Though we often forget it, the Universal horror films of the 1930s are among the most enduringly iconic in the history of cinema. Look around next Halloween and consider it. A great majority of the representations of Dracula, from costumes to dolls, will be in the likeness of Bela Lugosi, and the ubiquitous green-skinned, square-headed images of Frankensteinâ€™s monster will be derived from Boris Karloff in his makeup. Universalâ€™s classic monster movies have long since made the rare and momentous leap from the screen to the collective subconscious. You neednâ€™t have seen the films to recognize the characters and or even quote them offhand, imitating the accent of Lugosiâ€™s vampire count or the exultant â€œItâ€™s alive!â€ spouted by Colin Cliveâ€™s Dr. Frankenstein. The films have been imitated and lovingly parodied through the years, and, in the realm of pop culture, their representations of the famous monsters have largely superseded even the novels from which the creatures originated. Perhaps it is appropriate then that The Bride of Frankenstein, the 1935 sequel that ranks as perhaps the most highly-regarded of all the classic Universal horror films, introduces another truly iconic â€“ and this timely wholly original â€“ monster in Elsa Lanchesterâ€™s characterization of the eponymous Bride.