Regarded by many critics as being better than the original (Frankenstein), Bride… reunites the original's director, James Whale with its main star, Karloff. Coming 4 years after the original, Whale was initially reluctant to come aboard the project but agreed when Universal allowed him to dictate terms. Thus, Bride of Frankenstein is the definitive vision of the director.

The film carries on from where the original finished - with the monster battling amidst a crumbling, burning windmill. In fact a prologue to the film takes us 'backstage' to a discussion between Percy and Mary Shelley and Lord Byron wherein Mary Shelley the author of Frankenstein informs her companions of what transpired after her first novel came to an end. It's a particularly interesting way of integrating the two stories and is typical of the extremely intelligent manner in which Whale put the entire film together.

The storyline of the film itself borrows heavily from the novel, using several sequences from Shelley's book but the crux remains the monster's desire for a mate. In this he is assisted by the mad Dr. Praetorious who is set upon recreating Frankenstein's original experiment. By kidnapping Frankenstein's wife, Praetorious and the monster force the doctor to once again generate life through electricity in what has become one of the most famous sequences in cinematic history.

The Bride of Frankenstein is an undisputed classic and much of the credit must go to Whale's vision for the film. He conceived it as less of a horror and more of a black comedy and that is exactly what it is. While the sets, musical score and cinematography combine to give the film its gothic look and feel, the horror level is considerably lower than in Frankenstein.

The performances are also suitably amusing with Ernest Thesiger the epitome of the mad professor and Una O'Connor as the Frankenstein's wonderfully batty housekeeper. In fact, the whole tone, especially in comparison to Frankenstein, is one of chaotic parody and quirky humour - a hallmark of Whale's own personality. Karloff, noticeably heavier and less gaunt this time round was against the idea of allowing the monster to speak and admittedly it takes away from the haunted character of the monster. But again it fits in with the vein of the sequel.

An extremely intelligently made film, the Bride of Frankenstein must be one of the earliest black comedies. But the humour is never over bearing and Whale makes sure that our sympathy for the monster is not eroded and the monster is never made a 'camp' figure. Instead his 'pathetic' plight is subtly brought out throughout the film and none more so than in the finale. In a devastating last few moments the monster allows his creator to live while he faces death himself.

Brilliantly directed the only point to remember is that Bride of Frankenstein is very much a quirky black comedy. As such the horror and menace of the first film are diluted and if you prefer your horror films straight up (like I do) then watch the original. Nevertheless, one of the greatest gothic films ever made.