The Bride (of Frankenstein/Sting)

The Bride Season 2 Episode 6 of The Frankenpod

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As it’s our podcast anniversary we thought it might be nice to return to our origins. But not Frankenstein and his creature but the potential second creature. The woman who raises so many issues of consent, possibly the most culturally visible character to be born out of a few short chapters of a book!

It’s The Bride!

She exists in Mary Shelley’s novel Frankenstein as an ambiguous collection of anatomical parts that are destroyed before she can even achieve personhood. Victor Frankenstein’s creature pressures him into creating a female from the dead just like him. When Frankenstein begins to speculate on the additional damage that a female creature could cause his concerns fall into two major categories

  1. Procreation
  2. The one that most movies featuring the female creation explore her rejection of the original creature

As a result of these fears Victor destroys his second creation in front of his first, which is the final straw for the creature, this is when he vows to be with Victor Frankenstein on his wedding night.

And we never see the female creature again.

She is all potential. And that is what she remained until relatively recently. It wasn’t until the 1930s that James Whale delivers The Bride of Frankenstein and Elsa Lancaster’s brilliant performance gives us the bride as we typically view her today despite various reenvisionings and reimaginings.

This episode we are going to talk about not only the 1935 classic universal monster movie The Bride of Frankenstein but one of those reimaginings. The 1985 movie The Bride starring Jennifer Beals, Clancy Brown and Sting.

Now back to 1935 and The Bride of Frankenstein introduces a framing narrative that we never return to which is Mary Shelley played by Elsa Lanchester telling the rest of the story that happens after the conclusion of her novel Frankenstein to a very camp Byron and Percy Shelley. On a dark and stormy night no lass

The actual story then kicks off at the end of the original 1931 movie Frankenstein. In fact, we have a scattered reframing of the end of Frankenstein to retroactively suit their purposes.

A character named Dr Pretorius calls upon the recovering Frankenstein who has been renamed appropriately Victor as in the book if you remember in the 1931 movie Frankenstein was called Henry.

The creepy doctor Pretorius has a proposition for the young doctor. One last big experiment. A collaboration.

Pretorius also has little people in jars… it’s a whole thing.

Frankenstein’s wife Elizabeth is. Not. Into. This. And she makes this absolutely clear by talking about ominous premonitions.

Meanwhile, the creature who unexpectedly survived goes on a rampage killing the rest of the family of the little girl who was killed in the original movie and others.

He fled the township

He then made a friend in an old blind fiddler who does not judge him on his appearance and teaches him language. Their domestic bliss is interrupted by some hunters who are lost and raise the alarm that the murderous monster responsible for deaths in the township.

Pretorius befriends the creature as he is collecting the parts for a female creature. He tells the creature that this female creation will be a friend for him.

The creature then helps Pretorious by kidnapping Elizabeth thereby forcing Frankenstein into their unholy collaboration.

They begin a long process of creation which includes Dwight Frye killing some random woman for her heart. The creature kills Dwight Frye… which is the second time that Frankenstein has killed a Dwight Frye character in as many movies. Elizabeth gets free.

The bride is brought to life.

She rejects the Male creature and in a moment of compassion, he lets Frankenstein and Elizabeth go. Before destroying the laboratory with The Bride, Pretorius and himself still inside.

Guess what. It’s time to talk about Sting.

Yep, the 1985 movie the bride….

For more listen to Season 2 Episode 6 of The Frankenpod, The Bride

The Woman in Black vs. Spider the Wonderdog

‘I ran as I have never run before, heedless of my own safety, desperate to go to the aid of the brave, bright little creature who had given me such consolation and cheer in that desolate spot’

– The Woman in Black, Susan Hill

This episode is on Susan Hill’s ‘The Woman in Black’ and the 2012 Hammer Horror flick ‘The Woman in Black’

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Our promo this week is from the Fataliteas podcast

The Woman in Black is a story In which our hero, Spider the floofy dog, detects a problem… there is also some guy named Arthur Kipps who does a bunch of stuff. But the real story is about one floofy little dog who’s the bravest girl in the whole darn story.

The Woman in Black is a ghost story that centres around the haunting of a house by a creepy, skeletal woman in black. A young solicitor Arthur Kipps gets sent to a creepy place a la Jonathan harker in Dracula. Kipps is sent to settle the affairs of Alice Drablow, a reclusive elderly lady who lives in a creepy house called Eel Marsh which is only accessable at low tide. Once the tide is in you are stuck there with the creepy shadows, ominous noises and scary wildlife. At the nearest town, Crithin Gifford, everyone is sending Kipps some serious don’t-go-to-Eel-Marsh-vibes.

A spectre haunts Eel Marsh, a spectre that lures children to their deaths. There is a lot of child death in this episode. We try not to be too graphic, but if you’ve seen the movie you know that the graphic deaths are a huge part of the story. Not so much in the book. It is an atmospheric gothic horror that Susan Hill crafts drawing from classic horror stories. You can really feel the influence of the Brontës and Henry James in this book.

Apart from the graphic/atmospheric horror another key difference between the book and the movie is the biographical timeline of Mr Kipps. Whether he is a young enthusiastic solicitor looking to make a name for himself, or a greiving widower barely hanging on to his job as a solicitor for the sake of his young child, the Woman in Black has her sights set on Arthur Kipps and she wants revenge

In Cold Blood & Capote – Or why you should never trust a writer…

Welcome to season 2 of The Frankenpod in which we will be looking at Truman Capote and his “literary non-fiction” novel In Cold Blood (1966).

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The media that we focused on included;

  1. The 1966 novel In Cold Blood: A true account of a multiple murder and its consequences by Truman Capote.
  2.  The 2005 film Capote directed by Bennett Miller and starring Phillip Seymour Hoffman in the title role.
  3. The 2011 collection of critical essays Truman Capote and the Legacy of In Cold Blood by Ralph F. Voss.
  4. The 1967 film In Cold Blood directed by Richard Brooks and starring Robert Blake as Perry Smith and Scott Wilson as Dick Hickcock.

In this episode, we touch on some aspects of the real events surrounding the murder of a ‘nice family’ from Kansas by two complex and dangerous men who have been recently paroled and believed that the father, Herb Clutter, kept a large amount of cash in a safe in the home. No such safe existed. We don’t go into great detail so if you are looking for a more comprehensive look into the murders of the Clutter’s I would suggest the In Sight Podcast episode on the case.

In Cold Blood was the last book ever written by Truman Capote and was first published in 1965 as a four-part series for the New Yorker and was published as a novel in 1966. Capote was an acclaimed writer of fiction and perhaps his most famous book after In Cold Blood was Breakfast at Tiffany’s. He was controversial largely due to his flamboyant self promotion and the brutal confronting honesty of his prose. Truman Capote promoted the book as an entirely new genre of book, the “literary non-fiction” novel. But it didn’t come out of nowhere, these things seldom do, historical fiction and non-fiction accounts that embellish and twist the truth to suit the author’s needs have existed for centuries. He claimed that In Cold Blood was an accurate account based on years of correspondence and investigation into the horrific murders of the Clutter family and Capote certainly spent an enormous amount of time researching and interviewing those involved. The issue that many critics have with the book is Capote’s embellishment and manipulation of the truth, often including scenes and quotes in the novel that never happened. Another contentious issue was Capote’s obvious attachment to one of the convicted men, Perry Smith and his story was given primacy when many thought that the book should have focused more on the victims and the impact the crimes had on others.

The efficacy of the creation of In Cold Blood and the scandal that surrounds it is almost as interesting, if not more so than the book itself as evidenced by films like Capote and the critical work of Voss. After the film adaptation of Breakfast at Tiffany’s Capote was determined to exercise more creative control over the film of In Cold Blood and the director Richard Brooks worked with him to create a beautifully shot if the somewhat narratively choppy film that they were both happy with.

 

 

  • Brooks, Richard, 1912- & Blake, Robert, 1933- & Wilson, Scott, 1942- & Capote, Truman, 1924-. In cold blood & Columbia Pictures et al. 2003, Truman Capote’s In cold blood, Widescreen ed, Columbia TriStar Home Entertainment, Culver City, CA
  • Capote, Truman 2000, In cold blood : a true account of a multiple murder and its consequences, Penguin, London.
  • Miller, Bennett, (film director.) & Baron, Caroline, (film producer.) & Vince, William, (film producer.) & Ohoven, Michael, (film producer.) & Futterman, Dan, 1967-, (screenwriter.) et al. 2006, Capote, Sony Pictures Home Entertainment, Culver City, California
  • Voss, Ralph F & ProQuest (Firm) 2011, Truman Capote and the legacy of In cold blood, University of Alabama Press, Tuscaloosa.

Four Days to Go!

It’s 2pm Australian Eastern Daylight savings time on the 27th of October 2018 which means The Frankenpod season two starts in just four days on the 31st of October!

Halloween Spppooooookyyy.

Not really intentional it just seemed as good a time as any.

We have some amazing episodes coming with Melissa of The Brook Reading podcast on a particularly divisive and controversial book and I don my tinfoil hat with the ladies of Wives Tales to talk about a cinematic adaptation of one of the most popular conspiracies based novels of the 20th Century.

But for the first episode of season two Brent and I tackle a little true crime by examining a masterpiece of “literary non-fiction”, some of the controversies surrounding it and it’s cinematic adaptations.

We’ve recorded a short promo just to keep everyone in the loop and you can find the initial relaunch blog post here.

If you want a bit of a refresher on what we define as gothic you can find our introduction to gothic literature here and we will be updating this definition soon to include some of the things we have learnt along the way. There is also our everything is gothic unless it’s not and then it’s something else which might be useful if you are looking for more specific information about what we include as part of the gothic genre.

This season we will be featuring creepy stories submitted by listeners and some classic gothic short stories you may not have heard before. It doesn’t have to be frightening, it doesn’t have to be dramatic, just a little something that can be read in 5 minutes. If you like you can send it to us as the text for us to read or you can read it yourself and send us an audio file. If writing isn’t your thing we are also happy to accept music.

Make sure you let us know if you want us to promote your project, podcast, writing or anything. It is literally the least we could do.

If you want to come on the podcast and have a chat about your favourite gothic book, movie, television show, graphic novel, poem, character or author you can email us at thefrankenpod@gmail.com.

We can’t wait to be back!

http://thefrankenpod.libsyn.com/season-2-starts-on-the-31st-of-october

 

Promo Music: Swing Gitane by The Underscore Orkestra is licensed under a Attribution-Noncommercial-Share Alike 3.0 United States License.

Image: A digitized image of the original painting American Gothic that Grant Wood, a master artist of the twentieth century, created in 1930 and sold to the Art Institute of Chicago in November of the same year.

What we do in the Shadows with Meg from Indoorswomen

This episode I’m joined by Meg from the fabulous pop-culture podcast Indoorswomen. We talked about the 2014 vampire spoof What we do in the Shadows. I love this movie and Meg took part in the Kickstarter to get a US theatrical release of this distinctly New Zealand gothic parody. We completely spoil this movie so if you haven’t seen it before and you plan on watching it, watch it before you listen.

Listen Now

Every few years a secret society in New Zealand gathers for a special event: The Unholy Masquerade.

In the months leading up to the ball a documentary crew was granted full access to a small group of this society.

Each crew member wore a crucifix and was granted protection by the subjects of the film.

References

The Conversation Review: http://theconversation.com/what-we-do-in-the-shadows-the-nz-gothic-with-sharp-comic-chops-30764

Some History of Gothic Parody: http://www.oxfordscholarship.com/view/10.1093/acprof:oso/9780198119920.001.0001/acprof-9780198119920-chapter-5

 

Frilled Neck Lucy – Dracula with Erin of SubverCity Transmit

This article accompanies Frilled Neck Lucy by The FrankenPod

For this episode, I talked to Erin who is the host of SubverCity Transmit and voice actor on No Sleep Podcast and Congeria Podcast. She also runs an awesome, spooky online store called Never Not Clever. So I’m incredibly grateful to Erin for making the time to talk to us.

The film we are chatting about is Bram Stoker’s Dracula (1992) also known as Francis Ford Coppola’s Dracula. Erin knows so much more about the movie than I could possibly hope to learn and among the many insights she has to give, she touches on the influence of Winona Ryder in the production, the Academy Award-winning costume design by Eiko Ishioka and the very deliberately rudimentary special effect that can be such an obstacle to new audiences discovering and engaging with the film.

Other subjects we touched upon include:

  • Lord Byron, because he always pops up
  • The Symbolist Movement
  • The League of Extraordinary Gentlemen
  • Ghost Hunting
  • Urban exploration
  • The 1991 movie Hook
  • and armadillos… because I just cannot get over this

Again apologies for my brevity!

Morgan

John Polidori and the Infinite Sadness

Accompanying episode: John Polidori and the Infinite Sadness

John Polidori

Born on 7th of September, 1795 in London.

Died aged 25 on the 24th of August, 1821, in London

Polidori wrote his thesis on sleepwalking during his time studying at the University of Edinburgh (name-checked more than once in our Body Snatchers episode with Courtney from Cult of Domesticity). He became a qualified doctor of medicine at the age of 19.

Sleep-walking plays a role in 19th and 20th-century vampire mythology, but this isn’t attributed to Polidori. Dracula, Carmilla and Varney all use sleepwalking as a kind of hypnotic state induced by the Count.

The young doctor was employed by on Lord George Gordon Byron, to accompany him while he was on his Grand Tour of Europe which would eventually lead them to The Villa Diodati, we’ve covered that here, so I’m going to go ahead and skip this bit. Except I better mention that Polidori was paid 500 pounds to keep a diary of the exploits of the “rockstar” poet by publisher John Murray.

The Fragment Debacle

Byron wrote a Fragment as part of the infamous ghost story challenge, Mary started Frankenstein and both Percy and Polidori started stories that they gave up on soon after. But when Byron discarded the fragment, Polidori used it as a springboard for his novel The Vampyre. Utilizing aspects of the fragment such as the character Arthur Darvill he created a full narrative, a far cry from the discarded document. Polidori took that fragment and turned it into what is believed to be the first vampire story written and published in English. The Vampyre was published a magazine without his permission (CORRECTION ALERT: I stated he gave permission in the Villa Diodati episode but that doesn’t seem to be true) and attributed it to Byron. I’m not sure how The New Monthly Magazine got hold of the manuscript but publishers had heard of this lost fragment of Byron’s and seem to have presumed that The Vampyre was it.

Byron and Polidori both printed corrections but the damage was done, particularly to Polidori’s psyche. He had tried to appeal to Percy and Byron to help him with his writing career and Byron annihilated him. The once The Vampyre was no longer attributed to Byron the public and critical reception turned bad. People no longer wanted to read it and actively condemned it.

Embarrassed and depressed he tried to enter the monastery and become a monk but that didn’t work out, then he tried to study law, but that didn’t work out either. He began to accumulate gambling debts and eventually felt so hopeless that he drank prussic acid and died aged 25.

Excellent Public Domain Article on this By Arthur McConnell Stott

His some of his published works were his thesis, The Vampyre (attributed to Byron), a poem The Fall of Angels (published anonymously in 1921) and his diary which would only be released in edited form in 1911 by his nephew.

ReWriting History

Mary Shelley disagrees Polidori’s actions at the Villa Diodati. In her 1831 introduction to a reprint of Frankenstein she says that it was a conversation between Byron and Shelley:

“Many and long were the conversations between Lord Byron and Shelley, to which I was a devout but nearly silent listener. During one of these, various philosophical doctrines were discussed, and among others the nature of the principle of life”

-Mary Shelley 1831

William Rosetti’s edited version of Polidori’s Diary indicates it was likely Polidori:

The conversation between Shelley and Polidori about “principles”and “whether man was to be thought merely an instrument” appears to have some considerable analogy with a conversation to which Mary Shelley and Professor Dowden refer, and which raised in her mind a train of thought conducing to her invention of Frankenstein and his Man-monster. Mary, however, speaks of Byron (not Polidori) as the person who conversed with Shelley on that occasion. Professor Dowden, paraphrasing some remarks made by Mary, says: “One night she sat listening to a conversation between the two poets at Diodati. What was the nature, they questioned, of the principle of life? Would it ever be discovered, and the power of communicating life be acquired? Perhaps a corpse would be reanimated; galvanism had given token of such things. That night Mary lay sleepless,” etc.

-William Rossetti 1911

He must have really upset her, possibly when he propositioned her while she was on holiday with her boyfriend and her small child? That could do it!

Or alternately was Polidori misattributing Byron’s conversation to himself?

She also mentions Byron’s Fragment without making so much as a mention of The Vampyre, simply judging Polidori for his abandoned attempt at the lakeside Villa that night. Shelley does not owe Polidori any charity, but it is curious how willfully she avoids attributing him with even the slightest value.

Family Legacy

Polidori, continued to be a footnote in literary and cultural history as his nieces and nephews would go on to be much more critically acclaimed; Dante (poet and artist), Willian (writer), Maria (writer) and Christina Rossetti (Poet; My essay on Christina Rossetti’s Goblin Market) Polidori never met them, he died before they were born.