The Bride (1985)

Strong and Moving!

everything you have heard about this movie is true.

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

The acting in this movie is really good.

Scripted by Lloyd Fonvielle from the novel by Mary Shelley, this is a fairly interesting revisionist take on Shelley's legendary story. Rock star Sting stars as the icy cold Charles Frankenstein, who as the film opens has already created his male monster (Clancy Brown), and is now in the process of constructing the monsters' mate (Jennifer Beals), whom he names Eva. During the subsequent destruction of Frankensteins' lab, the male monster escapes, soon making the acquaintance of amiable dwarf Rinaldo (David Rappaport). Rinaldos' ambition is to eventually make it to Venice, but for now he wants to join a circus to make ends meet, and the monster - who *Rinaldo* dubs Viktor - tags along. Meanwhile, Frankenstein works hard at creating, in his eyes, the perfect woman to introduce to high society.The lovely friendship between Rinaldo and Viktor is the true heart and soul of the film, and makes it worth seeing. Rappaport is so endearing - he's the real star of this show - and he and Brown work so well together, that they make the segments with Beals and Sting less intriguing by comparison. There is a theme here of men harbouring a fear and distrust of the empowered woman, and Frankensteins' desire to basically be in charge of Evas' life is part of his undoing. Brown is wonderful as Viktor, and while Sting and Beals do decent jobs, they're not as much fun to watch. A superb supporting cast consisting of Anthony Higgins, Geraldine Page, Alexei Sayle, Phil Daniels, Veruschka von Lehndorff, Quentin Crisp, Cary Elwes, Timothy Spall, Guy Rolfe, and Tony Haygarth lends a great deal of respectability."The Bride" has the absolutely perfect look in terms of classic Gothic horror, but in the end it's much more of a drama, and romance, than a horror film. Its opening scene is certainly great horror in the old tradition, and the lab set is amazing. The period recreation is impeccable, and Maurice Jarres' music is beautiful.Overall, a good film worth a look or revisit for fans of this kind of literature.Seven out of 10.

"The Bride" is one of the earlier attempts to sex up classic horror stories with period piece production value glitz and hot young actors, predating "Bram Stoker's Dracula" and "Mary Shelley's Frankenstein" if not Frank Langella's "Dracula." The movie has a great opening hook: What if the Monster's Mate survived the explosion at the end of "Bride of Frankenstein?" From there, the movie builds itself as something of a feminist fable. Dr. Frankenstein, given the first name Charles for some reason, decides he can build the "perfect woman," a woman who thinks like a man, is, as he puts it, "equal to a man." The script nods silently at his sexist intentions. The film has quite a bit of potential with that set-up.It doesn't quite live up to it but, still, the movie that follows is definitely worth watching. The story is split in two. One follows the Frankenstein Monster, quickly named Viktor, as he befriends a traveling dwarf and tries to make a career in the circus. The other half of the film revolves around Baron Frankenstein training and teaching the Bride, dubbed Eva, in the ways of polite society, basically a horror version of "My Fair Lady." Oddly, of the two story lines, the Monster's quest is actually the more interesting. Paired with Renaldo, the late David Rappaport, the two become immediate friends. Stories of outsiders struggling to make it can be prone to smultz, but then again there has never been a more definitive outsider then the Frankenstein Monster. It's the entire appeal of his character. There are no surprises in the circus drama that follows but the performances of Rappaport and Clancy Brown make up for the potentially trite material. Rappaport makes dialogue as hokey as "Follow your heart and you'll be fine" actually effecting. Renaldo's death scene is likely to bring a tear to your eye. Brown's take on the monster, a mumbling simpleton who slowly learns his own self-worth, never rings hollow even if it's far from the actor's best work.By comparison, the Bride's journey comes off as more route. The broad comedy of her learning to eat or shrieking, much like Elsa Lanchester, at cats quickly gives way to the girl as a fully self-aware young woman, dancing at balls and gaining the attention of a young count. (Played by young, handsome Cary Elwes. Remember when Cary Elwes was young and handsome?) The most potentially interesting material, the stuff in-between, is glossed over.The relationship with the doctor isn't delved deeply into. Sting, who has always been fairly adapt at playing villains, gives a decent enough performance but his growing feelings for the girl and his sudden turn to teeth-gnashing villainy at the end are more script problems then actor problems. The inherent sexism in his desire to "build the perfect woman" boils down to him being fine with teaching her but, as soon as she shows any romantic desire for another man, he gets all possessive and rape-y. That a male ends up rescuing her at the end rather undermines the point of the story.The potentially complex material is simplified a bit. It's no fault of Jennifer Beals, who gives a rather understated, thoughtful performance as the titular woman. The psychic connection between the two creations is never explained and comes off as a plot contrivance.Even if the movie never lives up to its potential, it does have some striking moments. The nude Bride slinking out of the darkness, clinging to the Baron's side like a frightened animal. Or, later on, her standing in the rain in an open tomb, questioning her own origins. The opening sequence, with its disembodied body parts twitching in shattered tubes of liquid, suggests a more conventional, just as effective horror film could have been made from this material. The movie wasn't successful upon release, which is probably why it's underseen and somewhat underrated today. Frankenstein fans should seek it out, if just to wonder about the excellent film that it could have been, instead of the merely satisfying one it is.

I love it when I find a movie in the bargain bin, watch it, and it turns out to be really good. Such is the case with The Bride. The cinematography is beautifully done, creating a rich atmosphere and setting for the story. Filmed in England and France, the locations add some real authenticity to the story; this is no Hollywood back lot. Some may criticize the acting skills of the leads or the degree of depth in the story line, but one thing is sure, the movie is consistent in story, direction, mood, and content from beginning to end, a well delivered package. I also enjoyed this spin on the Frankenstein monster; he's got personality and character. Instead of being only an object of horror as in other films, the viewer gets to know and identify with him as the movie progresses, coming to care for his success and well being. As another viewer stated previously, approach this movie as a Gothic novel instead of a horror story, and you're sure to find some enjoyment from it.

Frankly, this movie is worth watching if, for no other reason, to see Jennifer Beals' nude scene. Sorry to be a pig here, but it's true.This is the thing I remember most from an otherwise forgettable film. I've always liked Jennifer Beals. I don't care for "The L Word" much, but she even makes that horrid gay propaganda series worth watching. She's not only beautiful, but she's also an incredible actress. I'm glad she's finally getting her due.Sting sucks! His acting is sorry and his solo musical performances are boring. He's never been the same since The Police broke up. He needs to stage a reunion, go out on tour, make a lot of money and go retire in an old English castle somewhere.