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The Invisible Man (1933)
Pitched shortly after the success of Dracula (1931), but not put into development until after Frankenstein (1931), The Invisible Man outgrossed most of its predecessors in the Universal Monsters megafranchise and is probably one the main reasons why the studio kept cranking these things out for the next twenty-five years. Reasonably faithful to its source novel (H.G. Wells had veto power over the script), The Invisible Man is fondly remembered for its groundbreaking visual effects; the film predates the widespread adoption of green screen technology by decades and treated audiences to something that nobody had ever seen before. This movie also benefits greatly by a manic, over-the-top performance by Claude Rains, making his sound debut.
Ryan is joined by Sylvan and Cheryl for this discussion. Talking points mostly center upon the film's use of queercoding. Among other things, the dialogue delves into Hollywood's fondness for portraying antagonists as foppish, effeminate, and sassy dandies, the ways that director James Whale expressed his queerness in his art, the complex relationship between gay culture and camp, and gay culture's ambivalent relationships with villainous characters with obvious queer subtext.
Ryan does, however, go on a tirade about the trope regarding "man meddling in things best left to God".
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By Ryan Valentine
5
44 ratings
Pitched shortly after the success of Dracula (1931), but not put into development until after Frankenstein (1931), The Invisible Man outgrossed most of its predecessors in the Universal Monsters megafranchise and is probably one the main reasons why the studio kept cranking these things out for the next twenty-five years. Reasonably faithful to its source novel (H.G. Wells had veto power over the script), The Invisible Man is fondly remembered for its groundbreaking visual effects; the film predates the widespread adoption of green screen technology by decades and treated audiences to something that nobody had ever seen before. This movie also benefits greatly by a manic, over-the-top performance by Claude Rains, making his sound debut.
Ryan is joined by Sylvan and Cheryl for this discussion. Talking points mostly center upon the film's use of queercoding. Among other things, the dialogue delves into Hollywood's fondness for portraying antagonists as foppish, effeminate, and sassy dandies, the ways that director James Whale expressed his queerness in his art, the complex relationship between gay culture and camp, and gay culture's ambivalent relationships with villainous characters with obvious queer subtext.
Ryan does, however, go on a tirade about the trope regarding "man meddling in things best left to God".