I've never been to Mexico, but I like to think of it as populated by an array of colorfully masked wrestlers tirelessly protecting the country against various monsters and aliens, between taking on opponents in the squared circle. This impression has been greatly influenced by the dozens of lucha-libre films produced in the area throughout the 50s, 60s and 70s, many of which starred the most popular mexican wrestler of all: El Santo. Santo first began wrestling in the 1930s, but it was when he began wearing his trademark silver mask that his career really took off and by the 1950s (when he was already well into his 40s) he began his foray into cinema with Santo contra el cerebro del mal (Santo Vs. The Evil Brain, 1958). The following two decades saw him starring in over 40 films, often battling zombies, mad scientists or other demonic creatures. By 1973 the genre had definitely become a little formulaic, but Santo y Blue Demon contra el doctor Frankenstein (Santo and Blue Demon Vs Dr. Frankenstein, 1973) is a fine starting place for those interested in the genre and what it has to offer. Certainly cheap looking, but featuring a surprisingly spry Santo considering he was in his late 50s, the film has lots of cheesy fun for genre fans. To understand El Santo, you have to picture a combination of Batman and James Bond. He's super smooth, a snappy dresser, and gets all the women when he's not acrobatically dispatching of a variety of opponents and saving the world from various supernatural threats. As well, he - along with his Luchadore partners such as Blue Demon in this film - never remove their masks. They wear them out to dinner, when relaxing by the pool, or even when just driving around. This status as a real life superhero m... ... middle of paper ... ...'t fare quite as well, looking uncomfortable in most acting scenes and showing little of the grace that he was able to provide in the ring. Of course, constantly playing second banana to Santo is sort of a thankless role. Of course, none of this is meant to imply that the film is actually any good. While entertaining in its ridiculousness, the entire genre was starting to get a little shoddy at this point, and this is obviously a very low-budget production with flimsy sets and excessive padding. Dr. Frankenstein provides some name value, but he could really be almost any generic mad scientist and Golem makes a rather poor substitute for Frankenstein's monster. It feels a bit like a television production, and many of these luchadore films would fit quite well next to campy productions like the 60s Batman series, though there's a lot less winking at the camera here.
Dean Koontz FRANENSTIEN/LOST SOULS is a fiction novel. It is published in the United States by Bantam Books, an imprint of The Random House Publishing Group, a division of Random House, Inc., New York. Copyrighted 2010 by Dean Koontz. 350 pages.
The directing in this movie, however, was really poor. The props, murders, and camera direction left much to be desired. The director Dario Argento was highly decorated throughout the 1960s, but he really showed his bad side of directing. This movie had such high potential but he really destroyed that potential.
As Human As It Gets In the novel Frankenstein by Mary Shelley proves that things are not always what they seem. Harold Bloom, in the "After word" in the Signet Edition of Frankenstein states: "The monster is at once more intellectual and more emotional then his Maker"The greatest paradox and most astonishing achievement of Mary Shelley’s novel is that the monster is more human than his creator. This nameless being…is more lovable than his creator and more hateful, more to be pitied and more to be feared…” When one hears the word “monster” they think of someone who is evil and fearful, with no human like qualities at all. So how is it that Bloom can say that the monster is more human than his creator?
life he talks about 2 years of his life with no rest o concern about
Sometimes, in novels like Frankenstein, the motives of the author are unclear. It is clear however, that one of the many themes Mary Shelley presents is the humanity of Victor Frankenstein's creation. Although she presents evidence in both support and opposition to the creation's humanity, it is apparent that this being is indeed human. His humanity is not only witnessed in his physical being, but in his intellectual and emotional thoughts as well. His humanity is argued by the fact that being human does not mean coming from a specific genetic chain and having family to relate to, but to embrace many of the distinct traits that set humans apart from other animals in this world. In fact, calling Victor's creation a `monster' doesn't support the argument that he is human, so for the sake of this case, his name shall be Phil.
These movies show how the original image of Dr. Frankenstein’s creation has changed over time, and how he can be altered into many different forms. Contrary to popular belief, Frankenstein’s creation is not a huge, green, evil monster with neck bolts. The monster is a very enduring character, and his different qualities are shown in Frankenweenie and Edward Scissorhands. Both of the following films dab in the Gothic style, and portray the different qualities from the novel Frankenstein. From dogs to humans with scissor hands, Frankenstein’s monster appears in so many things in pop culture today.
Mary Shelly’s Frankenstein and Fyodor Dostoevsky’s Crime and Punishment include elements of both isolationism: the policy of separating yourself from everything; and loneliness: the unpleasant feeling in which a person experiences solitude from inadequate levels of social relationships (Wikipedia). Both motifs are seen in each novel and contribute to an overall theme of alienation. This feeling of alienation was derived from the authors’ personal experiences. Shelly and Dostoevsky invented fictional characters that struggled with mental and physical separation that reflected their subconscious. The main characters they created were Rashkolnikov in Crime and Punishment and Victor Frankenstein in Frankenstein. These characters’ conflicts were partially precipitated from each of their social circumstances in the plot and partially from poor decision-making as individuals. Thus, the common theme has made the two novels, Frankenstein and Crime and Punishment, infamous for proving alienation’s evil affects in distinguishing ways.
1818 at the tender age of 18, it was often wondered how such a young
Mary Shelley wrote the book Frankenstein sometime in the 1810s. She was born in London in 1797 (Biography). Her mother was an author of prime literary stock who was trying to encourage women to pursue their ideas and strive to earn the status as equals. The Scientific and Industrial Revolutions that were taking place around Mary Shelley certainly influenced her while she was writing the book. The creation of machines and experiments at the time made people wonder what the limit of human technology was.
We begin this tale with reading some letters of good fortune of a man, whose name eludes me right now, to his sister. He is on a journey in what appears to be somewhere in the arctic when one day him and his crew spot a giant on a dog sled. Followed by awes of civilization they find the another man who has been in some sort of accident with his dog sled stranded on a broken sheet of ice. After some persuasion the man boards the ship and begins to tell his tale of how he ended up at his present state.
Frankenstein by Mary Shelley is a very complex book riddled with underlying messages. From the characteristics of each individual to the main storyline Shelley depicts a world of opposites. Victor Frankenstein, a privileged young man, defies nature when his obsession with life and death has him attempting to bring someone/something to life. He succeeds and quickly goes from obsessed over its creation to disgust with its form. He then rejects his creation, which sets the stage for the terrifying events to come. This is the embodiment of a modern novel as it contains alienation, disillusionment, and a critique of science.
Frankenstein by Mary Shelly Part One = == == === A main theme in Mary Shelly’s Frankenstein is that of birth, childhood and parenthood, this is explored through Shelly’s choice of frame narrative and structure for the novel.
Frankenstein, by Mary Shelley, to this day is one of the most important and largest books in the genre that is Romanticism. Romanticism itself, is made up of multiple elements such as these; Supernatural, emotion, imagination, nature, social progression, endless potential, and spiritual growth. Throughout the whole story of Frankenstein, Mary Shelley implements most, if not all, of the elements of romanticism, whether the elements are portrayed by the monster or by Victor Frankenstein himself. These elements are present in every part of the story of Frankenstein and are strongly shown through the writings by Shelley. It is no question that Mary Shelley is a writer of the romantic period of 1800 to 1850.
This story is told by the monster speaking through Victor Frankenstein, Victor then speaks through Walton, and Walton speaks through Shelley. The book starts with letters from Walton to his sister Margaret Saville. Walton begins telling his sister of his journeys and what he wants to accomplish. While on his voyage, Walton comes upon a stranger and rescues him from the cold. Once the stranger is in better health he begins telling Walton of his journeys. All the while, Walton is writing to his sister about the stranger and his stories. That is where the book begins and the story of Frankenstein is told.
...e about the movie with the Green Goblin and the Rhino- it’s not like those haven’t been done already, they’ve seen this all before but in a different ending this time. The same issue goes with the new Godzilla movie which only gave us a literal glimpse of his spine; the same situation with hype is occurring and all of the older Godzilla movies never turned out good.