Film Style
Whale was heavily influenced by German Expressionism. He was a particular admirer of the films of Paul Leni, combining as they did elements of gothic horror and comedy. This influence was most evident in Bride of Frankenstein. Expressionist influence is also in evidence in Frankenstein, drawn in part from the work of Paul Wegener and his films The Golem (1915) and The Golem: How He Came into the World (1920) along with The Cabinet of Dr. Caligari (1920) from Robert Wiene, which Whale reportedly screened repeatedly while preparing to shoot Frankenstein. Frankenstein roughly alternates between distorted expressionistic shots and more conventional styles, with the character of Dr. Waldman serving as "a bridge between everyday and expressionist spaces". Expressionist influence is also evident in the acting, costuming and the design of the Monster. Whale and makeup artist Jack Pierce may also have been influenced by the Bauhaus school of design. The expressionist influence lasted throughout Whale's career, with Whale's final film, Hello Out There, praised by Sight & Sound as "a virtuoso pattern of light and shade, a piece of fully blown expressionist filmmaking plonked down unceremoniously in the midst of neo-realism's heyday".
Whale was known for his use of camera movement. He is credited with being the first director to use a 360-degree panning shot in a feature film, included in Frankenstein. Whale used a similar technique during the Ol' Man River sequence in Show Boat, in which the camera tracked around Paul Robeson as he sang the song. Often singled out for praise in Frankenstein is the series of shots used to introduce the Monster: "Nothing can ever quite efface the thrill of watching the successive views Whale's mobile camera allows us of the lumbering figure". These shots, starting with a medium shot and culminating in two close-ups of the Monster's face, were repeated by Whale to introduce Griffin in The Invisible Man and the abusive husband in One More River. Modified to a single cut rather than two, Whale uses the same technique in The Road Back to signal the instability of a returning World War I veteran.
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