Frankenstein (1931) 1080p YIFY Movie

Frankenstein (1931) 1080p

Frankenstein is a movie starring Colin Clive, Mae Clarke, and Boris Karloff. An obsessed scientist assembles a living being from parts of exhumed corpses.

IMDB: 7.93 Likes

  • Genre: Drama | Horror
  • Quality: 1080p
  • Size: 1.34G
  • Resolution: / fps
  • Language: English
  • Run Time: 71
  • IMDB Rating: 7.9/10 
  • MPR: Normal
  • Peers/Seeds: 1 / 2

The Synopsis for Frankenstein (1931) 1080p

Henry Frankenstein is a doctor who is trying to discover a way to make the dead walk. He succeeds and creates a monster that has to deal with living again.

The Director and Players for Frankenstein (1931) 1080p

[Director]James Whale
[Role:]John Boles
[Role:]Boris Karloff
[Role:]Mae Clarke
[Role:]Colin Clive

The Reviews for Frankenstein (1931) 1080p

More dramatic and disturbing than scary, a defining masterpiece!Reviewed bysecondtakeVote: 10/10

Frankenstein (1931)

There is a problem with a movie like this of what to say that hasn't been said. Well, first of all, it's a total trip to watch it still. It's dated in some ways, for sure, and is low budget and that shows sometimes. But if you get in the spirit of that, and wait to get into the castle when the real sparks fly, it's unbelievable. And then you get to the true pathos of the monster loose in the world, and realize you are worried about his well being.

It's hard to imagine anyone but Karloff as the monster (Lugosi would have made the movie very different, and would have perhaps tainted how we see Dracula, as well). But the iconic monster with the bolts on the neck (thanks to Jack Pierce, make-up artist) is worth the ride alone. And then the frightened villagers, the innocent girl, the fire in the castle, on and on. For a movie just over an hour long, a lot happens, and a lot happens with gusto.

James Whale is famous mostly for this one film. That's fine with me, even though he has some other terrific ones (Bride of Frankenstein as good as this one in many ways, and The Invisible Man, and check out his version of Waterloo Bridge). This is more than a monster film, but it's a great monster film. Absolutely don't put it off.

"Crazy, am I? We'll see whether I'm crazy or not."Reviewed bybensonmum2Vote: 9/10

Revisiting Frankenstein is always a wonderful experience. I watch it today with the same enthusiasm and awe I did nearly 35 years ago. Everything about the film is so perfect. Acting, direction, cinematography, set design, plot, dialogue, special effects, etc. are top notch. And although each of these areas deserves to be discussed in detail (and have in the volumes that have been written on Frankenstein), I'll focus on two areas that really standout to me - Boris Karloff as the monster and James Whales direction.

Is there a more iconic image in horror than Boris Karloff as the Frankenstein monster? I sincerely doubt it. Even those who wouldn't be caught dead watching a horror film are familiar with that image. Beyond Jack Pierce's make-up, Karloff is amazing in the role. Even with the make-up, Karloff gives the monster life. We are able to see and feel the emotions the monster goes through. There is no better example than the scene with the monster and the little girl. As the monster stumbles out of the woods, there is a cautious look about him as his experiences with humans have thus far been less than satisfactory. But when the little girl accepts him and wants to play with him, the look of caution is transformed into a look of utter happiness. He smiles, he laughs, and he plays. But that emotion is replaced by one of confusion mixed with anger when he accidentally kills the girl. It's all there on Karloff wonderful face. It's this life that Karloff imbibes in the monster that makes Frankenstein a real classic.

I've always thought that James Whale's direction was ahead of its time. In an era when directors were using what I call the "plant and shoot" method of filming, Whale made his camera a fluid part of the action. Whale takes the viewer beyond just watching moving images. He uses the camera to take the viewer into the scene. A small example is the way Whale filmed characters moving from one room to the next. The camera moves with the characters. Another example is the tracking shot Whale uses as the father carries his dead child into the town. As I said earlier, it has a fluidity in the way Whale filmed these scenes that makes it seem more natural. Finally, the way Whale introduces the monster is a highlight of the film. The monster backs into the room. As he turns, Whale shows the monster with three quick, ever tighter shots, ending with a close-up of the monster's face. Every Hollywood star of that era could have only wished for an introduction like that.

While I have done nothing but praise Frankenstein, I'm not such a fan that I can't spot flaws in the film. The major issue with me has always been the way the scenes of action, horror, and violence are inter-cut with scenes of tranquility and bliss. I realize that was the way things were done in the 30s so people wouldn't, in essence, overload on horror, but it can make the film seem a little disjointed. But it's difficult to hold Whale overly responsible for this custom of the period.

A Memorable Monster In A Magnificent DVD ReleaseReviewed bygftbiloxiVote: 10/10

Although I have seen better prints of the film, this DVD issue of Universal Studio's famous FRANKENSTEIN is a magnificent package that is sure to delight any fan of classic horror. The film itself has been restored for content, and the Skal-hosted documentary--which traces the story from Mary Shelly's famous novel through its numerous film incarnations--is a delight, including numerous interviews with various historians, critics, and Karloff's daughter. The bonus audio track by Rudy Behlmer is also quite interesting, as are the various biographies and notes, and although the short film BOO is a spurious mix of footage from NOSFERATU, Dracula, THE CAT AND THE CANARY, and FRANKENSTEIN, it is an enjoyable little throw-away. All in all, it doesn't get much better than this.

As for the film itself, the production of FRANKENSTEIN was prompted by the incredible success of the earlier Dracula--but where Dracula is a rather problematic and significantly dated film, FRANKENSTEIN was and remains one of the most original horror films to ever emerge from Hollywood. Much of the credit for this goes to director James Whale, who by all accounts was deeply influenced by silent German film and his own traumatic experiences during World War I--and who mixed those elements with occasional flourishes of macabre humor to create a remarkably consistent vision of Mary Shelly's original novel.

Whale was extremely, extremely fortunate in his cast. Colin Clive was a difficult actor, but Whale not only managed to get him through the film but to draw from him his finest screen performance; Mae Clarke is a memorable Elizabeth; and Dwight Frye, so memorable in Dracula, tops himself as Fritz. But all eyes here are on Boris Karloff as the monster. Karloff had been kicking around Hollywood for a decade, and although he appeared in quite a few films before FRANKENSTEIN he never really registered with the public. But in this role, acting under heavy make-up, weighed down by lead weights in his shoes and struts around his legs, and without a line of intelligible dialogue he offered a performance that transcended the word "monster." This is a suffering being, dangerous mainly through innocence of his own power and the way of the world, goaded from disaster to disaster to disaster. Even some seventy-plus years later, it is difficult to imagine any other actor in the part.

Karloff would play the monster again in two later films, one of them directed by Whale, but although THE BRIDE OF FRANKENSTEIN is a remarkable film in its own right, this is the original combination of talents and the original vision. Truly a national treasure, to be enjoyed over and over again. Strongly recommended.

Gary F. Taylor, aka GFT, Amazon Reviewer

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