Frankenstein (1931) Review

Today’s review is another Universal classic: Frankenstein (1931). After the huge success of Dracula earlier that same year, Universal rushed Frankenstein into production. The studio brought in James Whale, arguably the best director to ever handle Universal monsters and initially wanted their new horror superstar Bela Lugosi in the title role. Posters were even printed with Lugosi’s name as the Monster.

But Lugosi left the project. Accounts differ: some say he quit because the role had no dialogue, while others believe that after some early makeup tests, Whale and makeup artist Jack Pierce decided Lugosi’s features didn’t suit the Monster. Personally, I lean toward the latter. Either way, Lugosi’s loss was cinema’s gain. Whale cast character actor Boris Karloff, and the result was inspired.

Like Dracula, Frankenstein was adapted from a John Balderston stage play, and it shares some of the same issues that plagued early talkies. The difference is that Whale was a stronger director than Tod Browning. While he didn’t have cinematographer Karl Freund (whose atmosphere defined Dracula), Whale brought more energy and control to the project. Still, I’d argue that Dracula is the easier story to adapt, and personally I prefer it. Whale would go on to direct four major Universal classics: Frankenstein, The Old Dark House, The Invisible Man, and The Bride of Frankenstein. Honestly, and I know this sounds like heresy, Frankenstein is my least favorite of his films.

In many ways, Frankenstein feels like a sequel to Dracula. Several cast and crew returned: Edward Van Sloan (Professor Van Helsing in Dracula) appears here as Professor Waldman, and Dwight Frye (Renfield in Dracula) plays Fritz, the hunchback assistant (not Igor—that comes later in Son of Frankenstein in 1939). Both actors deliver excellent performances. Colin Clive, as Henry Frankenstein (changed from Victor in the novel), is terrific, and his “It’s alive!” line remains one of the most quoted in horror history.

The true standout, though, is Karloff. His Monster is tragic, terrifying, and deeply sympathetic—all without dialogue. It’s a performance that elevates the entire film and cements his place as one of horror’s greats. Without Karloff, I’m not sure the movie would have worked at all.

Though some critics consider Frankenstein superior to Dracula, and it often lands on “greatest films of all time” lists, I personally don’t hold it in quite the same regard. I admire its legendary makeup, atmosphere, and Whale’s craft, but to me the pacing is slow, and some of Whale’s social subplots (reflecting his outsider perspective as an openly gay man) feel more like distractions than strengths. The film also owes something to the earlier silent classic The Golem.

Overall, Frankenstein (1931) is absolutely a cornerstone of Universal Horror and a must-watch for genre fans. But for me, it’s carried more by Karloff, Clive, Frye, and Van Sloan than by its script. A classic, yes, but not my favorite.

Final Verdict: 2.5 out of 5 tombstones.

Images used under fair use for review and commentary. Sources include Universal Pictures promotional materials and Wikimedia Commons

For more horror classics, explore our Chamber of Chills reviews.