Bride of Frankenstein (1935) – Episode 14 – Decades of Horror: The Classic Era

“Sometimes I have wondered whether life wouldn’t be much more amusing if we were all devils, no nonsense about angels and being good.” The Decades of Horror: The Classic Era crew – Chad Hunt, Jeff Mohr and Erin Miskell – are missing their fourth member, Joseph Perry, this week. Filling in for him is Horror News Radio (and Decades of Horror: the 1980s and Decades of Horror: the 1990s) host Thomas Mariani, as we discuss the 1935 gem Bride of Frankenstein.

Decades of Horror: The Classic Era
Episode 14 – Bride of Frankenstein (1935)

After a mob attack upon himself and his creation, Dr. Henry Frankenstein (Colin Clive) is approached by former mentor Dr. Pretorius (Ernest Thesiger) to create a mate (Elsa Lanchester) for his Monster (Boris Karloff). The Monster, meanwhile, continues to elude angry townsfolk who want to destroy him before they get to know him.

A classic of the early horror era, Bride of Frankenstein features iconic performances by both Boris Karloff and Elsa Lanchester. Director James Whale – the same director that brought us Universal’s 1931 hit Frankenstein – returns to offer a continuation of a story of acceptance, loneliness, and creation.

Join our intrepid hosts and guest as we discuss our thoughts on Whale – the man, the myth and the legend – and the direction he decided to go with the sequel to his hit film. We also tackle the censorship issues encountered during the making of Bride of Frankenstein, as well as favorite characters and themes of loneliness, companionship, and morality. This episode’s Grue Crew also expresses their admiration for the score (Franz Waxman), photography (John J.Mescall), makeup (Jack P. Pierce), fantastic supporting cast (Una O’Connor, E.E. Clive, Dwight Frye, O.P. Heggie) and soon-to-be-famous bit players (Walter Brennan, John Carradine).

We plan to release a new episode every other week. Our upcoming and very flexible schedule includes Night of the Living Dead (1968), Jû jin yuki otoko (the original 1955 Japanese version, aka Half Human), and House on Haunted Hill (1959).

Please let us know what you think of Decades of Horror: The Classic Era and what films you’d like to hear us cover! We want to hear from you! After all, without you, we’re just four nutjobs talking about the films we love. Send us an email  (,,, or or leave us a message, a review, or a comment at, iTunes, the Horror News Radio App, or the Horror News Radio Facebook group.

To each of you from each of us, “Thank you for listening!


Willard (1971) – Episode 53– Decades of Horror 1970s

“Tear Him Up!” – The quote from Willard (1976) signals the beginning of the best scene in the film where Ernest Borgnine is attacked by hundreds of rats. It’s a great scene. Meanwhile, Bruce Davidson watches on. Let the fun begin! The Black Saint and Doc Rotten tackle another groovy horror film from the 1970s. Joining the grue-crew is Gruesome Magazine contributor and the host of Decades of Horror The Classic Era Jeff Mohr.

Decades of Horror 1970s
Episode 53 – Willard (1971)

Willard landed in theaters in the Summer of 1971 and launched the “nature strikes back” sub-genre of horror films. The modest film made a big impression at the box office and became a cult film over the years. Until recently, the film had become increasingly difficult to find and view – at least, a decent copy of it. The film is now available on Blu-ray from Shout Factory in pristine condition looking better than it has in years. Join the Grue-Crew as they look back at the film that frightened them in their youth, and discover how the film plays now 40 plus years later. The film features Bruce Davidson, Sondra Locke, Elsa Lanchester, and Ernest Borgnine in a terrific role. And, of course, all those damned rats!

The film can best be summed up by an experience The Black Saint shares about his son catching the cover for the first time and declaring that, in no shape or form, will he be watching that film. Willard still has what it takes to provide the creepy-crawlies with the rats themselves. But, the tone of the film, the direction, and the music make Willard feel very much like a TV movie of the week. That, however, does not make the film a bad film, it only tempers the memory of it shared by The Black Saint, Doc Rotten, and Jeff Mohr. The film boils down to its great performances and its core story of a man who doesn’t fit in, relating to a colony of rats in his basement far more than a building full of co-workers. Everyone he knows from his boss to his mother belittles him at every turn except a pretty tempory clerk who befriends him. Pushed to the limits of his sanity, Davidson’s Willard strikes back sending hit fleet of rats to do his bidding. And the Grue-crew goes wild.

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