The invention and widespread availability of small-gauge film made it possible to expand the distribution of successful films even after they had been exploited in the cinema. Home cinema became a popular status symbol for the upper class in the 1920s. Many men’s salons were equipped with a cine projector. Later, when small-gauge projectors became affordable for the middle class, niches such as erotica or horror were most popular for home cinema use. As in the case of the horror classics in this programme, home cinema versions of films enjoyed wide distribution decades after their creation. The cinematic intensity of home-movie versions – one climax follows the other – becomes ideally visible in the three home-movie versions of the Frankenstein films of the 1930s. Boris Karloff’s appearance as the monster in Frankenstein, Bride of Frankenstein and Son of Frankenstein became a pop culture icon and a reference point for countless imitations.

Karl Wratschko

The three films in the Frankenstein series conserved by Cinémathèque16 are from condensed 16mm versions published in the US by Castle Films, a California company founded in 1924 by former cameraman Eugene W. Castle. Acquired in 1947 by United World Films, a subsidiary of Universal, Castle Films began reissuing condensed versions of the company’s most popular films in reduced format. These 16mm prints come from 1970s re-edits. It is noteworthy that Son of Frankenstein was released in two versions: the first in 1965, containing a long dialogue sequence, replaced by a second version from 1976, presented in this programme, containing more action scenes featuring Boris Karloff and Bela Lugosi. In 1977, Castle Films was renamed Universal 8 and sought to extend its business to longer condensed films such as the 18-minute version of The Raven. The company would not be able to resist the arrival of video in the 1980s. Another film in the programme, Dr. Jekyll and Mr. Hyde, is likely the sole print of its kind in the world. The reediting was undertaken by collector Jean-Claude Eyraud (1946-1996), probably based on a longer version of John S. Robertson’s film of 1920. The cards and intertitles were hand produced on reversal film in the 1970s. You will see the alternative spelling of the name of Dr “Jeckyll” in the opening credits. Certain original intertitles remain, as well as a musical accompaniment printed in variable area on the film, serving as a unique example of the inventiveness of amateur uses of the 16mm format.

Garance Fromont and Rémi Llorens