Frankenstein’s monster, also known as simply “Frankenstein,” is a fictional character introduced in Mary Shelley’s 1818 novel Frankenstein; or, The Modern Prometheus. In the story, Victor Frankenstein creates this creature in his laboratory using an ambiguous scientific method.
Described as 8 feet tall and emotional, the monster attempts to fit into human society but faces rejection, leading to its quest for revenge against Frankenstein. The character has become iconic in popular culture and has appeared in various media forms, including films, TV series, merchandise, and video games. Notably, Boris Karloff portrayed the monster in the 1931 film Frankenstein and its sequels, Bride of Frankenstein (1935) and Son of Frankenstein (1939).
The novel itself does not give the monster a specific name, with Victor Frankenstein using various terms like “creature,” “fiend,” and “wretch.” The character’s namelessness remained central in stage adaptations during the decades following the novel’s release. Shelley’s original work left room for interpretation, allowing subsequent adaptations to explore the monster’s identity and significance.
Did you know?
Shelley sold the Frankenstein copyright for £30.
The first edition of Frankenstein was printed by the London publishing house of Lackington & Co., which agreed to give Shelley one-third of the profits from a 500-copy run. Shelley's share came to about £41.
Boris Karloff became synonymous with Frankenstein’s monster due to his memorable performance in the 1931 film Frankenstein. The makeup, meticulously crafted by Hollywood artist Jack P. Pierce, played a crucial role in defining the character’s appearance. Let’s delve into the details:
James Whale, the director of Frankenstein, initially sketched designs that exaggerated Karloff’s facial features. These sketches served as a starting point for Pierce.
Pierce and Karloff collaborated after work hours in the makeup department, spending three weeks developing the ultimate monster look.
The distinctive features included an eyebrow ridge and a square head. To achieve this:
Spirit gum was applied to build up the eyebrow ridge.
Layers of cotton were added and coated with collodion (a liquid plastic containing ether and alcohol) to shape the head.
A roll of cotton on top of the head maintained the square shape.
Why Green?:
The film stock used in the 1930s was sensitive to color, causing certain shades of green to appear as ghostly white on the screen.
Karloff’s green makeup both tinted his skin to a cadaverous pallor and set him apart from the rest of the cast.
Legacy and Ownership:
Universal Studios secured the copyright for the makeup format.
Karloff reprised the role in sequels like Bride of Frankenstein and Son of Frankenstein.
Other actors followed, but their makeup replicated Karloff’s iconic look.
Karloff’s daughter’s company, Karloff Enterprises, now owns the image rights.
Trivia:
In 1969, the New York Times mistakenly ran a photograph of another actor, Glenn Strange, in Karloff’s obituary.
A hunt for a bust
Finding a bust of Boris Karloff's Frankenstein shouldn't be difficult right? Well at a good price, wrong, I spent a good few hours searching for one that has the look of the picture above and its so difficult, I suppose I could be overly critical, some, however, are laughable.
I did find a pretty good one on Etsy but the price to size ratio for me, personally, it is hard to swallow.
Searching Amazon for Frankenstein Decor came up with some imaginative reimagining of the monster, a salt and pepper holder looking very depressed to what he has been reduced to, a maniacal-looking planter which looks more like Groot than Franky.
I personally liked the black and white cushions of Franky and the misses! Also of note, Furrybones, my wife is obsessed and I dare not tell her they are on Amazon!
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