Frankenweenie is about a young boy called Victor and his dog Sparky. One when they were playing baseball, the ball goes on the other side of the road, when Sparky chases it, when he runs back a car hits him and he dies. For his science experiment Victor makes Sparky come back to life by using Frankenstein’s experiment with lightning.
The school was having a science fair and Victor was going to use Sparky as his experiment at the fair, but one of his friends finds out and wants to do the same experiment. He uses a dead goldfish but when the experiment is over, the goldfish is invisible. Then other kids do the same experiments with other dead pets. The best dead pet is Shelley, a turtle who grows into a giant turtle like Godzilla who goes crazy and attacks everything.
I really liked it; it’s funny and spooky, more spooky than Hotel Transylvania. My Dad told me that it’s in black and white to make it like a copy of the old Frankenstein movie, which is called an homage. SPOILER ALERT The end is the same as the old Frankenstein movie when they go to a windmill and burn it. I haven’t seen it yet but my Dad says I can watch it and his other old spooky movies (He means Universal Classic Horror).
I give it 4½ stars
Rebecca Isabelle “Carla” Laemmle (born October 20, 1909) is an American actress and the niece of Universal Pictures founder Carl Laemmle. She was a movie actress in the 1920s and 1930s, and is one of the very few surviving actors of the silent era, of which she is also the oldest. She reached adulthood (then, age 21) after the silent film era ended, meaning that all adult silent film actors from that era are deceased.
Laemmle entered films in 1925 playing an uncredited role as a ballet dancer in the original silent film version of The Phantom of the Opera (1925) and a small role in the Tod Browning, Bela Lugosi version of Dracula (1931), and is the last surviving cast member of both classic films. Laemmle continued to appear in small roles until the late 1930s, when she disappeared from the movie screen. She briefly came out of retirement to play a vampire in The Vampire Hunters Club (2001).
She shared her reminiscences of appearing in a bit part in Dracula (1931) by hosting the original documentary The Road to Dracula (1999), a supplemental piece included on the 2004 DVD release, Dracula: The Legacy Collection. In that classic film, she portrayed a bespectacled passenger riding in a bumpy horse-drawn carriage with Renfield as he is traveling to Dracula’s castle. In this documentary, Laemmle proudly states: “I had the privilege of speaking the first lines of dialogue in the first talking supernatural thriller”.
In 2009 the book Growing Up With Monsters: My Times at Universal Studios in Rhymes, co-authored by Carla Laemmle and Daniel Kinske, was released. The book details her life at Universal Studios from 1921 to 1937. On October 20, 2009, she celebrated her 100th birthday with a guest list which included Ray Bradbury, Bela Lugosi Jr., Sara Karloff and Ron Chaney.
On October 3, 2010 she appeared in the excellent BBC Four documentary A History of Horror with Mark Gatiss, sharing more memories of her early film work with the legendary Lon Chaney and Bela Lugosi. As she has done so many times before on the convention circuit, and various documentaries,she recited her opening lines from Dracula. In November 2010 she made an appearance in the documentary Moguls and Movie Stars: A History of Hollywood for Turner Classic Movies and in May 2011 she appeared in Paul Merton’s Birth of Hollywood on the BBC. In March 2012, Turner Classic Movies announced that Laemmle would appear at a screening of Dracula in connection with its Classic Movie Festival the following month.
Lon Chaney (April 1, 1883 – August 26, 1930) was an American actor during the age of silent film. He is regarded as one of the most versatile and powerful actors of early cinema, widely renowned for his characterizations of tortured, often grotesque and afflicted characters, and his groundbreaking artistry with makeup. Chaney is known for his starring roles in such silent horror films as The Hunchback of Notre Dame and The Phantom of the Opera. His ability to transform himself using makeup techniques he developed earned him the nickname “The Man of a Thousand Faces.”
Lon Chaney was born Leonidas Frank Chaney in Colorado Springs, Colorado. Both of Chaney’s parents were deaf, and as a child of deaf adults Chaney became skilled in pantomine. He entered a stage career in 1902, and began traveling with popular Vaudeville and theater acts. In 1905, he met and married 16-year-old singer Cleva Creighton and in 1906, their first child and only son, Creighton Chaney (a.k.a. Lon Chaney, Jr.) was born. The Chaneys continued touring, settling in California in 1910.
Between the years 1912 and 1917, Chaney worked under contract for Universal Studios doing bit or character parts. His skill with makeup gained him many parts in the highly competitive casting atmosphere.
By 1917 Chaney was a prominent actor in the studio, but his salary did not reflect this status. After leaving the studio, Chaney struggled for the first year as a character actor. It was not until 1918 when playing a substantial role in William S. Hart’s picture, Riddle Gawne, that Chaney’s talents as a character actor were truly recognized by the industry.
In 1917 Universal presented Chaney, Dorothy Phillips, and William Stowell as a team in The Piper’s Price. In succeeding films, the men alternated playing lover, villain, or other man to the beautiful Phillips. So successful were the films starring this group that Universal produced fourteen films from 1917 to 1919.
In 1919, Chaney had a breakthrough performance as “The Frog” in The Miracle Man. The film displayed not only Chaney’s acting ability, but also his talent as a master of makeup. Critical praise and a gross of over $2 million put Chaney on the map as America’s foremost character actor.
He exhibited great adaptability with make-up in more conventional crime and adventure films, such as The Penalty, in which he played an amputee gangster. Chaney appeared in 10 films directed by Tod Browning, often portraying disguised and/or mutilated characters, including carnival knife-thrower Alonzo the Armless in The Unknown (1927) opposite Joan Crawford. In 1927, Chaney starred in the Tod Browning horror film, London After Midnight, considered one of the most legendary lost films of the era. His final cinema role was a sound remake of his silent classic The Unholy Three (1930), his only “talkie” and the only film in which Chaney utilized his versatile voice. The actor signed a sworn statement declaring that five of the key voices in the film (the ventriloquist, the old woman, a parrot, the dummy and the girl) were his own.
Chaney’s most celebrated roles were that of Quasimodo, the bell ringer of Notre Dame, and Erik, the “Phantom” of the Paris Opera House, Chaney created two of the most grotesquely deformed characters in film history. However, the portrayals sought to elicit a degree of sympathy and pathos among viewers not overwhelmingly terrified or repulsed by the monstrous disfigurements of these victims of fate.
“I wanted to remind people that the lowest types of humanity may have within them the capacity for supreme self-sacrifice,” Chaney wrote in an article published in 1925 in Movie magazine. “The dwarfed, misshapen beggar of the streets may have the noblest ideals. Most of my roles since The Hunchback, such as The Phantom of the Opera, He Who Gets Slapped, The Unholy Three, etc., have carried the theme of self-sacrifice or renunciation. These are the stories which I wish to do.”
In the final five years of his film career (1925–1930), Chaney worked exclusively under contract to MGM, giving some of his most memorable performances. His portrayal of a tough-as-nails marine drill instructor in Tell It to the Marines (1926), one of his favourite films, earned him the affection of the US Marine Corps, who made him their first honorary member from the motion picture industry. He also earned the respect and admiration of numerous aspiring actors, to whom he offered mentoring assistance, and between takes on film sets he was always willing to share his professional observations with the cast and crew.
During the filming of Thunder in the winter of 1929, Chaney developed pneumonia. In late 1929 he was diagnosed with bronchial lung cancer. Despite aggressive treatment, his condition gradually worsened, and seven weeks after the release of the remake of The Unholy Three, he died of a throat hemorrhage. His death was deeply mourned by his family, the film industry and by his fans. The US Marine Corps provided a chaplain and Honour Guard for his funeral. He was interred at Forest Lawn Memorial Park Cemetery, in Glendale, California.
Esper initially eschewed the exchange system to distribute his films, the main problem being that he didn’t understand how it worked. He was drawn to sex, drug addiction and general debauchery, things that rubbed many exchange owners the wrong way. Although his later films improved – due to his hiring reasonably competent directors instead of doing the chore himself – his earliest films were terrible. This itself was normally no obstacle to the exchange system, but Esper would often splice in nude scenes to spice things up (this was a big problem after the 1934 Production Code kicked in). Esper’s way of distributing his films was what is now called “four-walling”, in which he and his wife would rent a theater and do targeted advertising (invariably plastering “Adults only” all over it) to create a buzz. He was run out of more than a few towns in his day after just one showing of his films. His real coup was obtaining the rights to MGM’s ‘Freaks’ (1932) cheaply, a production that Louis B. Mayer disowned but one that fell in line with Esper’s twisted tastes. He peddled it around towns across America for much of the 1930s. Strictly speaking, Esper virtually created the “four walling” system, which was used fairly extensively in the 1960s/’70s independent/exploitation film market. Back in the 1930s the system was called “roadshow presentation,” but this usually referred to high-quality productions that warranted increased admissions prices, something Esper could never hope to pull off. The fact that he managed to maintain a career (of sorts) as an independent film producer–though way over on the “fringe” of the business – during the Depression was a remarkable achievement in itself.