:59:00
but "a dead-white corpse."
:59:03
With variations, Rembrandt lighting
is used throughout -
:59:07
a hard and contrasty light, with deep,
rich shadows and brilliant highlights.
:59:11
It involves neither a straight crosslight
nor a flat light from the front,
:59:15
but a combination of the two,
with the light originating
:59:18
from a point in front and to one side
of the objects to be photographed.
:59:22
This tends to impart
a roundness to the features,
:59:24
and this pseudo-stereoscopic effect
is heightened
:59:27
by having a dark background behind
the bright side of the face, and vice versa.
:59:32
"It was our desire to maintain
an eerie, mysterious atmosphere."
:59:35
"Supplementary lights were projected
from odd angles, especially for Karloff."
:59:40
"Many settings
were filled with dark shadows."
:59:43
"The sets themselves had distorted walls,
involving many angles and offsets."
:59:48
"In scenes in which
only the monster appeared,
:59:50
the camera, with a short-angle lens,
:59:52
was placed low and comparatively
close to the subject,
:59:55
and thus was gained the impression
of a distorted figure and unusual height."
:59:59
"In contrast, we placed
the camera at a high elevation
1:00:03
in photographing the rascally Pretorius,
1:00:05
and thus achieved the effect
of a bulging cranium."
1:00:08
"To give the effect of deadness, Karloff's
make-up was blue-green in colour,
1:00:12
and the light was projected
through blue filters."
1:00:15
"When other characters
appeared with him,
1:00:17
the make-ups of the others
were pink or reddish in tone,
1:00:20
and lights of a corresponding shade
had to be trained on them,
1:00:23
while the blue lights
must be shielded from them."
1:00:45
The laboratory scenes
are patterned in equal parts
1:00:48
on sequences from two silent films
produced in Europe.
1:00:52
They are the creation of the female robot
in Fritz Lang's 1927 Metropolis,
1:00:56
filmed in Germany,
1:00:58
and the medieval climax of the 1926
Rex Ingram film The Magician,