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's last professional engagement was directing Pagan in the Parlour, a farce about two New England spinster sisters who are visited by a Polynesian whom their father, when shipwrecked years earlier, had married.

Killer Moth, Firefly and Lock-Up all survive, but are injured and unconscious to varied degrees, the Scarface puppet is " killed ", and Peyton Reily, the new Ventriloquist, is unharmed, though after the attack she is taken away by Tobias Whale's men.

The story arc ends with Scarecrow beaten and tied up by Tobias Whale, as a sign to all " masks " that they are not welcome in Whale's new vision of Gotham.

Another highly prized item in ceremony is the tabua or Whale's tooth, other items also the use of mats ( masi ) are also used traditionally in ceremony also various regions have tradition that has been passed down generation to generation for centuries one example are the firewalkers of beqa.

Among his most famous works ( translated into English, French, Italian, Greek, German, Polish and Dutch ) are: La Tierra del Fuego se Apagó ( Tierra del Fuego Has Burnt Out, 1945 ), Golfo de Penas ( Gulf of Sorrow, 1957 ), El Camino de la Ballena ( The Whale's Path, 1962 ), El Guanaco Blanco ( The White Guanaco, 1980 ), and El Corazón del Témpano ( The Heart of the Iceberg, 1991 ).

James Whale's film The Man in the Iron Mask is very loosely adapted from Dumas ' novel and, by contrast, depicts Fouquet as the story's main villain, who tries to keep the existence of the King's twin brother a secret.

Tod Browning's Dracula ( 1931 ), with Bela Lugosi, was quickly followed by James Whale's Frankenstein ( also 1931 ).

As knowledge of his sexual orientation has become more common, some of his films, Bride of Frankenstein in particular, have been interpreted as having a gay subtext and it has been claimed that Whale's refusal to remain in the closet led to the end of his career.

Bride of Frankenstein was Whale's next project.

With knowledge of his sexuality becoming more common beginning in the 1970s, some film historians and gay studies scholars have detected homosexual themes in Whale's work, particularly in Bride of Frankenstein in which a number of the creative people associated with the cast, including Ernest Thesiger and Colin Clive, were alleged to be gay or bisexual.

" Russo goes so far as to suggest that Whale's homosexuality is expressed in both Frankenstein and Bride as " a vision both films had of the monster as an antisocial figure in the same way that gay people were ' things ' that should not have happened ".

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 ".

Noting that Whale's reputation has been subsumed by the " Karloff cult ", Sarris cites Bride of Frankenstein as the " true gem " of the Frankenstein series and concludes that Whale's career " reflects the stylistic ambitions and dramatic disappointments of an expressionist in the studio-controlled Hollywood of the thirties ".

** Release of James Whale's film of Frankenstein in New York.

Edward Scissorhands climaxes much like James Whale's Frankenstein and Burton's own Frankenweenie.

While working on the project, Cooper also screened various recent films for Wallace to put him in the right mindset, including Tod Browning's Dracula and James Whale's Frankenstein, as well as the fragments of sequences shot by Willis O ' Brien for Creation that were to be reused in the current script.

Colin Clive ( 20 January 1900-25 June 1937 ) was an English stage and screen actor best remembered for his portrayal of Dr. Frankenstein in James Whale's two Universal Frankenstein films Frankenstein and Bride of Frankenstein.

Although Colin Clive made only three horror films, Whale's two Frankenstein films and Mad Love ( 1935 ), he is widely regarded as one of the essential stars of the genre by many film buffs.

The sequence in which the El Brendel character is revived from the dead features the first screen appearance of the spectacular electrical equipment assembled by Kenneth Strickfaden, seen again and more famously in James Whale's Frankenstein ( 1931 ).

He is best known for his performance as Dr. Septimus Pretorius in James Whale's film Bride of Frankenstein ( 1935 ).

And the real Thesiger is seen in the film as Brendan Fraser, as Whale's gardener, sits at a bar watching televised repeats of the original 1935 Bride of Frankenstein.

An earlier scene shows Brendan Fraser as Whale's gardener in a bar watching televised reruns of the 1935 Bride of Frankenstein featuring the climatic scene of Ernest Thesiger as Pretorius and Colin Clive as Dr. Frankenstein unveiling Elsa Lanchester as the Bride.

He is often uncredited, as in his appearance in James Whale's 1931 Frankenstein.

Studio interference, possibly spurred by political pressure from Nazi Germany, led to the film's being altered from Whale's vision and The Road Back was a critical and commercial failure.

Long disillusioned with their record label and its growing financial problems by this time, Kaylan and Volman resisted White Whale's efforts to turn the Turtles into something approaching an assembly-line pop act.

In particular, Whale's 1912 superheated G1 Class 0-8-0 developed from a locomotive introduced by Webb in 1892, lasted, in many cases until 1964, near the end of steam in 1968.

" Karl Williams of the film database Allmovie wrote that " by the 1960s attained a grail-like status among fans of director James Whale ... The Old Dark House came to be reconsidered a cult gem, part of the renewal of interest in Whale's talents many years after his creative peak ".

However, Whale's associates dismissed the notions that Whale's sexuality informed his work or that it cost him his career.

The two were considered a couple for some two years, despite Whale's living as an openly gay man.

Colin Clive in Whale's 1929 stage production of Journey's End.

Having purchased the film rights to Journey's End, British producers Michael Balcon and Thomas Welsh agreed that Whale's experience directing the London and Broadway productions of the play made him the best choice to direct the film.

It is one of only a few of Whale's films that has remained in the public eye and is regarded as a classic of the horror genre.

Whale's next film was The Kiss Before the Mirror ( 1933 ), a critical success but a box office failure.

This was the first of Whale's films for which Production Code Administration approval was required and Universal had a difficult time securing that approval because of the elements of sexual sadism implicit in the husband's abusive behavior.

Lauded as " the finest of all gothic horror movies ", Bride is frequently hailed as Whale's masterpiece.

Retitled Remember Last Night ?, the film was one of Whale's personal favorites, but met with sharply divided reviews and commercial disinterest.

This was the last of Whale's films to be produced under the Laemmle family ; the Laemmles lost control of the studio to J. Cheever Cowdin, head of the Standard Capital Corporation, and Charles R. Rogers, who was installed in Junior Laemmle's old job.

Whale's original cut of the film was given generally positive reviews but sometime between preview screenings and the film's general release Rogers capitulated to the Germans, ordering that cuts be made and additional scenes be shot and inserted.

Because of Whale's habit of periodically revising his date of birth, his niche lists the incorrect date of 1893.

When his longtime companion David Lewis died in 1987, his executor and Whale biographer James Curtis had his ashes interred in a niche across from Whale's.

As filmmaker Curtis Harrington, a friend and confidant of Whale's, put it, " Not in the sense of screaming it from the rooftops or coming out.

Whale's companion David Lewis stated flatly that Whale's sexual orientation was " not germane " to his filmmaking.

" Whale's biographer Curtis rejects the notion that Whale would have identified with the Monster from a homosexual perspective, stating that if the highly class-conscious Whale felt himself to be an antisocial figure, it would have been based not in his sexuality but in his origin in the lower classes.