ABCs of Horror: “C” is for 'The Curse of Frankenstein' (1957) -- Peter Cushing's cad of a doctor makes the man, not the creature, into the monster. horrormovies halloween October
and beyond, and the classic gothic monsters that had been the backbone of “Universal horror” in the 1930s and 1940s passed into parody and memory. The period of 1947-1952 was particularly barren for the genre, somethingdissecting this particular fallow period—arguably the least socially relevant that horror films have ever been.
By the late 1950s, however, the genre was again in a better place. The American horror film market still found itself largely entangled with the science fiction genre in particular, but a major revival had been sparked in another locale: The U.K. And the film to kick it all off was, which simultaneously brought gothic horror back to the forefront and infused it with a more wicked, modern sensibility in vibrant, lurid Eastmancolor.
Universal, unsurprisingly, was having none of it at the time, suspecting that the British film would prove to be a blatant copy of theirwas forced to differentiate its adaptation of Mary Shelley’s novel in numerous ways, including a distinctly different makeup job for the monster , which bears little resemblance to the Jack Pierce makeup worn by Boris Karloff in 1931.
Rightly, no small amount of the effectiveness of that reclamation has been attributed over the years to the introduction of full-on color pictures to a genre that had long been defined by atmospheric black and white cinematography. The budgets of the resulting Hammer Horror films were low, but they importantly didn’tlow, as the beautiful period mansions, crumbling graveyards and dramatic castles provided the ideal backdrop for new levels of impossibly red, vascular splashes of gore.
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