:28:01
His death and resurrection
contain the promise of eternal life.
:28:05
The monster is the son of man,
a gross parody of all that is human,
:28:08
lacking the divine spark
and therefore a mockery of the divine.
:28:13
Whale was an ironist, not a parodist.
:28:15
He doesn't crucify the monster to suggest
that Golgotha was a cosmic joke,
:28:19
he punches our buttons by inverting a
fundamental tradition of Western culture:
:28:24
The monster, the son of man, is
resurrected from the dead, then crucified.
:28:29
Strangely enough, the film would open
on Good Friday, 1935.
:28:38
Everything about the look
of the film is stylised.
:28:40
Nowhere do we see a natural sky.
:28:42
With glowering, painted skies, it's as if
a thunderstorm is always looming.
:28:46
Here, the sky is filled
with an architectural matte painting
:28:50
by Jack Cosgrove and Russell Lawson.
:28:52
These are the only
back-lot exteriors in the picture,
:28:55
tightly composed on the German village
set from All Quiet on the Western Front.