its review, but Whale, who by then had been contracted to direct, complained that "it stinks to heaven".<ref>Curtis, p. 134</ref> [[Lawrence Blochman|L. G. Blochman]] and [[Philip MacDonald]] were the next writers assigned, but Whale also found their work unsatisfactory. In 1934, Whale set [[John L. Balderston]] to work on yet another version, and it was he who returned to an incident from the novel in which the creature demands a mate. In the novel Frankenstein creates a mate, but destroys it without bringing it to life. Balderston also created the Mary Shelley prologue. After several months Whale was still not satisfied with Balderston's work and handed the project to playwright William J. Hurlbut<!--read [[WP:REDLINK]] before unlinking William J. Hurlbut who is credited with writing some 37 plays and therefore a potential article.--> and [[Edmund Pearson]]. The final script, combining elements of a number of these versions, was submitted for Hays office review in November 1934.<ref>Curtis, pp. 234–36</ref> [[Kim Newman]] reports that Whale planned to make Elizabeth the heart donor for the bride,<ref name = newman>{{cite news|author=Newman, Kim|title=Rewind Masterpiece #18|work=[[Empire (magazine)|Empire]]|date=December 2004|page=181|author-link=Kim Newman}}</ref> but film historian Scott MacQueen states that Whale never had such an intention.<ref name = dvd />

Sources report that [[Bela Lugosi]] and [[Claude Rains]] were considered, with varying degrees of seriousness, for the role of Frankenstein's mentor, Pretorius;<ref>Lennig, p. 92</ref> others report that the role was created specifically for Ernest Thesiger.<ref name = skal185>Skal, p. 185</ref> Because of [[Mae Clarke]]'s ill health, [[Valerie Hobson]] replaced her as Henry Frankenstein's love interest, Elizabeth.<ref name = dvd /> Early in production, Whale decided that the same actress cast to play the Bride should also play Mary Shelley in the film's prologue, to represent how the story — and horror in general — springs from the dark side of the imagination.<ref name=vieira82>Vieira, p. 82</ref> He considered [[Brigitte Helm]] and [[Phyllis Brooks]] before deciding on Elsa Lanchester. Lanchester, who had accompanied husband [[Charles Laughton]] to Hollywood, had met with only moderate success while Laughton had made a strong impact with several films including ''[[The Private Life of Henry VIII]]'' (for which he had won an [[Academy Award|Oscar]]) and Whale's own ''[[The Old Dark House (1932 film)|The Old Dark House]]''. Lanchester had returned alone to London when Whale contacted her to offer her the dual role.<ref name=lanchester>Curtis, pp. 243–44</ref> Lanchester modeled the Bride's hissing on the hissing of swans. She gave herself a sore throat while filming the hissing sequence, which Whale shot from multiple angles.<ref name=vieira86>Vieira, p. 86</ref>

Colin Clive and Boris Karloff reprised their roles from ''Frankenstein'' as creator and creation, respectively. Hobson recalled Clive's alcoholism had worsened since filming the original, but Whale did not recast the role because his "hysterical quality" was necessary for the film.<ref name=vieira82/> Karloff strongly objected to the decision to allow the Monster to speak: "Speech! Stupid! My argument was that if the monster had any impact or charm, it was because he was inarticulate – this great, lumbering, inarticulate creature. The moment he spoke you might as well ... play it straight".<ref name = gifford55>Gifford, p. 55</ref> This decision also meant that Karloff could not remove his dental plate, so now his cheeks did not have the sunken look of the original film.<ref name = dvd /> Whale and the studio psychiatrist selected 44 simple words for the Monster's vocabulary by looking at test papers of ten-year-olds working at the studio.<ref name=vieira80/> Dwight Frye returned to play the doctor's assistant, Karl, having played the hunchback Fritz in the original. Frye also filmed a scene as an unnamed villager and the role of "Nephew Glutz", a man who murdered his uncle and blamed the death on the Monster.<ref name = dvd /> Boris Karloff is credited simply as KARLOFF, which was Universal's custom during the height of his career.<ref name = curtis237 /> Elsa Lanchester is credited for Mary Wollstonecraft Shelley, but in a nod to the earlier film, the Monster's bride is credited only as "?" just as Boris Karloff had been in the opening credits of ''Frankenstein''.

[[File:Brideoffrankenstein.jpg|thumb|261px|right|alt=The Bride of Frankenstein has black hair with a white streak running through it, is dressed in a white gown, and has a blank expression. She is standing on the left with her left hand elevated. On the right is Frankenstein's monster, standing on the right and smiling. His right hand is below hers. The background includes walls made of stone.|The Bride's lightning-streaked hairdo is an iconic symbol of the character and the film.]]
Universal makeup artist [[Jack Pierce (makeup artist)|Jack Pierce]] paid special attention to the Monster's appearance in this film. He altered his 1931 design to display the after-effects of the mill fire, adding scars and shortening the Monster's hair.<ref name = curtis237>Curtis, p. 237</ref> Over the course of filming, Pierce modified the Monster's makeup to indicate that the Monster's injuries were healing as the film progressed.<ref name = dvd /> Pierce co-created the Bride's makeup with strong input from Whale, especially regarding the Bride's [[Secular icon|iconic]] hair style,<ref name=lanchester/> based on [[Nefertiti]].<ref name=vieira85/> Lanchester's hair was given a [[Perm (hairstyle)|Marcel wave]] over a wire frame to achieve the style.<ref name = dvd /> Lanchester disliked working with Pierce, who she said "really did feel that he made these people, like he was a god ... in the morning he'd be dressed in white as if he were in hospital to perform an operation".<ref name=vieira85>Vieira, p. 85</ref> To play Mary Shelley, Lanchester wore a white net dress embroidered with sequins of butterflies, stars, and moons, which the actress had heard required 17 women 12 weeks to make.<ref name=vieira80/> Lanchester said of her bride costume: "I drank as little liquid as possible. It was too much of an ordeal to go to the bathroom--all those bandages--and having to be accompanied by my dresser".<ref>{{Cite book|title=The Monster Show|last=Skal|first=David J.|publisher=Penguin|year=1993|isbn=0-14-024002-0|location=United States|pages=189}}</ref>

[[Kenneth Strickfaden]] created and maintained the laboratory equipment. Strickfaden recycled a number of the fancifully named machines he had created for the original ''Frankenstein'' for use in ''Bride'', including the "Cosmic Ray Diffuser",<ref>Goldman, p. 165</ref> and the "Nebularium".<ref>Goldman, p. 183</ref> A lightning bolt generated by Strickfaden's equipment has become a [[Stock footage|stock]] scene, appearing in any number of films and television shows.<ref>Picart, et al., p. 40</ref> The man behind the film's special photographic effects was [[John P. Fulton]], head of the special effects department at Universal Studios at the time.<ref>Picart, et al., p. 39</ref> Fulton and David S. Horsley<!--read [[WP:REDLINK]] before considering unlinking David S. Horsley who is credited for special effects for over 80 films and therefore a potential article.--> created the homunculi over the course of two days by shooting the actors in full-size jars against black velvet and aligning them with the perspective of the on-set jars. The foreground film plate was [[rotoscope]]d and [[Matte (filmmaking)|matted]] onto the rear plate. Diminutive actor [[Billy Barty]] is briefly visible from the back in the finished film as a homunculus infant in a high chair, but Whale cut the infant's reveal before the film's release.<ref name = dvd />

Whale met [[Franz Waxman]] at a party and asked him to score the picture. Whale told him: "Nothing will be resolved in this picture except the end destruction scene. Would you write an unresolved score for it?"<ref name=vieira86/> Waxman created three distinctive themes: one for the Monster; one for the Bride; and one for Pretorius. The score closes, at Whale's suggestion, with a powerful dissonant chord, intended to convey the idea that the on-screen explosion was so powerful that the theater where the film was being screened was affected by it.<ref>Curtis, p. 246</ref> Constantin Bakaleinikoff conducted 22 musicians to record the score in a single nine-hour session.<ref>Curtis, p. 249</ref>

Shooting began on January 2, 1935,<ref name = mank>Mank, p. xvii</ref> with a projected budget of US$293,750 (${{Formatprice|{{Inflation|US|293750|1935|r=-4}}|0}} as of {{CURRENTISOYEAR}})&nbsp;– almost exactly the budget of the original – and an estimated 36-day shooting schedule.{{Inflation-fn|US}}<ref>Curtis, p. 241</ref> On the first day, Karloff waded in the water below the destroyed windmill wearing a rubber suit under his costume. Air got into the suit and expanded it like an "obscene water lily".<ref name=vieira85/> Later that day, Karloff broke his hip, necessitating a stunt double.<ref name = gifford55 /> Clive had also broken his leg.<ref name=vieira82/> Shooting was completed on March 7. The film was ten days over schedule because Whale shut down the picture for ten days until Heggie became available to play the Hermit.<ref>Curtis, pp. 248–49</ref> With a final cost of $397,023 (${{Formatprice|{{Inflation|US|497023|1935|r=-4}}|0}} as of {{CURRENTISOYEAR}}), ''Bride'' was more than $100,000 (${{Formatprice|{{Inflation|US|100000|1935|r=-4}}|0}} as of {{CURRENTISOYEAR}}) over budget.{{Inflation-fn|US}}<ref name = mank /> As originally filmed, Henry died fleeing the exploding castle. Whale re-shot the ending to allow for their survival, although Clive is still visible on-screen in the collapsing laboratory.<ref name=newman/> Whale completed his final cut, shortening the running time from about 90 to 75 minutes and re-shooting and re-editing the ending, only days before the film's scheduled premiere date.<ref name = curtis250 />