in general — springs from the dark side of the imagination. He considered Brigitte Helm and Phyllis Brooks before deciding on Elsa Lanchester. Lanchester, who had accompanied husband Charles Laughton to Hollywood, had met with only moderate success while Laughton had made a strong impact with several films including The Private Life of Henry VIII (for which he had won an Oscar) and Whale's own The Old Dark House. Lanchester had returned alone to London when Whale contacted her to offer her the dual role. Lanchester modeled the Bride's hissing on the hissing of swans. She gave herself a sore throat while filming the hissing sequence, which Whale shot from multiple angles. Colin Clive and Boris Karloff reprised their roles from Frankenstein as creator and creation, respectively. Hobson recalled Clive's alcoholism had worsened since filming the original, but Whale did not recast the role because his "hysterical quality" was necessary for the film. Karloff strongly objected to the decision to allow the Monster to speak: "Speech! Stupid! My argument was that if the monster had any impact or charm, it was because he was inarticulate – this great, lumbering, inarticulate creature. The moment he spoke you might as well ... play it straight". This decision also meant that Karloff could not remove his dental plate, so now his cheeks did not have the sunken look of the original film. Whale and the studio psychiatrist selected 44 simple words for the Monster's vocabulary by looking at test papers of ten-year-olds working at the studio. Dwight Frye returned to play the doctor's assistant, Karl, having played the hunchback Fritz in the original. Frye also filmed a scene as an unnamed villager and the role of "Nephew Glutz", a man who murdered his uncle and blamed the death on the Monster. Boris Karloff is credited simply as KARLOFF, which was Universal's custom during the height of his career. Elsa Lanchester is credited for Mary Wollstonecraft Shelley, but in a nod to the earlier film, the Monster's bride is credited only as "?" just as Boris Karloff had been in the opening credits of Frankenstein. Universal makeup artist Jack Pierce paid special attention to the Monster's appearance in this film. He altered his 1931 design to display the after-effects of the mill fire, adding scars and shortening the Monster's hair. Over the course of filming, Pierce modified the Monster's makeup to indicate that the