referred to as "Igor" in descriptions of the films, he is not so called in the earliest films. In both Frankenstein and Bride of Frankenstein, Frankenstein has an assistant, who is played both times by Dwight Frye, who is disabled. In the original 1931 film the character is named "Fritz"; he is hunchbacked and walks with the aid of a small cane. Fritz did not originate from the Frankenstein novel, and instead originated from the earliest recorded play adaptation, Presumption; or, the Fate of Frankenstein, where he was played by Robert Keeley. In Bride of Frankenstein, Frye plays "Karl", a murderer who stands upright but has a lumbering metal brace on both legs that can be heard clicking loudly with every step. Both characters would be killed by Karloff's monster in their respective films. Frye also appears in later films in the series, such as in Frankenstein Meets the Wolf Man (1943). It was not until Son of Frankenstein (1939) that a character called "Ygor" first appears, here played by Bela Lugosi and revived by Lugosi in The Ghost of Frankenstein (1942) after his apparent murder in the earlier film. This character – a deranged blacksmith whose neck was broken and twisted due to a botched hanging – befriends the monster and later helps Dr. Wolf Frankenstein, leading to the "hunchbacked assistant" called "Igor" commonly associated with Frankenstein in popular culture. Regarding Son of Frankenstein, the film's director Rowland V. Lee said his crew let Lugosi "work on the characterization; the interpretation he gave us was imaginative and totally unexpected ... when we finished shooting, there was no doubt in anyone's mind that he stole the show. Karloff's monster was weak by comparison". Cancelled remake Guillermo del Toro had expressed interest in directing the reboot film for Universal. Del Toro said his Frankenstein would be a faithful "Miltonian tragedy", citing Frank Darabont's "near perfect" script, which evolved into Kenneth Branagh's Frankenstein. Del Toro said of his vision: "What I'm trying to do is take the myth and do something with it, but combining elements of Frankenstein and Bride of Frankenstein without making it just a classical myth of the monster. The best moments in my mind of Frankenstein, of the novel, are yet to be filmed [...] The only guy that has ever nailed for me the emptiness, not the tragic, not the Miltonian dimension of the monster, but the