The Bride of Frankenstein (1935) Movie Poster

Goofs from The Bride of Frankenstein (1935)

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  • When the Monster kneels down at the pond to get a drink of water, he bumps a rock with his hand. The rock moves, and is clearly a prop.
  • The bride has far too much hair to fit under the bandages shown before her unveiling.
  • As the blind man prays over the monster, he clutches the monster's hand in his own and holds it to his heart. In the wide shots, the tangle of hands is near the top of the man's chest, right under his chin. In the close-ups of the man praying, there are no hands visible.
  • When the monster is being chased by the mob, (before they can catch him), he rolls a heavy boulder off a cliff, on them. The boulder is bumped by one of the villagers, and moves easily, showing it to be probably nothing more than a large ball of papier-mâché.
  • When Pretorius states, "Nothing that is, except what He demands" as he approaches Frankenstein after warning everyone to say nothing, his mouth does not move.
  • While the Monster is trying to keep the shepherd girl from screaming, his hand is alternately on/off her mouth between shots.
  • When Karl and the monster are climbing up on the parapet, the background can clearly be seen through their figures.
  • The film is a direct continuation of Frankenstein (1931), yet in that first film, Maria's father is named Ludwig. In this film he is named Hans and is played by a different actor. (This wouldn't be an issue if the actor who played Ludwig wasn't clearly shown in the recap of the first film.)
  • When Elizabeth is talking to Henry on the telephone, you can see her hand slip out of the ropes that have her tied up, then slip back inside the ropes again.
  • When Henry and Dr. Pretorius exit the carriage, Henry is carrying a walking stick. A moment later, as they climb the outside stairs, the walking stick is gone.
  • The Monster shares the name Frankenstein with his creator, according to the prologue character representing Lord Byron. In real life, inventions are sometimes named after their makers.
  • In the prologue explaining what happened in the first Frankenstein (1931), a man is shown in close-up being strangled by the monster; however, the monster's sleeves are torn and his arms already burned by the windmill fire. Clearly this close-up was newly filmed and inserted as if from the 1931 movie.
  • When the two hunters first discover the Monster in the hut with the blind hermit, one of them has a rifle and begins fumbling with it in an attempt to shoot, but drops it when the Monster knocks him down. He also loses his hat in the tussle. The hermit intervenes, but the hunters tell him that his 'friend' is a murderer and the Monster, hearing this, moves toward them again. The hunter then inexplicably has his hat back on his head and the rifle back in his hand and is hurriedly trying to cock it. As the Monster closes in, the camera pans back, showing the hunter now without his hat and rifle again and instead hiding behind a column. The quick scene of the hunter hurriedly trying to cock the rifle should be placed earlier in the sequence, when the hunters first appear in the doorway, and before the Monster knocks the hunter down.
  • After Dr. Pretorius shows a queen, a king, an archbishop, a devil, a ballerina, and a mermaid that he has created and placed in jars, a rear view of the table on which they are sitting also shows a jar with a baby in a high chair, who is not in other shots. But, in post production it was decided to cut the introduction of the baby. It would have been too expensive to retake the relatively brief long shot that included the baby.
  • When the blind hermit plays the violin he does not move his fingers when the notes are changing.
  • As the film begins. Mary Shelley's book Frankenstein hasn't even been published, placing the time as before 1816. And the time of the story is even earlier. Yet Pretorius opens the crypt of a girl who died in 1899, and connects Henry with his kidnapped wife via a "strange electronic device" (a crude telephone} that has to be 20th century. Most of the costumes - men in suits and hats - look straight out of the '30s. That's because James Whale likened the setting of the film to a "fairy tale", one that takes place outside normal time. Thus the mix of props, costumes, and events from various periods.
  • In the wide shot of the Monster walking toward the hermit's cabin, in the bottom right hand corner of the screen there is a tree branch that the Monster brushes against. There is a jump cut, and the Monster is closer to the cabin, and the tree branch suddenly disappears.
  • When the monster struggles with the woman he has just pulled out of the pond, his hand is alternately on/not on her mouth between frames.
  • At the end of Frankenstein (1931), the injured Henry is taken back home and resting in bed when the film ends. Yet at the beginning of this movie (following the Shelley/Byron prologue), Henry is still at the windmill and wounded. Since Frankenstein (1931) was still in circulation, new prints were released that excised the happy ending. So there were no continuity issues - at least, not in 1935.
  • This is a direct sequel to Frankenstein (1931), yet Henry's father, Baron Frankenstein, who was featured prominently in the first movie, never appears. A character's dialogue briefly implies that Henry is the new Baron, which would imply the death of his father. But if his father had passed away, it would have been a major plot point or given some emphasis. And in the original script, there was much ado made about the elder Baron's death, from shock and grief at Henry's apparent demise. But the scene was cut from the final release print.
  • In the outdoor night scenes, the eerily-lit "clouds" in the sky do not move, revealing them as background paintings.
  • In the final shot of Minnie talking through the prison window, her mouth movements don't match her words.
  • When Dr. Pretorius makes his toast, he raises his glass twice.
  • When the Monster first spots the hermit, the Monster clutches his left forearm with his right hand. In the next shot, both his hands are spread.
  • When the hermit tells the Monster to put his hand on his shoulder, the Monster's hand is suddenly back at his side in the next shot.
  • Come on folks, Mary Shelly would of had to of foreseen the invention of eclectic power, telephones, 1930's fashions, and Tesla machines, none of which existed during the romantic period. The continuity problems were over the top! Still a good movie.
  • During the prologue, there is a medium close-up of Shelly in his chair with Byron's arm behind him, even though Byron is standing too far away to do so. The shot in question was from earlier in the sequence when Byron briefly stood beside Shelly.
  • The hermit puts the cigar in the monster's right hand when he is teaching him to smoke but after a few seconds in the next shot of the monster it is in his left hand while he shakes the hermit's hand with his right hand calling him friend. The monster doesn't usually change hands generally without a reason and even so he isn't quite coordinated enough to do it in just a few seconds.
  • The reflective dish behind the candle changes angle when the maid lets Pretorius in and takes him to Frankenstein.
  • Despite being greeted at the door by the housekeeper saying that Herr Frankenstein "is in his bed - where all decent folks should be at this time of night," and Herr Frankenstein being already in bed, Dr Pretorius invites him to visit his house "tonight; it is not very late."
  • When the kids are launched two vertical joints between the rear scenery boards are visible through the smoke/clouds.

Spoilers

  • When the castle is self-destructing, Doctor Frankenstein can be seen against the far wall. Yet he is next seen outside in the arms of Elizabeth, watching the explosions. See also the trivia entry for this film.
  • After the monster throws Karl off the tower parapet, the camera pans away to a long shot of the Cosmic Diffusor, yet the Monster is nowhere in sight.
  • When the Frankenstein Monster kills Karl and throws him off the parapet, the Monster's outline shimmies, indicating the primitive (yet effective) matte photography which placed the stormy sky behind him.
  • When the model of the laboratory explodes and collapses, you can see that the model is hollow - no stairs or creation laboratory inside.
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