Blog 1: Otherness in Bride of Frankenstein

            In James Whale's 1935 film Bride of Frankenstein there are many scenes which depict the theme of "the other" and otherness. Otherness is defined by Robin Wood as, that which bourgeois society cannot recognize or accept but must deal with anyway either by annihilation or [assimilation]” (Wood ,27) Very simply put 'The Other' is something that society does not want to accept, rather they try to mend it into their culture, or better yet kill it off. After the villagers chase Frankenstein off into the woods in attempt to kill him, we are enlightened with a scene which Frankenstein has contact with a human whom does not want to harm him. This is when the audience first sees the side of 'the monster' that wants to fit in and be accepted.  

           The scene opens with Frankenstein gleaming into the window of a cabin in the middle of the woods in which beautiful music is playing. The man inside playing the violin walks to the door and asks, "who's there?" Frankenstein reacted in fear and hid, due to the way society normally treated him. After the man returned to his violin Frankenstein helped himself into the mans house. We soon learn that the man is blind, so he does not fear Frankenstein as the rest of society does. The mans disability allows him to get to know Frankenstein, he teaches him to speak, feeds him, introduces him to wine and cigars, and tries to heal his arm. The man also prays to God which ends in both he and Frankenstein in tears of happiness. The blindness is also a form of otherness because he is not like the rest of society, he is also an outcast in his own way, which is why we are eager to believe the man has not had contact with anyone in many years.  The man states, "We shall be friends, I have prayed many times for God to send me a friend, it's very lonely here… I shall look after you and you will comfort me." The man was eager to hear that Frankenstein could not speak, together they would help one another, without the criticism of society. The blindness of the man forces the audience to draw particular attention to the judgmental side of society. 

         Throughout the scene the audience is introduced to ways in which Frankenstein has attempted to assimilate into the surrounding society. Firstly when he was drawn to the peaceful music, it is common for societies to enjoy music, and is a sense of comfort for many people. Secondly Frankenstein grows eager, and happy when the man states that they will be friends, and protect one another, he reassures Frankenstein that he will not be harmed inside the house. Everyone in society likes to be wanted, and a sense of security by one whom wants you, evokes vibrant feelings. Frankenstein knows to assimilate feelings of pain with fear, we learn this through his fear of fire after he had burned his arm. After learning "good" from "bad" Frankenstein picks up the violin and in his own way asks the man to play. As the man begins to play Frankenstein portrays another attempt of assimilation by tapping his feet and rocking on his stool. This point in the scene portrays Frankenstein in his most human-like innocent state until two men from the village appear in the doorway. Frankenstein associates the villagers with pain, and they begin to trigger him off into a violent place. This is the last time we get to see 'The monsters' friend. The scene ends similarly to the way it began with violence between the villagers and 'The monster' who we have learned just wants to be wanted or accepted. 

          The concept of the Other does not allow society to associate with Frankenstein the way the hermit has, because they see him as a monster, they see him only for his appearance rather than what he is eager to become. The village would rather see this tall, scarred, raggedy, nail-head monster dead than roaming their streets and enjoying peoples company. 

Works Cited 

Wood, Robin. "The American Nightmare: Horror in the 70s." (1979): 25-32. Print