After nearly fifteen years of imprisonment, Doctor Niemann (Boris Karloff) and his hunchbacked assistant, Daniel (J. Carroll Nash), escape, and attempt to find Niemann’s nemesis, Hussman (Sig Ruman). On their journey they encounter some of the most terrifying monsters known to man. Franknenstein’s monster (Glenn Strange), Dracula (John Carradine) and the wolf man (Lon Chaney Jr.) all take part in a twisted journey of revenge and death.
House of Frankenstein follows the unappealing trend of shifting actors around between installments of the Frankenstein series. A new actor takes up the roles of the monster and Dracula, yet the original Frankenstein’s monster (Karloff) is present in the film. The constant shuffling of actors makes the head hurt and confuses audiences. Karloff’s decision to stop playing the monster years before makes sense, however, as he says that he believes that monster would “become an oafish prop." This explains his departure from the series in the first place but makes his reappearance in the series questionable. If his belief is that the monster will eventually become a prop and would no longer hold enough weight for him to remain relevant, why would he choose to return and take part in a film that does exactly what he was worried about? Money is the obvious answer, and, while that makes sense, Universal Studios' decision to bring Karloff back speaks volumes about what they think about their own films. The audiences’ minds begin to wander and they question the integrity of the company at the time of House of Frankenstein’s release. It appears, furthermore, that their understanding of their films is that they are simply money makers and that their passion for their products is diminishing.
As with some of the previous installments, the title of this film does not make a lot of sense in regard to the actual plot of the film. House of Frankenstein leads audiences to believe that a member of the Frankenstein family will play a role in the film, and that Frankenstein’s monster will have a significant role in the film’s story. Neither expectations come to fruition, making the title House of Frankenstein essentially pointless. The plot, however, is one of the more interesting ones of the series. The inclusion of multiple monsters (Frankenstein’s monster, Dracula and the wolf man) creates a glowing story that keeps audiences engaged from beginning to end. For the first time in the series, there are a number of engaging and entertaining characters. Writers Edward T. Lowe Jr. and Curt Siodmak and director Erle C. Kenton move from character to character to create a fun and exciting film that engages audiences and exposes them to the true potential of the original Universal Monsterverse.
In terms of plot (even with the minute role of Frankenstein’s monster) Lowe Jr., Kenton and Siodmak move the franchise in a wonderful direction. The film is full of fun and excitement and it moves at a much faster pace than previous installments. Even with the intentions of both the studio and Boris Karloff somewhere in limbo, audiences are able to appreciate the story (and the multiple character arcs). The audiences’ appreciation of the film is thanks, mostly, to the script and the direction of Kenton. House of Frankenstein breathes life back into the franchise and gives audiences hopes for an exciting future in the realm of the Frankensteins and their monster.
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