The Invisible Man (1933)
Directed by James Whale
After experimenting on himself and becoming invisible, scientist Jack Griffin, now aggressive due to the drug's effects, seeks a way to reverse the experiment at any cost.
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What critics compared The Invisible Man to
Although he did a handful of other intelligent films, he is remembered for the witty, leisurely horror classics Frankenstein (1931), The Old Dark House (1932), The Invisible Man (Claude Rainss 1933 starring début) and The Bride of Frankenstein (1935).
For that matter, there was no housekeeper named Hannah (Oscar-nominated Lynne Redgrave, who was robbed that year by the Academy), but both probably are loose fits for Whale’s last lover and character actress Una O’Connor, who had remained Whale’s friend since The Invisible Man (1933) and Bride of Frankenstein (1935).
Whale (1889-1957) directed some 21 films, but is best remembered for seven made between 1931 and 1939: "Frankenstein," "The Old Dark House," "The Invisible Man," " Bride of Frankenstein ," "Show Boat," "The Great Garrick" and " The Man in the Iron Mask."
Adapted from the book "Father of Frankenstein" by Christopher Bram, the new movie Gods and Monsters tells the story of film director James Whale, who completed 21 movies in Hollywood but will forever be remembered for only four: Frankenstein (1931), The Old Dark House (1932), The Invisible Man (1933), and The Bride of Frankenstein (1935).
He lifts scenes from these and Whale's other movies (which also include "The Invisible Man" and the 1936 version of "Show Boat") for dream sequences and he draws a parallel between Frankenstein's monster and a hunky, uncultured yard man named Clay (Brendan Fraser), with whom Whale forms an uneasy, esoteric bond.
"Gods and Monsters" is very loosely based on the last days of 1930s film director James Whale (played, in the best performance of his screen career, by Ian McKellen), an un-closeted homosexual who was responsible for directing such memorably off-kilter films as "Frankenstein," "The Bride of Frankenstein," "Show Boat," and "The Invisible Man."
Touches of Sleeping With the Enemy (1991) and Hollow Man (2000) aside, Whannell’s rebirth of The Invisible Man feels like a fresh take blending the most minimal of threads from H.G. Wells‘ novel with more urgent themes from today.
With a few cheeky nods to James Whale’s 1933 Universal horror classic, The Invisible Man is a remake that pays homage to its predecessor while blazing its own wildly original path.
Though there’s no specifically sexual violence, The Invisible Man has a lot of spiritual kinship with rape-and-revenge movies like I Spit on Your Grave.
Though more than eighty years have passed since Claude Rains donned the dark sunglasses, smoking jacket, and yards of ACE bandages in 1933’s The Invisible Man , the character still holds a firm place in the pantheon of Universal’s classic movie monsters.
They compare him to Claude Rains in ''The Invisible Man.''
Yes, it's Psycho, but it's also the Theatre of the Absurd, acid castration, El Santo wrestling flicks, Whale's The Invisible Man, a chubby burlesque queen doffing off her schoolgirl plaids to "Besame Mucho," and a gigantic python slithering out of the hero's pants as he eyes a potential flame.
Bootleg discs and special screenings aside (the Memphis Brooks Museum of Art booked "Santa Sangre" in October, on a double bill with Whale's 1933 "The Invisible Man," a movie that "Sangre" embraces), "Santa Sangre" has been hard to see in America since its theatrical release, when it was edited for an R rating.
From the ever-present Greek chorus of clowns and circus musicians to Fenix's oddly poetic obsession with James Whale's The Invisible Man, Santa Sangre is at once disturbingly perverse yet strangely logical within its fucked-up framework; more than a handful of visceral images are likely to burn themselves into your memory banks for good.
Santa Sangre is as familiarly esoteric as Jodorowsky’s other efforts, but it possesses very pronounced influences, including Psycho , Freaks (Tod Browning is Jodorowsky’s cinematic father), The Who’s Tommy, The Invisible Man, and even Fellini’s partiality to the circus.
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…with a scarf covering his lower face (a la Claude Rains in THE INVISIBLE MAN)…
(Possibly chasing an invisible man...?)
…we’ve also gotten updates ranging from pretty damn good (The Invisible Man)…
In “The Substance,” Fargeat also references David Cronenberg’s fondness for body horror in movies like “The Brood,” where a mad scientist experiments on a pregnant woman with dire results, Stuart Gordon’s “Re-Animator,” which also features a neon green goo that resembles The Substance, James Whale’s “The Invisible Man,” which follows a medical marvel gone awry, and Brian De Palma’s “Carrie,” in the way it uses copious amounts of blood and destruction to illustrate a girl’s pain.
The movie is a high-gloss remake of The Invisible Man that earns all its points with amazing special effects — and they are incredible.
He gets more than he bargained for, however, when a bandaged (à la The Invisible Man) madman attacks him with a pair of scissors.
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Darkman owes as much to The Invisible Man (1933) or Phantom of the Opera (1943) (with perhaps a dash of the Dr Phibes films for good measure) as it does to Batman or The Shadow , thanks to Darkman ‘s bandage-swathed appearance, flowing black cape and Gothic base of operations.
''Darkman'' invites the comparison, an odd strategy for an ambitious and self-consciously old-fashioned film whose hero spends much of his time looking like Claude Rains in ''The Invisible Man.''
It mixes camp with blockbuster live-action scenes and draws on the scenario of the 'misunderstood monster,' that is best seen in Whale' wonderfully creative and sensitive version of "Frankenstein" (31) and his ''The Invisible Man" (33) that has Claude Rains in a quandry on how to handle his new look.
For the movie’s first half, the mother of the title (Susanne Wuest) is a disquieting presence, her face wrapped almost entirely in bandages like Claude Rains in The Invisible Man, following an unspecified operation.