American Cinematographer - May 1985 - 61
Something Wicked This Way
Comes, The Outsiders, Rumblefish
and Body Double.
"The interesting thing is
that the elements are so unusual,"
Burum said of The Bride. "Here
we have Jennifer Beals, of Flash-
dance, and Sting, lead singer of
The Police, - a rock music group
from
"What
have done,
basically, is
Mary Shelley's book reworked
with the emphasis thrown to the
bride of the monster," Stephen
Burum, ASC, said of his new pic¬
ture, The Bride. This decidedly
we
different version of the Franken¬
stein theme was filmed in England
for Columbia Pictures release. It
produced by Victor Drai, di¬
rected by Franc Roddam and writ¬
ten by Lloyd Fonvielle.
Mrs. Shelley wrote her
was
classic novel, subtitled "or,
Modern Prometheus,"
the
in
first adapted
by Thomas A. Edi¬
son, Inc., as a highly praised onereeler in 1910. It has inspired nu¬
merous other films, the most fa¬
mous
being those made by
1916-18, and it
for the
was
screen
Universal in the Thirties with
Colin Clive as Baron Frankenstein
and Boris Karloff as his creature
made from dead bodies. In the
second of these, Bride of Franken¬
stein
(1935), Elsa Lanchester
por¬
trayed a female monster created as
companion to the lonely and
fearsome original creation. This
picture provided inspiration for
The Bride, although there is little
similarity between the two. The
new film shies away from the "hor¬
ror" aspects of the yarn to stress
human drama. As director of pho¬
tography, Burum provides a great
deal of the beauty and atmosphere
so necessary to the effective telling
of a tale of fantasy.
a
Burum
is
one
of the
leading cinematogra¬
phers, a classmate of Francis Ford
Coppola at the UCLA Film
School. After doing the second
unit photography for Apocalypse
younger
Now and The Black
was
The
director of
Stallion, he
photography of
Escape Artist, The Entity,
England - in this highly phil¬
osophical picture. It takes place in
Hungary in the 1840s. Franken¬
stein isn't a mad scientist, but he's
somewhat of a social outcast. He
Jennifer for the monster,
Clancy Brown, but she is fright¬
creates
ened and the monster runs away.
The monster meets a dwarf on the
road and they join a circus. Mean¬
while, Frankenstein is educating
the girl,
of that
unlike the other
era.
Thus both
being educated,
are
while the other is
to
one
on
women
creatures
formally,
the road, so
speak, learning in the school of
hard knocks. Once Jennifer gains a
lot of knowledge - especially phi-
losphical knowledge - she begins
to ask questions. Frankenstein
doesn't want to tell her he created
her. He's now able to be accepted
in society because of his charming
'niece,' and they
go out to parties.
interested in other
very happy.
When she gets
men,
he's
not
"All this is told intel¬
ligently and loaded with wonder¬
ful philosophical discussions."
Obviously, The Bride
isn't the usual genre piece. Direc¬
tor Roddam summed it up at the
start of production: "My ambition
is to give the audience something
outside common experience."
Such
an
audience
can ex¬
something more than ordi¬
nary cinematography.
Burum was on the picture
from May 27 to October 6, 1984.
pect
through Germany, France, Austria
for several months.
set in Budapest in
1840, rather than in Mrs. Shelley's
and Hungary
The Bride is
The
lights in the
windows
are
photofloods.
1816 Switzerland.
"Budapest
was
really
made up of several different places
in France," Burum explained.
"The big main square is at Sarlat-
la-Caneda, a historic city in the
Perigord region of south-central
France. Carcassone is an ancient
medieval walled city located on a
hill like an old crusaders' fortress.
We used it for the big long-shots
of the city and the ramparts, and
we built the circus set there." Car¬
cassone is one of only a handful of
Western European cities which
has kept its original medieval ar¬
chitecture intact, with no modern¬
ization to spoil the vistas. "Other
scenes were made at the old town
of Perouge, near Lyon, and at a
real chateau in Clermont Ferrand,
Orcival.
"We chose
places that
stretch and gave
us a 360° latitude so that we didn't
have to limit ourselves to cramped
gave us room to
views. We wanted
to
be able
to
get
fresh, spontaneous things. Un¬
planned things come up all the
time. Nobody can plan them all,
so you have to give yourself lee¬
way and use these elements in a
creative way. The whole trick is to
plan it to give yourself enough
room.
"We built a tower on the
side of the chateau and added a
section to join the garage to the
main house to make it look larger.
Two French painters who had no
theatrical experience painted the
stone work on the plaster sides
and made the place look better
Mood
lighting at its
"We made almost all the exteriors
best in
in France in under 40
Frankenstein's
rest was
days. The
ShepStudio Centre in Mid¬
filmed
on
stages at
laboratory.
perton
dlesex. All of the interiors were
constructed sets with the excep¬
tions of an interior of a church in
France and a French tavern."
The French locations
were selected initially by the direc¬
tor,
Franc Roddam, who traveled
May 1985
59
American Cinematographer - May 1985
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