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The Creature: A Character Study | Frankenstein | National Theatre at Home

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Victor - La storia segreta del dott. Frankenstein - Wikipedia

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Victor - La storia segreta del dott. Frankenstein ( Victor Frankenstein) è un film del 2015 diretto da Paul McGuigan. La pellicola si basa sul celebre romanzo Frankenstein di Mary Shelley e le vicende sono narrate dal punto di vista di Igor, assistente del protagonista.

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film di animazione del 2012 diretto da Tim Burton

Frankenweenie è un film d'animazione del 2012 diretto da Tim Burton.

Realizzato in 3D, il film è l'adattamento in stop motion di un cortometraggio omonimo realizzato dallo stesso Burton nel 1984, chiaramente ispirato al romanzo Frankenstein di Mary Shelley. Il film fu candidato ai Premi Oscar 2013 come miglior film d'animazione.

In una cittadina americana del 1931, un giovane appassionato di cinematografia e scienza Victor Frankenstein vive con i genitori Edward e Susan e il cagnolino Sparky nella monotona cittadina di New Holland. Le doti di Victor sono osservate a scuola dai suoi compagni: la vicina di casa Elsa Van Helsing (nipote dell'acido Sindaco Bergermeister), il ragazzino gobbo Edgar, l'obeso e ingenuo Bob, il pretenzioso ragazzino giapponese Toshiaki, il sinistro Nassor e una stranissima ragazzina bionda chiamata Stranella, che possiede un gatto chiamato "Signor Baffino". Victor però ha pochi contatti con loro, essendo troppo preso da Sparky: il padre di Victor allora incoraggia il figlio a iscriversi alla squadra di baseball per farsi nuovi amici e per praticare uno sport; alla partita, Victor riesce a battere uno splendido fuoricampo ma Sparky, inseguendo la palla per la strada, è investito da un'auto e muore sotto gli occhi di Victor.

La morte di Sparky è una grave perdita per Victor, che cade in una profonda tristezza. Poi però, ispirato dagli esperimenti galvanici dell'insegnante di scienze Signor Rzykruski, Victor decide di disseppellire il cadavere di Sparky dal cimitero degli animali e lo porta nel suo laboratorio improvvisato in soffitta; riesce a rianimare il cane sfruttando l'elettricità di un fulmine. Per quanto euforico dal ritorno dell'amato cagnolino, Victor pensa che non sia ancora il momento di rivelare il ritorno di Sparky ai genitori e decide di tenerlo nascosto in soffitta. Il giorno seguente però, Sparky esce dall'attico per inseguire Signor Baffino, causando qualche danno nel quartiere finché non è notato da Edgar, il quale chiede a Victor di insegnargli come resuscitare i morti, minacciandolo, in caso contrario, di rivelare a tutti il suo segreto. Pur di tenere nascosta l'esistenza di Sparky, Victor acconsente e i due rianimano un pesce rosso, che inspiegabilmente diventa invisibile.

Venendo a conoscenza del pesciolino invisibile di Edgar, Toshiaki e Bob temono di non riuscire a vincere la gara di scienze della fiera annuale, e così Toshiaki prova a far volare Bob con un rudimentale jetpack improvvisato con delle bottiglie di bibita frizzante, ma fallisce e Bob cade giù dal tetto, rompendosi un braccio. Questo episodio fa scaturire astio fra gli adulti della cittadina e il Signor Rzykruski è accusato di influenzare negativamente i bambini con i propri insegnamenti. Il discorso che Rzykruski recita in propria difesa è scambiato per una minaccia, quindi viene licenziato e rimpiazzato dall'insegnante di ginnastica. Victor parla col professore prima della partenza chiedendogli sul perché il suo esperimento al secondo tentativo abbia riscontrato un effetto diverso e lui gli spiega che la scienza non è solo una cosa che deve essere compresa con la testa, ma anche con il cuore, solo così si può diventare un grande scienziato. Victor ammette che il primo tentativo per riavere indietro Sparky è stato dovuto ad un atto d'amore e dal desiderio di riavere il suo amico, ma che al secondo tentativo per riportare in vita il pesce di Edgar, aveva paura che qualcosa andasse male e che il suo desiderio era di smettere prima che finisse: il professore afferma quindi che la variabile è stata modificata e da questa deriva l'effetto diverso dell'esperimento.

Il pesciolino invisibile di Edgar scompare quando questi cerca di convincere i compagni di classe, e il ragazzino rivela accidentalmente le azioni di Victor, ispirando gli altri a sperimentare la rianimazione per conto proprio. Nel frattempo i genitori di Victor scoprono con gran stupore che Sparky è vivo, ma, in mezzo alla confusione e allo spavento, il cagnolino fugge di casa. Mentre Victor e i suoi genitori partono alla ricerca del cane, Edgar, Nassor, Bob, Toshiaki e Stranella si intrufolano nel laboratorio di Victor e apprendono i suoi studi per la rianimazione. Il gruppo decide allora di svolgere delle rianimazioni separatamente: Edgar si prepara a rianimare un ratto morto trovato nella spazzatura, Nassor il suo criceto mummificato "Colossus", Toshiaki la sua tartarughina morta Shelley, Bob un pacco di Scimmie di mare scaduto e Stranella un pipistrello morto. Dopo aver fulminato i corpi, i ragazzini tramutano, senza volerlo, a causa dei loro sentimenti di competizione, gli animali morti in mostri: il ratto di Edgar diventa un ratto mannaro, Shelley diventa un enorme mostro simile a Gamera, le Scimmie di mare di Bob diventano dei mostriciattoli anfibi simili a Gremlins e il Signor Baffino, che teneva in bocca il pipistrello di Stranella mentre veniva elettrificato, si tramuta in un mostruoso gatto- vampiro. I mostri terrorizzano il gruppo (meno Stranella) e si dirigono verso la fiera annuale dove finiscono con il seminare caos e distruzione.

Dopo aver ritrovato Sparky vicino alla sua lapide nel cimitero degli animali, Victor vede i mostri assaltare la fiera e corre ad aiutare i suoi compagni: le Scimmie di mare esplodono mangiando dei pop corn molto salati, Colossus viene schiacciato da Shelley, mentre questa e il Ratto Mannaro tornano a essere dei cadaveri dopo essere stati fulminati di nuovo. Nel caos generale, Elsa viene catturata insieme alla sua cagnetta dal Signor Baffino e trasportata nel mulino a vento cittadino. Il sindaco e i cittadini accusano ingiustamente Sparky e lo inseguono fino al mulino, al quale il sindaco appicca il fuoco inavvertitamente. Victor allora irrompe nello stabile per salvare Elsa e Sparky, il quale si scontra accanitamente contro Baffino. Elsa e Victor riescono a salvarsi, mentre Baffino viene ucciso da una trave di legno incandescente, ma prima che Sparky possa uscire, l'edificio gli crolla addosso e muore un'altra volta.

I cittadini, impietositi per la morte del cagnolino, decidono di premiare Sparky per il suo coraggio connettendo i suoi elettrodi alle batterie delle loro macchine per rianimarlo di nuovo. L'esperimento ha successo e alla fine Persefone, la barboncina di Elsa, raggiunge Sparky, e i due cani si innamorano.

Riguardo alla realizzazione del progetto, Burton ha affermato che si tratta di un "qualcosa di molto personale" nel quale ha cercato di mantenere inalterato il cuore della vecchia versione del 1984, arricchendolo con dinamiche sociali presenti nel mondo dell'infanzia. Il ritorno al passato è inoltre rappresentato dalla scelta dei doppiatori originali ( Martin Landau, Martin Short, Winona Ryder e Catherine O'Hara), tutti attori con i quali Burton non lavorava da tempo.[1]

Il film, prodotto e distribuito dalla Walt Disney Pictures, è stato distribuito nelle sale statunitensi il 5 ottobre 2012,[2] ed in quelle italiane dal 17 gennaio 2013.[3]

Il teaser trailer italiano è stato diffuso il 1º marzo 2012, poche ore dopo quello internazionale e a pochi giorni dall'uscita del poster del film.[4]

Sito ufficiale , su movies.disney.com.

Frankenweenie , su INDUCKS.

Frankenweenie , su Il mondo dei doppiatori, AntonioGenna.net.

(EN) Frankenweenie , su AllMovie, All Media Network.

(EN, ES) FilmAffinity.Frankenweenie , su

(EN) Frankenweenie , su Metacritic, CBS Interactive Inc.

(EN) Frankenweenie , su Box Office Mojo, Amazon.com.

(EN) Frankenweenie , su TV.com, CBS Interactive Inc (archiviato dall'url originale il 1º gennaio 2012).

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film di animazione del 2012 diretto da Tim Burton Frankenweenie è un film d'animazione del 2012 diretto da Tim Burton. Realizzato in 3D, il film è l'adattamento in stop motion di un cortometraggio omonimo realizzato dallo stesso Burton nel 1984, chiaramente ispirato al romanzo Frankenstein di Mary Shelley.

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House of Frankenstein: Directed by Erle C. Kenton. With Boris Karloff, Lon Chaney Jr., J. Carrol Naish, John Carradine. A deranged scientist escapes from prison and recruits Dracula, Frankenstein and the Wolf Man to get revenge on his behalf.

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The Evolution of Frankenstein in Comics and Culture

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The Evolution of Frankenstein in Comics and Culture

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When Mary Wollstonecraft Shelley published her novel 200 years ago, she could not have imagined the liberties that would be taken with her characters in the future. Published in 1818, Frankenstein was a success and became so popular that the character of Frankenstein's monster became a well-known image even in the 1800s. "Everybody, or nearly everybody, has heard of the novel of 'Frankenstein,'" declared an article from 1899.

But, as the article notes, even by 1899 the line between Dr. Frankenstein and his monster had blurred. The monster was becoming known as Frankenstein. Early cinema brought the character vividly to life, solidifying "Frankenstein" as the monster in the minds of people, taking the character from the context of the novel and putting him into new situations of horror. In 1935, he even gained a love interest as the "Bride of Frankenstein" was released.

Frankenstein as a character has been portrayed in so many different ways in comic books that it is hard to believe they refer to the same creature. While there have been some comic book representations that have tried to stay true to Shelley's original monster, they are few and far between.

Often in comic books, as it has been in film and many other cultural references, Frankenstein is seen as part of a monster mash-up. Either Frankenstein is set against his fellow monsters, such as Dracula, or he travels with them as a pack.

Speaking of mash-ups, Frankenstein is a popular monster for superheroes to fight, especially this time of year. Who can resist the thought of their favorite superhero taking on one of the most iconic monsters of all time? Frankenstein has fought Batman, Ironman, the Hulk, and Captain America, just to name a few.

But Frankenstein has been re-imagined as more than just a typical monster or villain. There have been female Frankenstein characters and futuristic cyborg monsters that continue the story of a pieced-together creature with a tortured soul. Frankenstein has even taken a turn at being a superhero himself!

Do you have a favorite Frankenstein story or comic book depiction? Don't miss seeing these comic books and more displayed in the Newspaper & Current Periodical Reading Room! And don't miss "Frankenreads," a live reading of Frankenstein in its entirety, at the Library of Congress and online, October 31 st: //www.loc.gov/item/event-393847/

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The Evolution of Frankenstein in Comics and Culture: Monster, Villain, and Hero

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When Mary Wollstonecraft Shelley published her novel Frankenstein 200 years ago, she could not have imagined the liberties that would be taken with her characters in the future. Published in 1818, Frankenstein was a success and became so popular that the character of Frankenstein's monster became a well-known image even in the 1800s.

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https://www.theguardian.com/books/2021/sep/20/frankenstein-first-edition-sets-world-auction-record-for-a-printed-work-by-a-woman-mary-shelley

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Videos1

In 1794, in the Arctic Sea, Captain Robert Walton is a man obsessed to reach the North Pole, pushing his crew to exhaustion. When his ship hits an iceberg, it is stranded in the ice. Out of the blue, Captain Walton and his men overhear a dreadful cry and they see a stranger coming to the ship. He introduces himself as Victor Frankenstein and he tells the Captain the story of his life since he was a little boy in Geneva. Victor is a barilliant student, and in love with his stepsister Elizabeth, an orphan that was raised by his father Baron Victor von Frankenstein. In 1793, Victor moves to Ingolstadt to study at the university, and he promises to get married to Elizabeth. At the university, Victor befriends Henry Clerval, who becomes his best friend. Victor gets close to Professor Waldman and decides to create life to cheat death, but Waldman advises him that he should not try this experiment, since the result would be an abomination. When Waldman dies, Victor steals his notes and tries to create life. He succeeds and gives life to a strong Creature, composed of parts of deceased people. However, he realizes that his experiment is a mistake and he abandons the Creature, expecting that it will die alone. However the Creature survives and learns how to read and write, but he is a monster rejected by society and his own creator. The Creature decides to seek revenge from Victor by killing everyone he loves. - Claudio Carvalho, Rio de Janeiro, Brazil

What is the Japanese language plot outline for Frankenstein (1994)?

Answer

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Mary Shelley's Frankenstein (1994) - IMDb

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Mary Shelley's Frankenstein: Directed by Kenneth Branagh. With Robert De Niro, Kenneth Branagh, Tom Hulce, Helena Bonham Carter. When the brilliant but unorthodox scientist Dr. Victor Frankenstein rejects the artificial man that he has created, the Creature escapes and later swears revenge.

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Frankenstein junior

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Frankenstein al cinema - I film sulla creatura di Mary Shelley - der Zweifel

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Frankenstein al cinema è la rassegna incentrata su una delle figure più iconiche della letteratura e del cinema, e sulla grande quantità di film che si sono ispirati al romanzo di Mary Wollstonecraft Shelley. Nata a Somers Town, in Inghilterra, nel 1797, nel corso della sua vita Shelley è stata autrice di romanzi e racconti come Matilda, Valperga e L'ultimo uomo.

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Young Frankenstein is a 1974 film directed by Mel Brooks and starring Gene Wilder . The screenplay was also written by Brooks and Wilder and focuses on a descendant of Victor Frankenstein, extending the story told in the novel by Mary Shelley into present day. As such, the film is a parody of the horror film genre in general, being shot in black and white and using many techniques reminiscent of the 1930s filmmaking of the iconic Universal films. Young Frankenstein also references many of the other film adaptations and stage productions of Frankenstein.

Dr. Frederick Frankenstein (Gene Wilder) is a direct descendant of the infamous Baron Von Frankenstein. It is obvious, however, that he wants to distance himself from this legacy: he insists that his name be pronounced "Fronk-en-steen." While lecturing at an American university, Frederick instructs the students that there is no way to generate life after nerves are severed. The work of his grandfather, he says, was simply "the nonsensical ravings of a lunatic mind." Further, he asserts that "my grandfather's work was doodoo!" He claims to be unconcerned with death. After Frederick's lecture, he is confronted and informed by Herr Falkstein (Richard Haydn) that he has inherited his family's Transylvania estate and must travel there immediately.

Upon his arrival, Dr. Frankenstein meets Igor, pronounced

"Eye-gore," his hunchback servant, and Inga, his beautiful assistant. At the castle, he meets the frightening housekeeper, Frau Blücher. Soon, Dr. Frankenstein discovers a secret entrance into his grandfather's laboratory, where he finds a book written by his grandfather entitled, How I Did It, by Victor Frankenstein. Dr. Frankenstein, along with his sidekicks, and driven by a curiosity about his grandfather's work, begins to experiment with creating life. Stealing the body of a hung criminal, Dr. Frankenstein begins to recreate and improve upon his grandfather's legacy. Igor, entrusted with the task of procuring the brain of the famed historian, Hans Delbrück, drops the container holding the brain, damaging it beyond use. Instead, he takes the abnormal brain, assumed to be the brain of a criminal. Dr. Frankenstein is successful in his experiment and "The Monster" is brought to life. Hilarity ensues as the rest of the film portrays Dr. Frankenstein and his sidekicks, along with Inspector Kemp and a group of angry villagers, trying to contain "The Monster" who only wants to be loved, hates being mocked, and will only be soothed by the melancholy music of the violin. All ends well as Dr. Frankenstein succeeds with a partial "transference" meant to switch the brains of himself and "The Monster" in order to make "The Monster" more human. Dr. Frankenstein then marries Inga, and "The Monster" marries Elizabeth, Dr. Frankenstein's ex-fiancé.

Major Themes

Family Legacy

From the opening scene of Young Frankenstein, the audience understands that the young Dr. Frankenstein is not proud of his grandfather's reputation as a dangerous mad scientist. He insists on having his name pronounced "Fronk-un-schteen" in order to further separate himself from his grandfather's legacy.

After he arrives in Transylvania at his inherited castle, the young Dr. Frankenstein begins to be drawn into his grandfather's world. He discovers his grandfather's library and laboratory, which further fuel his curiosity about his grandfather's studies and experiments. Dr. Frankenstein begins to feel a connection to his grandfather and decides to carry out the experiment of creating life from dead tissue. In this sense, the young Dr. Frankenstein takes on the persona of his grandfather. He steals a dead body and a brain, and using his grandfather's lab equipment, he creates "The Monster." Dr. Frankenstein succeeds at the very thing his grandfather originated.

When things start to go awry and "The Monster" becomes too much to handle, Dr. Frankenstein vows to fix "The Monster" by making him feel he is loved. He locks himself in a room with "The Monster," and after convincing "The Monster" of his goodness, the two perform a hilarious duet of "Puttin' On the Ritz" in which "The Monster" is only able to grunt the punch line. However, they are unable to carry out their performance as a flame near the stage frightens "The Monster." He becomes enraged and is captured by police. He escapes and is subsequently captured by Dr. Frankenstein and taken back to the laboratory to complete transference of his brain with "The Monster's" in order to save "The Monster." Dr. Frankenstein realizes that he could possibly lose his life by helping "The Monster," but is willing to do so. In this regard, the young Dr. Frankenstein succeeds where his grandfather failed. He is able to create a creature from the dead and make him good-natured.

By the end of the film, Dr. Frankenstein has embraced his name and begins to pronounce it correctly. Through this gesture, the audience realizes that the young Dr. Frankenstein has fully accepted his family name and is no longer ashamed of his grandfather's legacy.

As is the case in most Frankenstein films and adaptations, science plays a major role in the plot of Young Frankenstein. When the film begins, we meet Dr. Frederick Frankenstein who is a physician and professor at a medical school. He is also the grandson of the infamous Victor Frankenstein. With his medical knowledge of science and his family connection, the young Dr. Frankenstein is well equipped to take on his grandfather's experiments.

Dr. Frankenstein is able to make good use of his grandfather's laboratory, along with his servant, Igor, and his assistant, Inga. When the audience sees the laboratory, it's bubbling potions, churning, and generating electricity. Dr. Frankenstein and his sidekicks begin carrying out the experiment of Dr. Frankenstein's grandfather in order to bring about a living creature. In a comedic interpretation of the famous laboratory scene from James Whale's classic Frankenstein, the three work tirelessly to successfully wake "The Monster." In order to attract electricity, Igor humorously stands on the roof flying a kite, in homage to the legend of Benjamin Franklin and his discovery of harnessing electricity. When the monster is awakened, Dr. Frankenstein mimics Whale's Dr. Frankenstein exclaiming, "Alive! It's Alive! It's Alive!"

The young Dr. Frankenstein is not only able to bring "The Monster" to life; he is also able to complete transference between himself and "The Monster" in order to save his creation. When the characters re-emerge, they both contain some of each other's qualities: "The Monster" is able to intelligently converse with others and take part in relationships and Dr. Frankenstein finds himself "well-endowed."

While none of the science depicted in the film is realistic, it still places emphasis on the importance of science and discovery, while keeping the audience's imagination active and engaged.

Love and Acceptance

The themes of love and acceptance are common throughout most Frankenstein adaptations. Most of the characters in Young Frankenstein are searching for love and acceptance in one way or another. Frederick Frankenstein, at the beginning of the film, seeks to rid himself of the Frankenstein legacy, and in turn gain acceptance from the public. He also seeks the acceptance of his fiancé, Elizabeth, who will barely let him touch her in any way for fear of tarnishing her appearance.

However, rather than gaining public love and acceptance, Dr. Frankenstein obtains these through his hard work and new relationships with Igor and Inga. It becomes apparent that Inga, as well, is waiting to be accepted and loved by Dr. Frankenstein, spending most of the film brushing up against him seductively and mistaking his dialogue for sexual innuendos. By the end of the film, after Elizabeth falls for "The Monster," the audience finds that Dr. Frankenstein and Inga are happily together.

"The Monster" also seeks love and acceptance. He is upset by the way that he is perceived by others. He is constantly chased and chained, wishing only to get away and find peace with someone who will accept him. At one point, he finds peace with a little girl he meets beside a well, an obvious nod to James Whale's classic Frankenstein (1931). "The Monster" again finds love and acceptance when Dr. Frankenstein convinces him that he is loved. The audience sees "The Monster" smile as Dr. Frankenstein builds up his character and tells him of his goodness. Even though Dr. Frankenstein's exhibit of and performance with "The Monster" does not end well, for a moment "The Monster" has found love and acceptance with Dr. Frankenstein and the audience at the exhibit.

"The Monster" later finds love and acceptance in Elizabeth. When she finds "The Monster" to be well endowed sexually, she falls completely in love with him. Their relationship endures even after transference between "The Monster" and Dr. Frankenstein, as the movie ends depicting the happy marriages.

By the end of the film, both Dr. Frankenstein and "The Monster" have accepted themselves and have found love and acceptance through their relationship to each other and their spouses.

When Young Frankenstein opened in 1974, it was to high critical acclaim. Audiences loved the comedic film and it was nominated for several awards. Included in its nominations in 1975 were two Academy Awards; one for Best Sound, and the other for Best Writing Adapted Screenplay. The film was also nominated for two golden globes in 1975, including one for Best Actress for Cloris Leachman, who played Frau Blücher, and one for Best Supporting Actress for Madeline Kahn who played Elizabeth. The film won a Hugo Award for Best Dramatic Presentation in 1975, and a Golden Screen Award in 1977.

Significance of Adaptation

references many other films in the long history of Frankensteinadaptations and appropriations. Being shot in black and white, the film references the iconic Universal films of the 1930s, Young Frankenstein Frankenstein (1931)and Bride of Frankenstein (1935). Further, the original equipment from Frankenstein is used, making the creation scenes look very familiar; Kenneth Strickfaden, the designer of the equipment, is thanked in the opening credits for these props.

Beyond simply looking similar, Brooks recreates several scenes that evoke previous films and theatrical interpretations. The scene in which Igor collects the brain for Frederick's monster is quite similar to the one in the 1931 film in which Fritz ruins the normal brain and instead takes the abnormal one. Young Frankenstein directly recreates the blind man scene from Bride of Frankenstein, but clearly parodies it as the man spills hot soup in the monster's lap and accidentally lights his thumb on fire instead of the cigar. The scene in which the monster dances to "Puttin' on the Ritz" references Victorian era burlesque stage adaptations of Frankenstein. The famous line, "It's alive!" is maintained, a mainstay in nearly every Frankenstein film.

While Young Frankenstein obviously seeks to parody the James Whale films, it does so in a manner that does not detract from or insult them. The quick and witty dialogue keeps the audience engaged in the hilarious comedy while also bringing the character of Frankenstein to new audiences who may have been too young to appreciate Whale's pieces or to read Mary Shelley's novel. Almost every word of dialogue is a punch line and the comedy is exceptional throughout.

Part of the success of Young Frankenstein can be attributed to Gene Wilder and Mel Brooks' previous cinematic success, primarily in comedy. The two were some of the most revered comic minds at the time of the film's release and any movie created by the pair was sure to gain substantial notoriety. Brooks and Wilder were able to take an old character from Shelley's novel and Whale's films, which was meant to be feared, and make audiences instead fall in love with him, feel sorry for him, and laugh at the same time.

Hitchcock, Susan Tyler. Frankenstein: A Cultural History. New York: W.W. Norton, 2007. Print.

Jones, Kenneth. "Puttin' on the Glitz: Young Frankenstein, the Musical, Opens in Seattle." Playbill. Playbill.com, 23 Aug. 2007. Web. 25 Nov. 2013.

Lacher, Irene. "The Sunday Conversation: Mel Brooks on His 'Young Frankenstein' Musical." Los Angeles Times 1 Aug. 2010. Web. 26 Nov. 2013.

Wilder, Gene. Kiss Me Like a Stranger: My Search for Love and Art. New York: St. Martin's, 2005. Print.

Young Frankenstein . Dir. Mel Brooks. Perf. Gene Wilder, Peter Boyle, Teri Garr, Marty Feldman, and Madeline Kahn. Twentieth Century Fox, 1974. DVD.

"Young Frankenstein." IMDb. IMDb.com, n.d. Web. 25 Nov. 2013.

Contributed by Leighann Dicks

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Young Frankenstein is a 1974 film directed by Mel Brooks and starring Gene Wilder . The screenplay was also written by Brooks and Wilder and focuses on a descendant of Victor Frankenstein, extending the story told in the novel by Mary Shelley into present day.

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Frankenstein da record all'asta da Christie's a New York. Il banditore Gemma Sudlow ha raccolto le offerte di una decina di offerenti telefonici provenienti da varie parte del mondo. Il libro è stato venduto per 1.170.000 dollari. Si tratta del nuovo record mondiale d'asta per un'opera a stampa di una donna. Il libro è la prima edizione di "Frankenstein: or The Modern Prometheu", capolavoro della letteratura horror della scrittrice inglese Mary Shelley (1797-1851).
Stephen King nel nuovo romanzo "Later" gioca col fuoco e mescola orrore, pulp e ironia

'Frankenstein' el monstre, o el Prometeu de Mary Wollstonecraft Shelley https://t.co/9egcS41qnW via @veudelsllibres

- La Veu dels Llibres (@veudelsllibres) September 18, 2021

Record anche per Dracula

L'esemplare in tre volumi battuto all'asta fu stampato a Londra da Lackington, Hughes, Harding, Mavor and Jones nel 1818. Il prezzo stimato era tra i 200.000 e i 300.000 dollari. La preziosa copia del libro faceva parte della collezione del bibliofilo Theodore B. Baum, che all'asta di Christie's ha incassato un totale di 6.703.375 di dollari. Un altro record d'asta è stato stabilito da una prima edizione di "Dracula" dello scrittore irlandese Bram Stoker (1847-1912), che ha realizzato 275.000 sterline.

Dracula, in vendita il Castello di Bran raccontato nel romanzo di Stoker

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Frankenstein record da Christie's: copia del 1818 venduta a 1,1 milioni di dollari

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Frankenstein da record all'asta da Christie's a New York. Il banditore Gemma Sudlow ha raccolto le offerte di una decina di offerenti telefonici provenienti da varie parte del mondo. Il libro è stato venduto per 1.170.000 dollari. Si tratta del nuovo record mondiale d'asta per un'opera a stampa di una donna.

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https://it.m.wikipedia.org/wiki/Il_figlio_di_Frankenstein

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https://www.imdb.com/title/tt0093560/

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Dracula is alive. In fact, he plans to rule the world and that is why he seeks the help of other legendary monsters. However, a bunch of kids regarded by their peers as losers uncover the devious plan and prepare for a counter strike. - Steve Richer <sricher@sympatico.ca>

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Dracula is alive. In fact, he plans to rule the world and that is why he seeks the help of other legendary monsters. However, a bunch of kids regarded by their peers as losers uncover the devious plan and prepare for a counter strike. - Steve Richer

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Frankenstein al cinema - I film sulla creatura di Mary Shelley - der Zweifel

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Frankenstein al cinema è la rassegna incentrata su una delle figure più iconiche della letteratura e del cinema, e sulla grande quantità di film che si sono ispirati al romanzo di Mary Wollstonecraft Shelley. Nata a Somers Town, in Inghilterra, nel 1797, nel corso della sua vita Shelley è stata autrice di romanzi e racconti come Matilda, Valperga e L'ultimo uomo.

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La maschera di Frankenstein ( The Curse of Frankenstein) è un film del 1957 diretto da Terence Fisher.

Il film è un remake di Frankenstein del 1931 ed è il primo di una serie che la casa cinematografica britannica Hammer Film Productions dedicò al capolavoro letterario di Mary Shelley. I protagonisti sono Peter Cushing (nel ruolo di Frankenstein) e Christopher Lee (nel ruolo del mostro), attori che prestarono i loro volti anche ai successivi film Hammer dedicati a Frankenstein e a Dracula.

La storia narra della vita del Barone Victor Frankenstein, e in particolare dei suoi esperimenti che miravano a riportare in vita i cadaveri.

Svizzera, XIX secolo: Il Barone è rinchiuso in prigione, accusato di omicidio e in attesa di esecuzione; nella cella egli racconta la sua vita al prete venuto a dargli l'ultimo conforto religioso. La storia inizia con la morte del padre che gli lascia in eredità l'intera fortuna dei Frankenstein. L'istitutore del giovane Victor è un uomo di nome Paul Krempe e, quando Victor diventa adulto, i due iniziano a collaborare insieme a vari esperimenti scientifici. Una notte, dopo un esperimento particolarmente riuscito nel quale riportano in vita un cagnolino morto, Victor suggerisce di tentare di ricreare la "vita umana" in laboratorio.

All'inizio Krempe collabora con Victor, ma poi si tira indietro, inorridito ed incapace di tollerare i continui furti e smembramenti di cadaveri necessari per la buona riuscita dell'esperimento. I vari pezzi del corpo del "mostro" di Frankenstein vengono assemblati prelevando le parti meglio conservate da svariati cadaveri trafugati. Per il cervello, necessitando di una mente ancora in vita, Victor sceglie di prelevare quello di un anziano e stimato professore, in modo da dotare la sua creatura di una mente brillante e piena di conoscenze accumulate in una vita di studi accademici. Egli invita a casa propria il professore con la scusa di una visita amichevole, ma successivamente lo fa precipitare dall'alto di una scalinata provocandone la morte in modo da farla sembrare un incidente. Dopo il funerale e la sepoltura del professore, Victor si reca nella cripta e preleva il cervello dal cadavere dell'uomo, ma Krempe lo scopre sul fatto e la materia cerebrale del defunto professore resta danneggiata durante una colluttazione tra i due.

Messe insieme tutte le parti anatomiche (incluso il cervello danneggiato), Frankenstein riesce finalmente a dare vita alla sua mostruosa creatura. Sfortunatamente, il mostro rivela di non possedere traccia alcuna dell'intelligenza del professore dimostrandosi, inoltre, un violento minorato mentale. Frankenstein lo chiude a chiave nel laboratorio, ma la creatura riesce a fuggire ed uccide un vecchio cieco incontrato nei boschi. Victor e Krempe si gettano al suo inseguimento, Krempe gli spara in un occhio uccidendolo sul colpo, e i due, anche se Victor è riluttante, seppelliscono il cadavere del mostro nel bosco.

Krempe decide di andarsene, ma Frankenstein riporta nuovamente in vita la creatura. Egli arriva anche a far uccidere dal mostro la sua amante, la cameriera Justine, che, incinta di lui, minaccia di raccontare degli strani esperimenti del Barone alle autorità del villaggio se egli non la sposerà. Successivamente la creatura fugge di nuovo ed aggredisce la fidanzata ufficiale di Victor, sua cugina Elizabeth. Victor spara al mostro, e questa volta gli getta addosso una lanterna a petrolio incendiandolo, causandone inoltre la caduta in una vasca piena d'acido che lo dissolve all'istante. Victor viene imprigionato e condannato a morte per l'omicidio di Justine, non essendoci prove dell'esistenza del mostro, esecutore materiale del delitto. Egli implora il vecchio amico Krempe di testimoniare in suo favore raccontando tutta la verità davanti al prete rivelandogli di come fosse stata la creatura e non lui ad uccidere Justine, ma Krempe si rifiuta e Frankenstein viene condotto al patibolo. Lo spettatore viene volutamente lasciato nel dubbio che la storia narrata da Frankenstein sia realtà o semplicemente il parto di una mente malata ed omicida.

Peter Cushing, allora meglio conosciuto come attore televisivo, venne specificatamente scelto dalla Hammer per interpretare il protagonista del film. La scrittura di Christopher Lee per la parte del mostro, invece, fu soprattutto da imputarsi alla sua notevole altezza (198 cm). La Hammer aveva precedentemente preso in considerazione anche attori più alti, come Bernard Bresslaw (204 cm.), per il ruolo. La Universal Pictures lottò duramente per difendere il proprio copyright sulla versione di Frankenstein da loro prodotta nel 1931, negando ogni utilizzo di trucchi o scenografie dei precedenti film della serie, quindi la Hammer dovette commissionare al make-up artist Phil Leakey un nuovo look per la creatura che non ricalcasse minimamente il celebre trucco di Boris Karloff originariamente creato da Jack Pierce e di proprietà della Universal. La produzione di La maschera di Frankenstein ebbe inizio, con un investimento iniziale di 65,000 sterline, il 19 novembre 1956 ai Bray Studios con la scena nella quale il Barone Frankenstein taglia la corda di un impiccato per rubarne il cadavere. Il film debuttò in anteprima assoluta al London Pavilion il 2 maggio 1957.

La maschera di Frankenstein diede il via alla serie storica di film horror della Hammer. Il film segnò inoltre l'inizio di un revival del gotico come genere cinematografico sia in Europa che negli Stati Uniti. La Hammer aveva già prodotto altre pellicole horror a partire dal 1935, ma è solo con questo film che iniziò il fortunato successo della casa di produzione britannica che, da questo momento in poi verrà per sempre associata con il genere horror gotico. Questo film, insieme a Dracula il vampiro dell'anno successivo, diede il via ad una rinascita del genere dopo che il successo dei prodotti della Universal anni trenta e quaranta si era via via affievolito sempre più. Altra nota importante è che il film è uno dei primi horror ad essere stato girato a colori, ed è anche uno dei primi ad aver messo in evidenza elementi disturbanti quali bulbi oculari asportati, mani mozzate, decapitazioni, sangue a fiotti, ecc... Anche se la pellicola non può certamente essere definita un film splatter, soprattutto secondo i canoni odierni, La maschera di Frankenstein all'epoca generò molto clamore tanto che la censura inglese creò una specifica classificazione censoria ("X") per esso, imponendo il taglio di alcune inquadrature e definendo l'opera di Fisher "repellente".

La versione della Hammer del mito di Frankenstein differisce rispetto a quella Universal sotto diversi aspetti salienti. Innanzitutto i film della Hammer sono a colori anziché in bianco e nero, garantendo così un maggior realismo e la possibilità allo spettatore di immedesimarsi nella storia senza per questo perdere in atmosfera; inoltre, per la prima volta il Barone Frankenstein viene assistito da uomini giovani di intelletto superiore piuttosto che da criminali deformi (come il gobbo Fritz nel film del 1931 e nei suoi sequel). Tutto il film è incentrato sulla figura del Barone Frankenstein, e l'orrore non deriva dall'aspetto mostruoso di Christopher Lee nei panni della creatura (un make-up molto inferiore rispetto a quello ideato da Jack Pierce per Boris Karloff nel film Universal del 1931), ma piuttosto dalla follia del dott. Frankenstein stesso, amorale, indecente e malvagio, disposto a tutto al fine di raggiungere il suo scopo al punto di trasformarsi in un assassino per procurarsi gli organi che gli occorrono. Il mostro del film di Fisher è quindi Frankenstein e non la sua creatura, deforme, incatenata al muro e quasi sempre in secondo piano rispetto al suo creatore.

La pellicola riscosse un grande successo di pubblico e fu un trionfo finanziario che generò incassi 70 volte maggiori rispetto ai costi di produzione.

Quando la pellicola uscì nei cinema per la prima volta, La maschera di Frankenstein sconvolse ed oltraggiò parecchi recensori. Dilys Powell del The Sunday Times scrisse che "tali produzioni rendevano impossibile difendere il Cinema dal processo di decadimento che stava affossandolo", mentre il opinò di come il film fosse "deprimente e degradante per chiunque amasse il Cinema". A colpire soprattutto i critici furono gli aspetti horror dell'opera, ritenuti per i canoni dell'epoca eccessivamente splatter, effetto aumentato inoltre dalla presenza del colore (emblematica a tal proposito la scena nella quale Krempe spara in un occhio al mostro provocando una copiosa fuoriuscita di sangue). Tuttavia, il film riscosse un grande successo al botteghino e divenne molto popolare presso il pubblico, ed oggi viene riconosciuto come un classico lodato ed ammirato da registi come Martin Scorsese e Tim Burton che ammisero l'influenza esercitata dall'opera sui propri lavori.

Il film ha ricevuto, sul sito Rotten Tomatoes, un indice di gradimento dell'85%.

La versione cinematografica originale del film venne tagliata dalla British Board of Film Classification per rimuovere il primo piano di bulbi oculari asportati visti attraverso una lente d'ingrandimento. Un'altra scena che riguardava una testa mozzata e sciolta nell'acido fu filmata ma mai montata. In tempi recenti il film è stato rimasterizzato in digitale e restaurato, con la reintroduzione dell'inquadratura dell'occhio asportato (assente dalle copie per il mercato americano), ma non quella della testa sciolta nell'acido, andata persa.

A questo film seguirono altri 6:

A differenza dei film Universal su Frankenstein degli anni trenta e quaranta, nei quali il personaggio del mostro era la figura centrale e ricorrente, nella serie Hammer il protagonista indiscusso è il Barone Victor Frankenstein. Peter Cushing interpretò il ruolo del Barone in tutti i film tranne ne Gli orrori di Frankenstein, che altro non era se non un remake dell'originale ( La maschera di Frankenstein) girato con maggior piglio umoristico, e con attori più giovani come Ralph Bates e Veronica Carlson.

Riferimenti all'opera in altri media

Un adattamento letterario del film venne scritto da John Burke come parte del suo libro del 1966 The Hammer Horror Film Omnibus.

La famosa inquadratura di Peter Cushing che guarda attraverso una lente d'ingrandimento (con l'occhio enormemente ingrandito dalla lente) è stata parodiata nel film Top Secret! del 1984.

In Italia, il film è stato distribuito per la prima volta in formato DVD dalla Sinister Film in collaborazione con CG Home Video nel dicembre 2013. Tra i contenuti extra si trovano il trailer originale, una presentazione del film a cura dello scrittore e critico Luigi Cozzi, e uno speciale dedicato al film intitolato The World of Hammer: The Curse of Frankenstein.

1. ^ Rigby, Jonathan,, English Gothic: A Century of Horror Cinema, Reynolds & Hearn Ltd, 2000, ISBN 1-903111-01-3.

2. Hammer film site ^ Copia archiviata , su blog.hammerfilms.com. URL consultato il 28 giugno 2012 (archiviato dall'url originale il 16 luglio 2012). retrieved 28 giugno 2012

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La maschera di Frankenstein ( The Curse of Frankenstein) è un film del 1957 diretto da Terence Fisher. Il film è un remake di Frankenstein del 1931 ed è il primo di una serie che la casa cinematografica britannica Hammer Film Productions dedicò al capolavoro letterario di Mary Shelley.

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When Mary Wollstonecraft Shelley published her novel 200 years ago, she could not have imagined the liberties that would be taken with her characters in the future. Published in 1818, Frankenstein was a success and became so popular that the character of Frankenstein's monster became a well-known image even in the 1800s. "Everybody, or nearly everybody, has heard of the novel of 'Frankenstein,'" declared an article from 1899.

But, as the article notes, even by 1899 the line between Dr. Frankenstein and his monster had blurred. The monster was becoming known as Frankenstein. Early cinema brought the character vividly to life, solidifying "Frankenstein" as the monster in the minds of people, taking the character from the context of the novel and putting him into new situations of horror. In 1935, he even gained a love interest as the "Bride of Frankenstein" was released.

Frankenstein as a character has been portrayed in so many different ways in comic books that it is hard to believe they refer to the same creature. While there have been some comic book representations that have tried to stay true to Shelley's original monster, they are few and far between.

Often in comic books, as it has been in film and many other cultural references, Frankenstein is seen as part of a monster mash-up. Either Frankenstein is set against his fellow monsters, such as Dracula, or he travels with them as a pack.

Speaking of mash-ups, Frankenstein is a popular monster for superheroes to fight, especially this time of year. Who can resist the thought of their favorite superhero taking on one of the most iconic monsters of all time? Frankenstein has fought Batman, Ironman, the Hulk, and Captain America, just to name a few.

But Frankenstein has been re-imagined as more than just a typical monster or villain. There have been female Frankenstein characters and futuristic cyborg monsters that continue the story of a pieced-together creature with a tortured soul. Frankenstein has even taken a turn at being a superhero himself!

Do you have a favorite Frankenstein story or comic book depiction? Don't miss seeing these comic books and more displayed in the Newspaper & Current Periodical Reading Room! And don't miss "Frankenreads," a live reading of Frankenstein in its entirety, at the Library of Congress and online, October 31 st: //www.loc.gov/item/event-393847/

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The Evolution of Frankenstein in Comics and Culture: Monster, Villain, and Hero

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When Mary Wollstonecraft Shelley published her novel Frankenstein 200 years ago, she could not have imagined the liberties that would be taken with her characters in the future. Published in 1818, Frankenstein was a success and became so popular that the character of Frankenstein's monster became a well-known image even in the 1800s.

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Frankenstein junior

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This needs a stretch. (Feel free to remove when satisfied of completion.)
Needed: * History is incomplete.

This article is about the monster from the Scooby-Doo, Where Are You! episode A Gaggle of Galloping Ghosts. For other uses, see Frankenstein's Monster (disambiguation).

Frankenstein's Monster

Reason

To scare people away while he hunted for treasure

Frankenstein's Monster was one of four disguises of Big Bob Oakley.

Physical appearance

He was a humanoid male, with jet black hair and yellow eyes. He had paleish green skin, and always had a scowl. He wore a dark blue coat and pants with a purple shirt underneath and black shoes. He was also rather tall, standing over both Shaggy Rogers and Scooby-Doo.

Personality

Frankenstein's Monster behaved like a drone, relentlessly tracking the gang around Franken Castle. He used his gargantuan size and apparent lack of human will and emotion to terrorize his victims.

Powers and abilities

Scooby-Doo, Where Are You!

He was the third monster to try and scare the gang away from Franken Castle, as Big Bob Oakley was attempting to find the Franken Jewels inside.

Insert details here. (Big House Brouhaha)

Appearances

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Frankenstein's Monster (A Gaggle of Galloping Ghosts)

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This article is about the monster from the Scooby-Doo, Where Are You! episode A Gaggle of Galloping Ghosts. For other uses, see Frankenstein's Monster (disambiguation). Frankenstein's Monster was one of four disguises of Big Bob Oakley. He was a humanoid male, with jet black hair and yellow eyes.

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https://www.netflix.com/it/title/80161335?s=a&trkid=13747225&t=cp&vlang=it&clip=

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The Frankenstein Chronicles | Netflix Official Site

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A detective tracks what seems to be a killer with a taste for dismemberment in 1827 London, but the case leads in a far more terrifying direction. Watch trailers & learn more.

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This needs a stretch. (Feel free to remove when satisfied of completion.)
Needed: * History is incomplete.

This article is about the monster from the Scooby-Doo, Where Are You! episode A Gaggle of Galloping Ghosts. For other uses, see Frankenstein's Monster (disambiguation).

Frankenstein's Monster

Reason

To scare people away while he hunted for treasure

Frankenstein's Monster was one of four disguises of Big Bob Oakley.

Physical appearance

He was a humanoid male, with jet black hair and yellow eyes. He had paleish green skin, and always had a scowl. He wore a dark blue coat and pants with a purple shirt underneath and black shoes. He was also rather tall, standing over both Shaggy Rogers and Scooby-Doo.

Personality

Frankenstein's Monster behaved like a drone, relentlessly tracking the gang around Franken Castle. He used his gargantuan size and apparent lack of human will and emotion to terrorize his victims.

Powers and abilities

Scooby-Doo, Where Are You!

He was the third monster to try and scare the gang away from Franken Castle, as Big Bob Oakley was attempting to find the Franken Jewels inside.

Insert details here. (Big House Brouhaha)

Appearances

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Frankenstein's Monster (A Gaggle of Galloping Ghosts)

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This article is about the monster from the Scooby-Doo, Where Are You! episode A Gaggle of Galloping Ghosts. For other uses, see Frankenstein's Monster (disambiguation). Frankenstein's Monster was one of four disguises of Big Bob Oakley. He was a humanoid male, with jet black hair and yellow eyes.

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Life Without Soul https://g.co/kgs/SV8Nh4

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film di animazione del 2012 diretto da Tim Burton

Frankenweenie è un film d'animazione del 2012 diretto da Tim Burton.

Realizzato in 3D, il film è l'adattamento in stop motion di un cortometraggio omonimo realizzato dallo stesso Burton nel 1984, chiaramente ispirato al romanzo Frankenstein di Mary Shelley. Il film fu candidato ai Premi Oscar 2013 come miglior film d'animazione.

In una cittadina americana del 1931, un giovane appassionato di cinematografia e scienza Victor Frankenstein vive con i genitori Edward e Susan e il cagnolino Sparky nella monotona cittadina di New Holland. Le doti di Victor sono osservate a scuola dai suoi compagni: la vicina di casa Elsa Van Helsing (nipote dell'acido Sindaco Bergermeister), il ragazzino gobbo Edgar, l'obeso e ingenuo Bob, il pretenzioso ragazzino giapponese Toshiaki, il sinistro Nassor e una stranissima ragazzina bionda chiamata Stranella, che possiede un gatto chiamato "Signor Baffino". Victor però ha pochi contatti con loro, essendo troppo preso da Sparky: il padre di Victor allora incoraggia il figlio a iscriversi alla squadra di baseball per farsi nuovi amici e per praticare uno sport; alla partita, Victor riesce a battere uno splendido fuoricampo ma Sparky, inseguendo la palla per la strada, è investito da un'auto e muore sotto gli occhi di Victor.

La morte di Sparky è una grave perdita per Victor, che cade in una profonda tristezza. Poi però, ispirato dagli esperimenti galvanici dell'insegnante di scienze Signor Rzykruski, Victor decide di disseppellire il cadavere di Sparky dal cimitero degli animali e lo porta nel suo laboratorio improvvisato in soffitta; riesce a rianimare il cane sfruttando l'elettricità di un fulmine. Per quanto euforico dal ritorno dell'amato cagnolino, Victor pensa che non sia ancora il momento di rivelare il ritorno di Sparky ai genitori e decide di tenerlo nascosto in soffitta. Il giorno seguente però, Sparky esce dall'attico per inseguire Signor Baffino, causando qualche danno nel quartiere finché non è notato da Edgar, il quale chiede a Victor di insegnargli come resuscitare i morti, minacciandolo, in caso contrario, di rivelare a tutti il suo segreto. Pur di tenere nascosta l'esistenza di Sparky, Victor acconsente e i due rianimano un pesce rosso, che inspiegabilmente diventa invisibile.

Venendo a conoscenza del pesciolino invisibile di Edgar, Toshiaki e Bob temono di non riuscire a vincere la gara di scienze della fiera annuale, e così Toshiaki prova a far volare Bob con un rudimentale jetpack improvvisato con delle bottiglie di bibita frizzante, ma fallisce e Bob cade giù dal tetto, rompendosi un braccio. Questo episodio fa scaturire astio fra gli adulti della cittadina e il Signor Rzykruski è accusato di influenzare negativamente i bambini con i propri insegnamenti. Il discorso che Rzykruski recita in propria difesa è scambiato per una minaccia, quindi viene licenziato e rimpiazzato dall'insegnante di ginnastica. Victor parla col professore prima della partenza chiedendogli sul perché il suo esperimento al secondo tentativo abbia riscontrato un effetto diverso e lui gli spiega che la scienza non è solo una cosa che deve essere compresa con la testa, ma anche con il cuore, solo così si può diventare un grande scienziato. Victor ammette che il primo tentativo per riavere indietro Sparky è stato dovuto ad un atto d'amore e dal desiderio di riavere il suo amico, ma che al secondo tentativo per riportare in vita il pesce di Edgar, aveva paura che qualcosa andasse male e che il suo desiderio era di smettere prima che finisse: il professore afferma quindi che la variabile è stata modificata e da questa deriva l'effetto diverso dell'esperimento.

Il pesciolino invisibile di Edgar scompare quando questi cerca di convincere i compagni di classe, e il ragazzino rivela accidentalmente le azioni di Victor, ispirando gli altri a sperimentare la rianimazione per conto proprio. Nel frattempo i genitori di Victor scoprono con gran stupore che Sparky è vivo, ma, in mezzo alla confusione e allo spavento, il cagnolino fugge di casa. Mentre Victor e i suoi genitori partono alla ricerca del cane, Edgar, Nassor, Bob, Toshiaki e Stranella si intrufolano nel laboratorio di Victor e apprendono i suoi studi per la rianimazione. Il gruppo decide allora di svolgere delle rianimazioni separatamente: Edgar si prepara a rianimare un ratto morto trovato nella spazzatura, Nassor il suo criceto mummificato "Colossus", Toshiaki la sua tartarughina morta Shelley, Bob un pacco di Scimmie di mare scaduto e Stranella un pipistrello morto. Dopo aver fulminato i corpi, i ragazzini tramutano, senza volerlo, a causa dei loro sentimenti di competizione, gli animali morti in mostri: il ratto di Edgar diventa un ratto mannaro, Shelley diventa un enorme mostro simile a Gamera, le Scimmie di mare di Bob diventano dei mostriciattoli anfibi simili a Gremlins e il Signor Baffino, che teneva in bocca il pipistrello di Stranella mentre veniva elettrificato, si tramuta in un mostruoso gatto- vampiro. I mostri terrorizzano il gruppo (meno Stranella) e si dirigono verso la fiera annuale dove finiscono con il seminare caos e distruzione.

Dopo aver ritrovato Sparky vicino alla sua lapide nel cimitero degli animali, Victor vede i mostri assaltare la fiera e corre ad aiutare i suoi compagni: le Scimmie di mare esplodono mangiando dei pop corn molto salati, Colossus viene schiacciato da Shelley, mentre questa e il Ratto Mannaro tornano a essere dei cadaveri dopo essere stati fulminati di nuovo. Nel caos generale, Elsa viene catturata insieme alla sua cagnetta dal Signor Baffino e trasportata nel mulino a vento cittadino. Il sindaco e i cittadini accusano ingiustamente Sparky e lo inseguono fino al mulino, al quale il sindaco appicca il fuoco inavvertitamente. Victor allora irrompe nello stabile per salvare Elsa e Sparky, il quale si scontra accanitamente contro Baffino. Elsa e Victor riescono a salvarsi, mentre Baffino viene ucciso da una trave di legno incandescente, ma prima che Sparky possa uscire, l'edificio gli crolla addosso e muore un'altra volta.

I cittadini, impietositi per la morte del cagnolino, decidono di premiare Sparky per il suo coraggio connettendo i suoi elettrodi alle batterie delle loro macchine per rianimarlo di nuovo. L'esperimento ha successo e alla fine Persefone, la barboncina di Elsa, raggiunge Sparky, e i due cani si innamorano.

Riguardo alla realizzazione del progetto, Burton ha affermato che si tratta di un "qualcosa di molto personale" nel quale ha cercato di mantenere inalterato il cuore della vecchia versione del 1984, arricchendolo con dinamiche sociali presenti nel mondo dell'infanzia. Il ritorno al passato è inoltre rappresentato dalla scelta dei doppiatori originali ( Martin Landau, Martin Short, Winona Ryder e Catherine O'Hara), tutti attori con i quali Burton non lavorava da tempo.[1]

Il film, prodotto e distribuito dalla Walt Disney Pictures, è stato distribuito nelle sale statunitensi il 5 ottobre 2012,[2] ed in quelle italiane dal 17 gennaio 2013.[3]

Il teaser trailer italiano è stato diffuso il 1º marzo 2012, poche ore dopo quello internazionale e a pochi giorni dall'uscita del poster del film.[4]

Sito ufficiale , su movies.disney.com.

Frankenweenie , su INDUCKS.

Frankenweenie , su Il mondo dei doppiatori, AntonioGenna.net.

(EN) Frankenweenie , su AllMovie, All Media Network.

(EN, ES) FilmAffinity.Frankenweenie , su

(EN) Frankenweenie , su Metacritic, CBS Interactive Inc.

(EN) Frankenweenie , su Box Office Mojo, Amazon.com.

(EN) Frankenweenie , su TV.com, CBS Interactive Inc (archiviato dall'url originale il 1º gennaio 2012).

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film di animazione del 2012 diretto da Tim Burton Frankenweenie è un film d'animazione del 2012 diretto da Tim Burton. Realizzato in 3D, il film è l'adattamento in stop motion di un cortometraggio omonimo realizzato dallo stesso Burton nel 1984, chiaramente ispirato al romanzo Frankenstein di Mary Shelley.

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Giuseppe Iovino

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Videos1

In 1794, in the Arctic Sea, Captain Robert Walton is a man obsessed to reach the North Pole, pushing his crew to exhaustion. When his ship hits an iceberg, it is stranded in the ice. Out of the blue, Captain Walton and his men overhear a dreadful cry and they see a stranger coming to the ship. He introduces himself as Victor Frankenstein and he tells the Captain the story of his life since he was a little boy in Geneva. Victor is a barilliant student, and in love with his stepsister Elizabeth, an orphan that was raised by his father Baron Victor von Frankenstein. In 1793, Victor moves to Ingolstadt to study at the university, and he promises to get married to Elizabeth. At the university, Victor befriends Henry Clerval, who becomes his best friend. Victor gets close to Professor Waldman and decides to create life to cheat death, but Waldman advises him that he should not try this experiment, since the result would be an abomination. When Waldman dies, Victor steals his notes and tries to create life. He succeeds and gives life to a strong Creature, composed of parts of deceased people. However, he realizes that his experiment is a mistake and he abandons the Creature, expecting that it will die alone. However the Creature survives and learns how to read and write, but he is a monster rejected by society and his own creator. The Creature decides to seek revenge from Victor by killing everyone he loves. - Claudio Carvalho, Rio de Janeiro, Brazil

What is the Japanese language plot outline for Frankenstein (1994)?

Answer

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Mary Shelley's Frankenstein (1994) - IMDb

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Mary Shelley's Frankenstein: Directed by Kenneth Branagh. With Robert De Niro, Kenneth Branagh, Tom Hulce, Helena Bonham Carter. When the brilliant but unorthodox scientist Dr. Victor Frankenstein rejects the artificial man that he has created, the Creature escapes and later swears revenge.

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James McAvoy and Daniel Radcliffe star in a dynamic and thrilling twist on a legendary tale. Radical scientist Victor Frankenstein (McAvoy) and his equally brilliant protégé Igor Strausman (Radcliffe) share a noble vision of aiding humanity through their groundbreaking research into immortality. But Victor's experiments go too far, and his obsession has horrifying consequences. Only Igor can bring his friend back from the brink of madness and save him from his monstrous creation. - 20th Century Fox

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Victor Frankenstein: Directed by Paul McGuigan. With Daniel Radcliffe, Jessica Brown Findlay, Bronson Webb, James McAvoy. Told from Igor's perspective, we see the troubled young assistant's dark origins, his redemptive friendship with the young medical student Viktor Von Frankenstein, and become eyewitnesses to the emergence of how Frankenstein became the man - and the legend - we know today.

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https://www.netflix.com/it/title/70220028?source=35
https://theboar.org/2015/11/is-mary-shelleys-frankenstein-still-scary/

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House of Frankenstein: Directed by Erle C. Kenton. With Boris Karloff, Lon Chaney Jr., J. Carrol Naish, John Carradine. A deranged scientist escapes from prison and recruits Dracula, Frankenstein and the Wolf Man to get revenge on his behalf.

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Dr. Frankenstein and his monster both turn out to be alive, not killed as previously believed. Dr. Frankenstein wants to get out of the evil experiment business, but when a mad scientist, Dr. Pretorius, kidnaps his wife, Dr. Frankenstein agrees to help him create a new creature, a woman, to be the companion of the monster. - John Oswalt <jao@jao.com>

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The Bride of Frankenstein: Directed by James Whale. With Boris Karloff, Colin Clive, Valerie Hobson, Ernest Thesiger. Mary Shelley reveals the main characters of her novel survived: Dr. Frankenstein, goaded by an even madder scientist, builds his monster a mate.

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Young Frankenstein is a 1974 film directed by Mel Brooks and starring Gene Wilder . The screenplay was also written by Brooks and Wilder and focuses on a descendant of Victor Frankenstein, extending the story told in the novel by Mary Shelley into present day. As such, the film is a parody of the horror film genre in general, being shot in black and white and using many techniques reminiscent of the 1930s filmmaking of the iconic Universal films. Young Frankenstein also references many of the other film adaptations and stage productions of Frankenstein.

Dr. Frederick Frankenstein (Gene Wilder) is a direct descendant of the infamous Baron Von Frankenstein. It is obvious, however, that he wants to distance himself from this legacy: he insists that his name be pronounced "Fronk-en-steen." While lecturing at an American university, Frederick instructs the students that there is no way to generate life after nerves are severed. The work of his grandfather, he says, was simply "the nonsensical ravings of a lunatic mind." Further, he asserts that "my grandfather's work was doodoo!" He claims to be unconcerned with death. After Frederick's lecture, he is confronted and informed by Herr Falkstein (Richard Haydn) that he has inherited his family's Transylvania estate and must travel there immediately.

Upon his arrival, Dr. Frankenstein meets Igor, pronounced

"Eye-gore," his hunchback servant, and Inga, his beautiful assistant. At the castle, he meets the frightening housekeeper, Frau Blücher. Soon, Dr. Frankenstein discovers a secret entrance into his grandfather's laboratory, where he finds a book written by his grandfather entitled, How I Did It, by Victor Frankenstein. Dr. Frankenstein, along with his sidekicks, and driven by a curiosity about his grandfather's work, begins to experiment with creating life. Stealing the body of a hung criminal, Dr. Frankenstein begins to recreate and improve upon his grandfather's legacy. Igor, entrusted with the task of procuring the brain of the famed historian, Hans Delbrück, drops the container holding the brain, damaging it beyond use. Instead, he takes the abnormal brain, assumed to be the brain of a criminal. Dr. Frankenstein is successful in his experiment and "The Monster" is brought to life. Hilarity ensues as the rest of the film portrays Dr. Frankenstein and his sidekicks, along with Inspector Kemp and a group of angry villagers, trying to contain "The Monster" who only wants to be loved, hates being mocked, and will only be soothed by the melancholy music of the violin. All ends well as Dr. Frankenstein succeeds with a partial "transference" meant to switch the brains of himself and "The Monster" in order to make "The Monster" more human. Dr. Frankenstein then marries Inga, and "The Monster" marries Elizabeth, Dr. Frankenstein's ex-fiancé.

Major Themes

Family Legacy

From the opening scene of Young Frankenstein, the audience understands that the young Dr. Frankenstein is not proud of his grandfather's reputation as a dangerous mad scientist. He insists on having his name pronounced "Fronk-un-schteen" in order to further separate himself from his grandfather's legacy.

After he arrives in Transylvania at his inherited castle, the young Dr. Frankenstein begins to be drawn into his grandfather's world. He discovers his grandfather's library and laboratory, which further fuel his curiosity about his grandfather's studies and experiments. Dr. Frankenstein begins to feel a connection to his grandfather and decides to carry out the experiment of creating life from dead tissue. In this sense, the young Dr. Frankenstein takes on the persona of his grandfather. He steals a dead body and a brain, and using his grandfather's lab equipment, he creates "The Monster." Dr. Frankenstein succeeds at the very thing his grandfather originated.

When things start to go awry and "The Monster" becomes too much to handle, Dr. Frankenstein vows to fix "The Monster" by making him feel he is loved. He locks himself in a room with "The Monster," and after convincing "The Monster" of his goodness, the two perform a hilarious duet of "Puttin' On the Ritz" in which "The Monster" is only able to grunt the punch line. However, they are unable to carry out their performance as a flame near the stage frightens "The Monster." He becomes enraged and is captured by police. He escapes and is subsequently captured by Dr. Frankenstein and taken back to the laboratory to complete transference of his brain with "The Monster's" in order to save "The Monster." Dr. Frankenstein realizes that he could possibly lose his life by helping "The Monster," but is willing to do so. In this regard, the young Dr. Frankenstein succeeds where his grandfather failed. He is able to create a creature from the dead and make him good-natured.

By the end of the film, Dr. Frankenstein has embraced his name and begins to pronounce it correctly. Through this gesture, the audience realizes that the young Dr. Frankenstein has fully accepted his family name and is no longer ashamed of his grandfather's legacy.

As is the case in most Frankenstein films and adaptations, science plays a major role in the plot of Young Frankenstein. When the film begins, we meet Dr. Frederick Frankenstein who is a physician and professor at a medical school. He is also the grandson of the infamous Victor Frankenstein. With his medical knowledge of science and his family connection, the young Dr. Frankenstein is well equipped to take on his grandfather's experiments.

Dr. Frankenstein is able to make good use of his grandfather's laboratory, along with his servant, Igor, and his assistant, Inga. When the audience sees the laboratory, it's bubbling potions, churning, and generating electricity. Dr. Frankenstein and his sidekicks begin carrying out the experiment of Dr. Frankenstein's grandfather in order to bring about a living creature. In a comedic interpretation of the famous laboratory scene from James Whale's classic Frankenstein, the three work tirelessly to successfully wake "The Monster." In order to attract electricity, Igor humorously stands on the roof flying a kite, in homage to the legend of Benjamin Franklin and his discovery of harnessing electricity. When the monster is awakened, Dr. Frankenstein mimics Whale's Dr. Frankenstein exclaiming, "Alive! It's Alive! It's Alive!"

The young Dr. Frankenstein is not only able to bring "The Monster" to life; he is also able to complete transference between himself and "The Monster" in order to save his creation. When the characters re-emerge, they both contain some of each other's qualities: "The Monster" is able to intelligently converse with others and take part in relationships and Dr. Frankenstein finds himself "well-endowed."

While none of the science depicted in the film is realistic, it still places emphasis on the importance of science and discovery, while keeping the audience's imagination active and engaged.

Love and Acceptance

The themes of love and acceptance are common throughout most Frankenstein adaptations. Most of the characters in Young Frankenstein are searching for love and acceptance in one way or another. Frederick Frankenstein, at the beginning of the film, seeks to rid himself of the Frankenstein legacy, and in turn gain acceptance from the public. He also seeks the acceptance of his fiancé, Elizabeth, who will barely let him touch her in any way for fear of tarnishing her appearance.

However, rather than gaining public love and acceptance, Dr. Frankenstein obtains these through his hard work and new relationships with Igor and Inga. It becomes apparent that Inga, as well, is waiting to be accepted and loved by Dr. Frankenstein, spending most of the film brushing up against him seductively and mistaking his dialogue for sexual innuendos. By the end of the film, after Elizabeth falls for "The Monster," the audience finds that Dr. Frankenstein and Inga are happily together.

"The Monster" also seeks love and acceptance. He is upset by the way that he is perceived by others. He is constantly chased and chained, wishing only to get away and find peace with someone who will accept him. At one point, he finds peace with a little girl he meets beside a well, an obvious nod to James Whale's classic Frankenstein (1931). "The Monster" again finds love and acceptance when Dr. Frankenstein convinces him that he is loved. The audience sees "The Monster" smile as Dr. Frankenstein builds up his character and tells him of his goodness. Even though Dr. Frankenstein's exhibit of and performance with "The Monster" does not end well, for a moment "The Monster" has found love and acceptance with Dr. Frankenstein and the audience at the exhibit.

"The Monster" later finds love and acceptance in Elizabeth. When she finds "The Monster" to be well endowed sexually, she falls completely in love with him. Their relationship endures even after transference between "The Monster" and Dr. Frankenstein, as the movie ends depicting the happy marriages.

By the end of the film, both Dr. Frankenstein and "The Monster" have accepted themselves and have found love and acceptance through their relationship to each other and their spouses.

When Young Frankenstein opened in 1974, it was to high critical acclaim. Audiences loved the comedic film and it was nominated for several awards. Included in its nominations in 1975 were two Academy Awards; one for Best Sound, and the other for Best Writing Adapted Screenplay. The film was also nominated for two golden globes in 1975, including one for Best Actress for Cloris Leachman, who played Frau Blücher, and one for Best Supporting Actress for Madeline Kahn who played Elizabeth. The film won a Hugo Award for Best Dramatic Presentation in 1975, and a Golden Screen Award in 1977.

Significance of Adaptation

references many other films in the long history of Frankensteinadaptations and appropriations. Being shot in black and white, the film references the iconic Universal films of the 1930s, Young Frankenstein Frankenstein (1931)and Bride of Frankenstein (1935). Further, the original equipment from Frankenstein is used, making the creation scenes look very familiar; Kenneth Strickfaden, the designer of the equipment, is thanked in the opening credits for these props.

Beyond simply looking similar, Brooks recreates several scenes that evoke previous films and theatrical interpretations. The scene in which Igor collects the brain for Frederick's monster is quite similar to the one in the 1931 film in which Fritz ruins the normal brain and instead takes the abnormal one. Young Frankenstein directly recreates the blind man scene from Bride of Frankenstein, but clearly parodies it as the man spills hot soup in the monster's lap and accidentally lights his thumb on fire instead of the cigar. The scene in which the monster dances to "Puttin' on the Ritz" references Victorian era burlesque stage adaptations of Frankenstein. The famous line, "It's alive!" is maintained, a mainstay in nearly every Frankenstein film.

While Young Frankenstein obviously seeks to parody the James Whale films, it does so in a manner that does not detract from or insult them. The quick and witty dialogue keeps the audience engaged in the hilarious comedy while also bringing the character of Frankenstein to new audiences who may have been too young to appreciate Whale's pieces or to read Mary Shelley's novel. Almost every word of dialogue is a punch line and the comedy is exceptional throughout.

Part of the success of Young Frankenstein can be attributed to Gene Wilder and Mel Brooks' previous cinematic success, primarily in comedy. The two were some of the most revered comic minds at the time of the film's release and any movie created by the pair was sure to gain substantial notoriety. Brooks and Wilder were able to take an old character from Shelley's novel and Whale's films, which was meant to be feared, and make audiences instead fall in love with him, feel sorry for him, and laugh at the same time.

Hitchcock, Susan Tyler. Frankenstein: A Cultural History. New York: W.W. Norton, 2007. Print.

Jones, Kenneth. "Puttin' on the Glitz: Young Frankenstein, the Musical, Opens in Seattle." Playbill. Playbill.com, 23 Aug. 2007. Web. 25 Nov. 2013.

Lacher, Irene. "The Sunday Conversation: Mel Brooks on His 'Young Frankenstein' Musical." Los Angeles Times 1 Aug. 2010. Web. 26 Nov. 2013.

Wilder, Gene. Kiss Me Like a Stranger: My Search for Love and Art. New York: St. Martin's, 2005. Print.

Young Frankenstein . Dir. Mel Brooks. Perf. Gene Wilder, Peter Boyle, Teri Garr, Marty Feldman, and Madeline Kahn. Twentieth Century Fox, 1974. DVD.

"Young Frankenstein." IMDb. IMDb.com, n.d. Web. 25 Nov. 2013.

Contributed by Leighann Dicks

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Young Frankenstein is a 1974 film directed by Mel Brooks and starring Gene Wilder . The screenplay was also written by Brooks and Wilder and focuses on a descendant of Victor Frankenstein, extending the story told in the novel by Mary Shelley into present day.

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https://www.repubblica.it/spettacoli/cinema/2018/11/25/news/frankenstein-212589567/amp/

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'Frankenstein', ritrovato il primo film del 1910: il mostro nasce da un pentolone

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Il primo adattamento cinematografico di Frankenstein, il romanzo di Mary Shelley pubblicato per la prima volta duecento anni fa, nel 1818, non è quello famosissimo girato nel 1931 da James Whale. Esiste infatti un'opera antecedente, che risale al 1910, e che la Biblioteca del Congresso degli Stati Uniti ha restaurato e reso disponibile su YouTube per la gioia di tutti i fan del dottor Frankenstein e della sua Creatura.

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National Theatre - The learning resource with links

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National Theatre - The learning resource with links

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Download it to help you study Frankenstein

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An incredibly powerful performance by Benedict Cumberbatch and Johnny Lee Miller who would exchange roles (Dr Frankenstein and the Creature) every night.

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By Nick Dear, based on the novel by Mary Shelley

30 April to 8 May 2020
Running Time: 2 hours

A hell of a production.
The Times

A thrill... the most viscerally exciting and stunning show in town.
Daily Telegraph

The actors complement each other perfectly.
Guardian

It's stylish, ambitious and looks astonishing.
Evening Standard

National Theatre at Home: Frankenstein

Filmed live in 2011 from the stage of the National Theatre in London, this thrilling, sold-out production became an international sensation, experienced by more than 800,000 people in cinemas around the world.

Directed by Academy Award®-winner Danny Boyle ( Trainspotting, Slumdog Millionaire), this production of Frankenstein sees Benedict Cumberbatch (Doctor Strange, Hamlet, Sherlock) and Jonny Lee Miller ( Elementary, Trainspotting) alternating between the roles of Victor Frankenstein and his creation.

Childlike in his innocence but grotesque in form, Frankenstein's bewildered creature is cast out into a hostile universe by his horror-struck maker. Meeting with cruelty wherever he goes, the increasingly desperate and vengeful Creature determines to track down his creator and strike a terrifying deal.

This filmed performance is recommended for ages 12 and up. This recording has been adjusted for YouTube.

The premiere of both versions of Frankenstein took place on National Theatre's YouTube channel on 30 April and 1 May 2020.

Frankenstien is now available to watch on National Theatre at Home
If you're a customer in the UK and Ireland these plays are available to watch on Prime Video as part of the Great British Theatre series with an Amazon Prime Subscription. Find out more here.

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We're all about experiencing theatre together.
At a time when many theatre fans around the world aren't able to visit National Theatre Live venues or local theatres, we're excited to bring you National Theatre at Home.

Both versions of Frankenstein were made available to watch on the National Theatre's YouTube channel:
Benedict Cumberbatch performing as the creature from 30 April at 7pm, to 7 May at 7pm.
Jonny Lee Miller performing as the creature from 1 May at 7pm, to 8 May at 7pm.

Some of the best British theatre was free to watch from the comfort of your living room, via YouTube, with each title available for one week.

Thank you to all the amazing artists who have allowed us to share Frankenstein in this way, during a time when many theatre fans aren't able to visit their local theatre.

Benedict Cumberbatch and Jonny Lee Miller each took on two roles for the monster hit production of Frankenstein. But what was it like, alternating characters each performance? Danny Boyle (director), Nick Dear (playwright) and the actors reveal all.
More info

Academy Award®-winner Danny Boyle (Slumdog Millionaire, Trainspotting) tells us about directing Nick Dear's stage adaptation of Mary Shelley's thrilling and deeply disturbing classic tale, Frankenstein.
More info

Frankenstein production gallery

Production photos of Frankenstein by Catherine Ashmore

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30 April to 8 May 2020 Running Time: 2 hours A hell of a production. The Times A thrill... the most viscerally exciting and stunning show in town. Daily Telegraph The actors complement each other perfectly. Guardian It's stylish, ambitious and looks astonishing.