Mary Shelly’s Frankenstein Essay

The director has made it clear to the audience that the film get out be about life and death by having a statue of the Nazarene almost toppling over, next to a large figure of the grim reaper signifying death. When Frankenstein is digging the grave up, he throws dirt over the statue, perhaps representing how he has no respect for death. The props and costumes are employ reflect the saddle horse and atmosphere. Dr. Frankensteins clothes differ from the rest of the cast, wearing a cravat and exsanguinous shirt the director may have done this to represent his high status in society, compa departure to the mourners or Frankensteins hunchback assistant.In Branaghs film the costumes are all very similar, they play no major part in the first four minutes studied. However they jockstrap to keep in with the mono colour of the ice and pale faces. These monotonic colours create a stark and dramatic line to the saucy red blood which comes on screen when the monsters tump over drama tically appears. The make up worn by the characters in titans film is heavy, pronounced and very internal representation designed so that people in the theatre could probe the faces from far away, but on camera it looks exaggerated and over the top.Branagh has used make-up subtly and realistically, creating red cheeks to show cold conditions alongside messy hair and unshaven faces to represent the length of time since the characters have been near civilization. track downs theatrical past suggests why all the facial expressions and movements are prominent and exaggerated. Although Branagh similarly has a distinguished history in theatre, goliath was working in the beginnings of Hollywood when cinema was portrayed much corresponding theatre on screen.In the first neighboring ups of Fritz and Frankenstein they are both wide-eyed which connotes stereotypical mad scientists and both characters creep around the graveyard with dramatic demo whispers. The facial expressions and e motions in Branaghs Frankenstein are far less unmistakable and it is due to this fact that there is a lot more deviate in emotion over a short space of time. During a few minutes, the expressions of one character alterd from fear, to pride, to concentration and hence anger. This emotion change is slightly exaggerated to let the audience engage and empathize with the characters. one and only(a) way that Branagh lets the audience use their imagination is by his use of view within the frame. Most cerebrovascular accidents are very closely cropped to the faces so that we send word see expressions clearly. However, when the monster was killing the dogs, Branagh cleverly clipped the shots so that the misgiving could be continued and prolonged. This method of positioning is a big contrast to Whales. Most of the shots in his version are mid or long and there are very few point-of-view or close ups. This is partly due to the lack of technology and experience.Branagh may have used mo re adventurous and interesting angles but he has had 60 long time of Hollywood to look back on Whale was at a huge disadvantage in this respect and this should of course be considered when decision making who is the better director. Whale did try and be adventurous in any(prenominal) respects he used an effective high angle shot towards the end of the four minutes, it showed Fritz and Frankenstein walking towards the gallows, which heightened the feeling of a change of setting, and it clearly showed the rocky landscape, which also increased the sense of fear.Whale has placed the characters so that they were very central within the frame. The camera sticks to the deed and follows it, much like if one were watching a play, a method most believably influenced by Whales history in theatrical directing. Branaghs editing is a great deal faster than Whales so this gives him more scope to change the camera angles. However, the reason for this unlikeness in speed could be down to the s ettings of the expositions, not effectiveness of directing.Branaghs film begins in a chaotic storm with lots of operation, whereas Whale tries to connote sense of fear and slow eeriness. Branagh tries to create an emotional impact and haves it for granted that the audience will understand and follow the action, whereas Whales path is more conventional and his editing is used for practical purposes and to see the setting and to follow the action. As an audience in the 20 and twenty-first century, we are so used to the conventional shock tactics, that we fail to take into account their effect in older films, such as Whales Frankenstein.Although aspects of Whales production may seem date to todays audience, theres an atmosphere present that would be hard to re-create, even with technological advances. Kenneth Branaghs Frankenstein, for all its use of neo technology, lacks the atmospheric build up that Whales seems to have. Whales film is more like the nineteenth century novel his style suits the slow unveiling of narrative, as in the book, whereas Branagh conveys a sense of action and fast moving suspense to satisfy the ever-demanding audience.The fast moving action means that Branagh has not had a chance to build up a sense of fear everything is over dramatized and with a very fast pace. Although Branagh has hence created an atmospheric build up, using all the modern technology available, jam Whales Frankenstein has stood the test of time and, although it was directed 63 years before Branaghs, has used the most effective techniques available to build up an atmosphere of tension and fear.If an audience of today find Whales directing more or equally effective than Branaghs then imagine how well it would have worked on audiences unaccustomed to this level of evil within a film. 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