THE AFRICAN QUEEN, 1910
Starring: Mary Fuller, Charles Ogle, Augustus Phillips,
Frankenstein, a young medical students, trying to create the perfect human being, instead creates a misshapen monster. Made ill by what he has done, Frankenstein is comforted by his fiancée but on his wedding night he is visited by the monster. A fight ensues but the monster, seeing himself in a mirror, is horrified and runs away. He later returns, entering the new bride's room, and finds her alone.
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Before Boris Karloff made this monster a picture legend, there was this 1910 film. Which could be considered as the first cinematic interpretation of Mary Shelly's novel.
The story follows a scientist named Dr. Frankenstein who has discovered how to create life. His intentions are to create something good for human nature. But, the evil in his mind overtakes him to instead create a monster.
By today's standards, this movie is really short. It only lasts up to 13 minutes. But back then all movies had a running time of up to 50 minutes max.It is really hard to entertain an audience for so long when there is no dialogue or sounds other than a piano throughout the whole movie.
The creation scene was interesting with some pretty good effects, and maybe even a bit explicit for that period. The scene starts with the building of the bones, then to some tissue, to organs, and slowly getting more shape to the monster. The music in this scene works well and adds up to the enjoyment.
I liked the use of mirrors throughout the movie as a tension builder. With this element, there was one take that caught my eye. It was the last mirror scene where Dr. Frankenstein is standing in front of the mirror and the monster is reflecting. It was quite impressive how they make you assume that maybe Dr. Frankenstein himself might be the real monster.
One thing I heard about this movie was that this film had been declared lost. No trace of the only copy. But thanks to LuckyStrike502 for finding it and posting it on youtube for the world to see this unique piece of antique. Now, (as James Rolfe says) if somebody could only find the copy of London After Midnight, the balance of horror history can be restored.