The Ghost Breaker (1914 film)
The Ghost Breaker was a 1914 American silent drama film directed by Cecil B. DeMille and Oscar C. Apfel and based on the Broadway play of the same name by Paul Dickey and Charles W. Goddard; the film was distributed by Paramount Pictures under the Famous Players-Lasky banner. The Ghost Breaker was the first film in a long line of haunted-house horror films with the same story. A 1922 remake of the same name starred Lila Lee; the original film was remade as The Ghost Breakers with Bob Hope and Paulette Goddard, as Scared Stiff with Martin and Lewis. The film is now considered lost. H. B. Warner as Warren Jarvis Rita Stanwood as Princess Maria Theresa Theodore Roberts as Prince of Aragon Betty Johnson as Carmen Jode Mullally as Don Luis Horace B. Carpenter as Carlos, Duke D'Alva Jeanne McPherson as Juanita, Carmen's rival Mabel Van Buren as Delores William Elmer as Robledo Richard L'Estrange as Maximo, the ghost Fred Montague as Gaspart, the ghost Lucien Littlefield as Judge Jarvis John Burton as Rusty Jack W. Johnston as Markam The film was released in Wellington, New Zealand, on December 19, 1915, where it followed a week-long run of Fanchon the Cricket.
The Ghost Breaker on IMDb The Ghost Breaker at AllMovie
The Legend of Sleepy Hollow
"The Legend of Sleepy Hollow" is a gothic story by American author Washington Irving, contained in his collection of 34 essays and short stories entitled The Sketch Book of Geoffrey Crayon, Gent.. Written while Irving was living abroad in Birmingham, England, "The Legend of Sleepy Hollow" was first published in 1820. Along with Irving's companion piece "Rip Van Winkle", "The Legend of Sleepy Hollow" is among the earliest examples of American fiction with enduring popularity during Halloween because of a character known as the Headless Horseman believed to be a Hessian soldier, decapitated by a cannonball in battle. From the listless repose of the place, the peculiar character of its inhabitants, who are descendants from the original Dutch settlers, this sequestered glen has long been known by name of Sleepy Hollow... A drowsy, dreamy influence seems to hang over the land, to pervade the atmosphere; the story is set in 1790 in the countryside around the Dutch settlement of Tarry Town, in a secluded glen called Sleepy Hollow.
Sleepy Hollow is renowned for its ghosts and the haunting atmosphere that pervades the imaginations of its inhabitants and visitors. Some residents say. Other residents say an old Native American chief, the wizard of his tribe, held his powwows here before the country was discovered by Master Hendrick Hudson; the most infamous spectre in the Hollow is the Headless Horseman, said to be the ghost of a Hessian trooper who had his head shot off by a stray cannonball during "some nameless battle" of the American Revolutionary War, who "rides forth to the scene of battle in nightly quest of his head". The "Legend" relates the tale of Ichabod Crane, a lean and superstitious schoolmaster from Connecticut, who competes with Abraham "Brom Bones" Van Brunt, the town rowdy, for the hand of 18-year-old Katrina Van Tassel, the daughter and sole child of a wealthy farmer, Baltus Van Tassel. Ichabod Crane, a Yankee and an outsider, sees marriage to Katrina as a means of procuring Van Tassel's extravagant wealth.
Bones, the local hero, vies with Ichabod for Katrina's hand, playing a series of pranks on the jittery schoolmaster, the fate of Sleepy Hollow's fortune weighs in the balance for some time. The tension among the three is soon brought to a head. On a placid autumn night, the ambitious Crane attends a harvest party at the Van Tassels' homestead, he dances, partakes in the feast, listens to ghostly legends told by Brom and the locals, but his true aim is to propose to Katrina after the guests leave. His intentions, are ill-fated. After having failed to secure Katrina's hand, Ichabod rides home "heavy-hearted and crestfallen" through the woods between Van Tassel's farmstead and the Sleepy Hollow settlement; as he passes several purportedly haunted spots, his active imagination is engorged by the ghost stories told at Baltus' harvest party. After nervously passing under a lightning-stricken tulip tree purportedly haunted by the ghost of British spy Major André, Ichabod encounters a cloaked rider at an intersection in a menacing swamp.
Unsettled by his fellow traveler's eerie size and silence, the teacher is horrified to discover that his companion's head is not on his shoulders, but on his saddle. In a frenzied race to the bridge adjacent to the Old Dutch Burying Ground, where the Hessian is said to "vanish, according to rule, in a flash of fire and brimstone" upon crossing it, Ichabod rides for his life goading his temperamental plow horse down the Hollow. However, to Crane's horror, the ghoul clambers over the bridge, rears his horse, hurls his severed head into Ichabod's terrified face; the schoolmaster attempts to duck beneath the terrible missile, but is too late when it strikes his head and sends him tumbling headlong into the dust. The next morning, Ichabod has mysteriously disappeared from town, leaving Katrina to marry Brom Bones, said "to look exceedingly knowing whenever the story of Ichabod was related". Indeed, the only relics of the schoolmaster's flight are his wandering horse, trampled saddle, discarded hat, a mysterious shattered pumpkin.
Although the true nature of both the Headless Horseman and Ichabod's disappearance that night are left open to interpretation, the story implies that the ghost was Brom in disguise, suggests that Crane was knocked off his horse and fled Sleepy Hollow, never to return there again. Irving's narrator concludes the story, however, by stating that the old Dutch wives continue to promote the belief that Ichabod was "spirited away by supernatural means", a legend develops around his disappearance and sightings of his melancholy spirit. Irving wrote The Sketch Book during a tour of Europe, parts of the tale may be traced to European origins. Headless horsemen were staples of Northern European storytelling, featuring in German, Irish and English legends, were included in Robert Burns's poem "Tam o' Shanter" and Bürger's Der wilde Jäger, translated as The Wild Huntsman. Viewed as omens of ill-fortune for those who chose to disregard their apparitions, these specters found their victims in proud, scheming persons and characters with hubris and arrogance.
One influential rendition of this folktale was recorded by the German folklorist Karl Musäus. During the height of the American Revolutionary War, Irving writes that the country surrounding Tarry Town "was one of those highly-favored places which abound with chronicle and great men; the British and American line had run near it during the war.
A Haunted House
A Haunted House is a 2013 American found footage parody comedy horror film directed by Michael Tiddes, written and starring Marlon Wayans. Although Wayans said the film was "not a parody" but rather a movie with funny characters doing the opposite of what typical people do in similar horror films," the film pokes fun at the "found footage" horror genre, such as Paranormal Activity and The Devil Inside, it was released on January 11, 2013 and was panned by critics, but grossed $60 million against a budget of $2.5 million. A sequel, A Haunted House 2, was released on April 18, 2014. In August 2012, a young couple and Kisha, move in together; as Kisha arrives, she accidentally kills Malcolm's dog, by running him over with her car. On the first night, Malcolm is awoken with Kisha farting loudly that drives him out of the room; the next morning, when Kisha notices her keys on the floor, she tells Malcolm they might have a ghost. To prove to her wrong, Malcolm has security cameras installed by Dan the Security Man and his brother Bobby.
Malcolm tries to have sex with the camera on. Before they start, Malcolm turns the camera back on and records everything. In the morning and Kisha watch the video and notice the door moved. Malcolm suggests; the next night, Malcolm notices the paranormal activity and tries to move out of the house and leave Kisha. Since he can't sell his house in the current market, they hire a psychic, to investigate. Before Chip can leave, after finding nothing wrong, Kisha confesses to making a deal with the devil for a pair of shoes. Chip invites Malcolm to join his wrestling group. After Chip leaves, Kisha shows Malcolm a video of her eighth birthday, in which she began to experience paranormal activity by her imaginary friend, Tony; the next night, Kisha gets out of bed in the middle of the night, stands by the bed for several hours, begins to dance. Malcolm wakes up and follows Kisha to the kitchen, where he catches her eating uncooked food and drinking old milk, she screams crazily. In the morning, Kisha remembers nothing.
On another night, Kisha urges Malcolm to investigate a noise, but it turns out to be Rosa, his Hispanic housekeeper. Rosa quits, Malcolm and Kisha smoke marijuana with the ghost to relieve their pain; the next day, Malcolm's friend Steve and his girlfriend Jenny bring over a ouija board to communicate with the ghost. When it misspells ghost as "gost", they all laugh at it, it throws the ouija board across the room, scaring Jenny and Steve out of the house; that night, the ghost has sex with Kisha. When Malcolm finds out, he calls his cousin Ray Ray, who flees when he sees the ghost's powers; that same night, Kisha waits for the ghost until it leaves. After Kisha leaves, the ghost rapes Malcolm. Malcolm and Kisha anger the ghost by ignoring it, so it attacks Kisha in the night while Malcolm listens to music, through headphones, on his computer. In the morning, Malcolm notices something is wrong with Kisha and calls Father Doug to do an exorcism; when it does not work, Malcolm calls Bobby to help.
Chip rushes into the house to help. During the exorcism, Kisha escapes into the living room. Before Malcolm and Doug find her, Doug accidentally shoots and kills Rosa, who had come to pick up her last check; when they all meet in the living room, Kisha behaves strangely and flees to the basement. The group finds her crying in a corner; when Malcolm reaches for her, she attacks him, the whole group beats her up forcing the ghost out of her body. The next night and Kisha have sex with the camera on for about three hours. In the middle of the night, Kisha wakes up and stands next to the bed for a few hours before walking out of the room and making a big crash and screaming Malcolm's name; when Malcolm comes out of his room, Kisha throws him back, he hits the camera, knocking him out. When Kisha enters the room her shirt is bloody, she sniffs his body until he farts in her face. As Kisha lunges at the camera, her face takes on a demonic appearance. A minute Malcolm wakes up telling everyone he survived and Kisha is behind him making him scream.
Marlon Wayans as Malcolm Johnson Essence Atkins as Kisha Davis Cedric the Entertainer as Father Doug Williams Nick Swardson as Chip the Psychic, a psychic who lusts after Malcolm David Koechner as Dan "the Man" Kearney Dave Sheridan as Bob "Bobby" Kearney, Dan's illiterate brother/associate Marlene Forte as Rosa, Malcolm's Hispanic housekeeper Andrew Daly as Steve, Malcolm's exchanger friend Alanna Ubach as Jenny, Steve's wife Affion Crockett as Ray-Ray, Malcolm's gangster cousin Robin Thede and J. B. Smoove as Kisha's mother and stepfather A Haunted House grossed $40.4 million in North America and $20.1 million in other territories for a worldwide total of $60.5 million, against a budget of $2.5 million. The film grossed $18.1 million in its opening weekend, finishing second at the box office behind Zero Dark Thirty. On Rotten Tomatoes, the film holds an approval rating of 10% based on 51 reviews, with an average rating of 2.6/10. The site's critical consensus reads, "A Haunted House seeks to offend every sensibility, but its greatest sin: not being funny!"
On Metacritic, the film has a weighted average score of 20 out of 100, based on 16 critics, indicating "generally unfavorable reviews". Audiences polled by CinemaScore gave the film an average grade of "B–" on an A+ to F scale. Nick Swardson was nominated for a Golden Raspberry Award for Worst Supporting Actor for his performance in the film. A Haunted
Blackface is a form of theatrical make-up used predominantly by non-black performers to represent a caricature of a black person. The practice gained popularity during the 19th century and contributed to the spread of racial stereotypes such as the "happy-go-lucky darky on the plantation" or the "dandified coon". By the middle of the century, blackface minstrel shows had become a distinctive American artform, translating formal works such as opera into popular terms for a general audience. Early in the 20th century, blackface branched off from the minstrel show and became a form in its own right. In the United States, blackface had fallen out of favor by the turn of the 21st century, is now considered offensive and disrespectful, though the practice continues in other countries. Blackface was a performance tradition in the American theater for 100 years beginning around 1830, it became popular elsewhere so in Britain, where the tradition lasted longer than in the U. S. occurring on primetime TV, most famously in The Black and White Minstrel Show, which ended in 1978, in Are You Being Served?'s Christmas specials in 1976 and in 1981.
In both the United States and Britain, blackface was most used in the minstrel performance tradition, which it both predated and outlasted. Early white performers in blackface used burnt cork and greasepaint or shoe polish to blacken their skin and exaggerate their lips wearing woolly wigs, tailcoats, or ragged clothes to complete the transformation. Black artists performed in blackface. Stereotypes embodied in the stock characters of blackface minstrels not only played a significant role in cementing and proliferating racist images and perceptions worldwide, but in popularizing black culture. In some quarters, the caricatures that were the legacy of blackface persist to the present day and are a cause of ongoing controversy. Another view is that "blackface is a form of cross-dressing in which one puts on the insignias of a sex, class, or race that stands in opposition to one's own."By the mid-20th century, changing attitudes about race and racism ended the prominence of blackface makeup used in performance in the U.
S. and elsewhere. Blackface in contemporary art remains in limited use as a theatrical device and is more used today as social commentary or satire; the most enduring effect of blackface is the precedent it established in the introduction of African-American culture to an international audience, albeit through a distorted lens. Blackface's appropriation and assimilation of African-American culture – as well as the inter-ethnic artistic collaborations that stemmed from it – were but a prologue to the lucrative packaging and dissemination of African-American cultural expression and its myriad derivative forms in today's world popular culture. There is no consensus about a single moment; the journalist and cultural commentator John Strausbaugh places it as part of a tradition of "displaying Blackness for the enjoyment and edification of white viewers" that dates back at least to 1441, when captive West Africans were displayed in Portugal. White people portrayed the black characters in the Elizabethan and Jacobean theater, most famously in Othello.
However and other plays of this era did not involve the emulation and caricature of "such supposed innate qualities of Blackness as inherent musicality, natural athleticism", etc. that Strausbaugh sees as crucial to blackface. Lewis Hallam, Jr. a white blackface actor of American Company fame, brought blackface in this more specific sense to prominence as a theatrical device in the United States when playing the role of "Mungo", an inebriated black man in The Padlock, a British play that premiered in New York City at the John Street Theatre on May 29, 1769. The play attracted notice, other performers adopted the style. From at least the 1810s, blackface clowns were popular in the United States. British actor Charles Mathews toured the U. S. in 1822–23, as a result added a "black" characterization to his repertoire of British regional types for his next show, A Trip to America, which included Mathews singing "Possum up a Gum Tree", a popular slave freedom song. Edwin Forrest played a plantation black in 1823, George Washington Dixon was building his stage career around blackface in 1828, but it was another white comic actor, Thomas D. Rice, who popularized blackface.
Rice introduced the song "Jump Jim Crow" accompanied by a dance in his stage act in 1828 and scored stardom with it by 1832. First on de heel tap, den on the toeEvery time I wheel about I jump Jim Crow. I wheel about and turn about an do just so. Rice traveled the U. S. performing under the stage name "Daddy Jim Crow". The name Jim Crow became attached to statutes that codified the reinstitution of segregation and discrimination after Reconstruction. In the 1830s and early 1840s, blackface performances mixed skits with comic songs and vigorous dances. Rice and his peers performed only in disreputable venues, but as blackface gained popularity they gained opportunities to perform as entr'actes in theatrical venues of a higher class. Stereotyped blackface characters developed: buffoonish, superstitious and lascivious characters, who stole, lied pathologically, mangled the English language. Early blackface minstrels were all male, so cross-dressing white men played black women who were portrayed as unappealingly and grotesquely mannish, in the matronly mammy mold, or as sexually provocative.
The 1830s American stage, where blackfa
Abbott and Costello Meet Frankenstein
Abbott and Costello Meet Frankenstein is a 1948 American horror comedy film directed by Charles Barton and starring the comedy team of Abbott and Costello. The picture is the first of several films in which the comedy duo meets classic characters from Universal's horror film stable. In this film, they encounter Count Dracula, Frankenstein's monster, the Wolf Man. Subsequent films pair the duo with the Invisible Man, Dr. Jekyll and Mr. Hyde, the Mummy; this film is considered the swan song for the "Big Three" Universal horror monsters, none of whom had appeared in a Universal film since House of Dracula. In 2001, the United States Library of Congress deemed this film "culturally or aesthetically significant" and selected it for preservation in the National Film Registry, in September 2007, Reader's Digest selected the movie as one of the top 100 funniest films of all time; the film is number 56th on the list of the American Film Institute's "100 Funniest American Movies". Lawrence Talbot makes an urgent phone call from London to a Florida railway station where Chick Young and Wilbur Grey work as baggage clerks.
Talbot tries to impart to Wilbur the danger of a shipment due to arrive for "McDougal's House Of Horrors", a local wax museum. The crates purportedly contain the remains of the Frankenstein monster. However, before Wilbur can understand, a full moon rises and Talbot transforms into a werewolf, he proceeds to destroy his hotel room. Wilbur hangs up. Meanwhile, the museum owner, McDougal, has arrived to claim the shipments; when Wilbur badly mishandles the crates, McDougal demands that the boys deliver them to his museum so his insurance agent can inspect them. Chick and Wilbur deliver the crates after hours, they find Dracula's coffin. When Chick leaves the room to retrieve the second crate, Wilbur reads aloud the Dracula legend printed on an exhibit card; the coffin creaks open. Wilbur is so frightened. Before Chick returns with the second crate, Dracula climbs unnoticed out of his coffin and hides in the shadows. Wilbur claims that the coffin opened. While the boys open the second crate containing the Monster, Chick leaves the room to greet McDougal and the insurance agent.
Dracula now reanimates the Monster. They both leave and by the time McDougal, the insurance agent, Chick enter, both crates are empty. McDougal has them arrested; that night, Dr. Sandra Mornay welcomes the Monster to her island castle. Sandra, a gifted surgeon who has studied Dr. Frankenstein's notebooks, has seduced Wilbur as part of Dracula's plan to replace the Monster's brutish brain with a more pliable one—Wilbur's. Wilbur and Chick are bailed out of jail, they assume that Sandra posted bond, but Joan Raymond, an undercover investigator for the insurance company, did so. Joan feigns love for Wilbur, hoping that he will lead her to the missing "exhibits". Wilbur invites Joan to a masquerade ball that evening. Meanwhile, Lawrence Talbot has tracked Dracula and the Monster from Europe and has taken the apartment across the hall from Wilbur and Chick. Talbot asks Wilbur to help him find and destroy Dracula and the Monster. Wilbur believes; that night Wilbur and Joan go to Sandra's castle to pick her up for the ball.
Wilbur answers a telephone call from Talbot, who informs them that they are in fact in the "House of Dracula". Wilbur reluctantly agrees to search the castle with Chick and soon stumbles upon a basement staircase that leads to a boat and dock. Chick insists they search for Dracula and the Monster to prove to Wilbur that they do not exist. Behind a revolving door, Wilbur experiences. Meanwhile, Joan discovers Dr. Frankenstein's notebook in Sandra's desk and Sandra finds Joan's insurance company employee ID in her purse; as the men and women prepare to leave for the ball, a suavely dressed Dr. Lahos introduces himself to Joan and the boys. Working at the castle is the naive Prof. Stevens, who questions some of the specialized equipment that has arrived. After Wilbur admits that he was in the basement, Sandra feigns a headache and tells Wilbur and the others that they will have to go to the ball without her. In private, Sandra admits to Dracula that Stevens' suspicions, Joan's credentials, Wilbur's snooping in the basement have made her nervous enough to put the experiment on hold.
Dracula asserts his will by biting her in the neck. Everyone is now at the masquerade ball. Talbot arrives and confronts Dr. Lahos, in costume as Dracula. Lejos deflects Talbot's accusations and takes Joan to the dance floor. Sandra lures Wilbur to a quiet spot in the woods and attempts to bite him, but Chick and Larry approach and she flees. While Talbot and Wilbur search for Joan, Talbot transforms into the Wolf Man and stalks Wilbur. Wilbur escapes, but the Wolf Man attacks McDougal, at the ball. Since Chick's costume includes a wolf mask, McDougal accuses Chick of attacking him out of
A biographical film, or biopic, is a film that dramatizes the life of a non-fictional or historically-based person or people. Such films show the life of a historical person and the central character's real name is used, they differ from films "based on a true story" or "historical drama films" in that they attempt to comprehensively tell a single person's life story or at least the most important years of their lives. Because the figures portrayed are actual people, whose actions and characteristics are known to the public, biopic roles are considered some of the most demanding of actors and actresses. Ben Kingsley, Johnny Depp, Jim Carrey, Jamie Foxx all gained new-found respect as dramatic actors after starring in biopics: Ben Kingsley as Mahatma Gandhi in Gandhi, Depp as Ed Wood in Ed Wood, Carrey as Andy Kaufman in Man on the Moon, Foxx as Ray Charles in Ray, Eddie Redmayne as Stephen Hawking in The Theory of Everything. In rare cases, sometimes called auto biopics, the subject of the film plays himself or herself: Jackie Robinson in The Jackie Robinson Story.
Biopic scholars include George F. Custen of the College of Staten Island and Dennis P. Bingham of Indiana University – Purdue University Indianapolis. Custen, in Bio/Pics: How Hollywood Constructed Public History, regards the genre as having died with the Hollywood studio era, in particular, Darryl F. Zanuck. On the other hand, Bingham's 2010 study Whose Lives Are They Anyway? The Biopic as Contemporary Film Genre shows how it perpetuates as a codified genre using many of the same tropes used in the studio era that has followed a similar trajectory as that shown by Rick Altman in his study, Film/Genre. Bingham addresses the male biopic and the female biopic as distinct genres from each other, the former dealing with great accomplishments, the latter dealing with female victimization. Ellen Cheshire's Bio-Pics: a life in pictures examines UK/US films from the 1990s and 2000s; each chapter concludes with further viewing list. Christopher Robé has written on the gender norms that underlie the biopic in his article, "Taking Hollywood Back" in the 2009 issue of Cinema Journal.
Roger Ebert defended The Hurricane and distortions in biographical films in general, stating "those who seek the truth about a man from the film of his life might as well seek it from his loving grandmother.... The Hurricane is not a documentary but a parable." Some biopics purposely stretch the truth. Confessions of a Dangerous Mind was based on game show host Chuck Barris' debunked yet popular memoir of the same name, in which he claimed to be a CIA agent. Kafka incorporated both the surreal aspects of his fiction; the Errol Flynn film They Died with Their Boots On tells the story of Custer but is romanticized. The Oliver Stone film The Doors about Jim Morrison, was praised for the similarities between Jim Morrison and actor Val Kilmer, look-wise and singing-wise, but fans and band members did not like the way Val Kilmer portrayed Jim Morrison, a few of the scenes were completely made up. Casting can be controversial for biographical films. Casting is a balance between similarity in looks and ability to portray the characteristics of the person.
Anthony Hopkins felt that he should not have played Richard Nixon in Nixon because of a lack of resemblance between the two. The casting of John Wayne as Genghis Khan in The Conqueror was objected to because of the American Wayne being cast as the Mongol warlord. Egyptian critics criticized the casting of Louis Gossett, Jr. an African American actor, as Egyptian president Anwar Sadat in the 1982 TV miniseries Sadat. Some objected to the casting of Jennifer Lopez in Selena because she is a New York City native of Puerto Rican descent while Selena was Mexican-American; the musical biopic Bohemian Rhapsody, based on the life of Queen singer Freddie Mercury, became the highest-grossing biopic of all time in 2018. Biographical novel Biography in literature List of biographical films
Frankenstein. Shelley started writing the story when she was 18, the first edition of the novel was published anonymously in London on 1 January 1818, when she was 20, her name first appeared on the second edition, published in 1823. Shelley travelled through Europe in 1814, journeying along the river Rhine in Germany with a stop in Gernsheim, 17 kilometres away from Frankenstein Castle, two centuries before, an alchemist was engaged in experiments, she travelled in the region of Geneva —where much of the story takes place—and the topic of galvanism and occult ideas were themes of conversation among her companions her lover and future husband, Percy Shelley. Mary and Lord Byron decided to have a competition to see who could write the best horror story. After thinking for days, Shelley dreamt about a scientist who created life and was horrified by what he had made. Frankenstein is infused with elements of the Romantic movement. At the same time, it is an early example of science fiction. Brian Aldiss has argued that it should be considered the first true science fiction story because, in contrast to previous stories with fantastical elements resembling those of science fiction, the central character "makes a deliberate decision" and "turns to modern experiments in the laboratory" to achieve fantastic results.
It has had a considerable influence in literature and popular culture and spawned a complete genre of horror stories and plays. Since the novel's publication, the name "Frankenstein" has been used to refer to the monster itself; this usage is considered erroneous, but some commentators regard it as well-established and acceptable. In the novel, Frankenstein's creation is identified by words such as "creature", "monster", "daemon", "wretch", "abortion", "fiend" and "it". Speaking to Victor Frankenstein, the monster says "I ought to be thy Adam, but I am rather the fallen angel". Frankenstein is written in the form of a frame story that starts with Captain Robert Walton writing letters to his sister, it takes place at an unspecified time in the 18th century, as the letters' dates are given as "17—". In the story following the letters by Walton, the readers find that Victor Frankenstein creates a monster that brings tragedy to his life; the novel Frankenstein is written in epistolary form, documenting a fictional correspondence between Captain Robert Walton and his sister, Margaret Walton Saville.
Walton is a failed writer and captain who sets out to explore the North Pole and expand his scientific knowledge in hopes of achieving fame. During the voyage, the crew spots a dog sled driven by a gigantic figure. A few hours the crew rescues a nearly frozen and emaciated man named Victor Frankenstein. Frankenstein has been in pursuit of the gigantic man observed by Walton's crew. Frankenstein starts to recover from his exertion; the recounted story serves as the frame for Frankenstein's narrative. Victor begins by telling of his childhood. Born in Naples, into a wealthy Genevan family and his brothers and William, all three being sons of Alphonse Frankenstein by the former Caroline Beaufort, are encouraged to seek a greater understanding of the world through chemistry; as a young boy, Victor is obsessed with studying outdated theories that focus on simulating natural wonders. When Victor is five years old, his parents adopt Elizabeth Lavenza, the orphaned daughter of an expropriated Italian nobleman, with whom Victor falls in love.
During this period, Victor's parents and Caroline, take in yet another orphan, Justine Moritz, who becomes William's nanny. Weeks before he leaves for the University of Ingolstadt in Germany, his mother dies of scarlet fever. At the university, he excels at chemistry and other sciences, soon developing a secret technique to impart life to non-living matter, he undertakes the creation of a humanoid, but due to the difficulty in replicating the minute parts of the human body, Victor makes the Creature tall, about 8 feet in height and proportionally large. Despite Victor's selecting its features as beautiful, upon animation the creature is instead hideous, with watery white eyes and yellow skin that conceals the muscles and blood vessels underneath. Repulsed by his work, Victor flees. While wandering the streets, he meets his childhood friend, Henry Clerval, takes Henry back to his apartment, fearful of Henry's reaction if he sees the monster. However, the Creature has escaped. Victor is nursed back to health by Henry.
After a four-month recovery, he receives a letter from his father notifying him of the murder of his brother William. Upon arriving in Geneva, Victor sees the Creature near the crime scene and climbing a mountain, leading him to believe his creation is responsible. Justine Moritz, William's nanny, is convicted of the crime after William's locket, which had contained a miniature portrait of Caroline, is found in her pocket. Victor is helpless to stop her from being hanged. Ravaged by grief and guilt, Victor retreats into the mountains; the Creature finds him and pl