The 1931 film Frankenstein, now nearly a century old, remains one of the most instantly recognizable classic horror films. It features Boris Karloff's iconic portrayal of the monster, known for his distinctive look and the unforgettable scene in which the creature comes to life. Unlike modern films, the original Frankenstein had dialogue but no continuous musical score. Composer Michael Shapiro is set to change that by conducting a full-length score for the first time alongside the film at London's Cadogan Hall next month with the Royal Philharmonic Orchestra. Shapiro believes the music will enhance the viewing experience, allowing audiences to focus on the film’s artistic expression without being distracted by the presence of the composer. Karloff’s daughter, Sara Karloff, will be in London to share personal memories of her father, who didn’t see the film until he was 19 due to his strict school’s disapproval of horror films. She recalls watching it alone on TV and recognizing its lasting impact and cultural significance. Based on Mary Shelley’s 1818 novel, the film was directed by James Whale and follows the story of Henry Frankenstein, an ambitious scientist who creates a human-like creature using parts from the dead. The creature, accidentally given the brain of a criminal, escapes from the lab and struggles with uncontrollable impulses. The film is noted for its striking visual design and photography, including a bold and shocking scene where the monster meets a young girl by a lake. Karloff believed children understood the film better than adults, seeing the monster as an innocent victim rather than a monster. Seven-year-old Marilyn Harris, who played the girl, was not frightened by the film and enjoyed working with Karloff. Shapiro, who saw the film as a child, once wrote a fan letter to Karloff and received a response, an autograph, and a photo of him in costume. He admires Karloff’s acting, which he believes gives the creature a soul, a quality he aims to reflect in his music. Frankenstein is considered a foundational text in Hollywood horror, the second in Universal’s classic monster series, following Dracula. It was largely made by British talent, including Karloff, who was born in Dulwich in 1887 and lived in London until his early adulthood. He adopted the stage name Boris Karloff and went on to act in 167 films, including the 1968 thriller Targets, which is his daughter’s favorite. Karloff returned to the UK in the 1950s, living in a flat near Cadogan Hall and a cottage in Hampshire, where England became his home. He was passionate about cricket, often enjoying matches with cucumber sandwiches and a pint of beer. The Boris Karloff Foundation supports young people in the performing arts in the UK, including cricket. The film’s director, James Whale, was also British, from Dudley, and later moved to Broadway and Hollywood after directing Journey’s End in London in 1928. The film’s cast included British actors such as Clive, Frederick Kerr, and Lionel Belmore, who were asked to avoid heavy English accents to make the film more accessible to American audiences. British critics were initially shocked by the film, with reports of people fainting or leaving screenings. However, at the New York premiere, critic Mordaunt Hall noted that people were laughing to hide their discomfort, acknowledging the film as “a morbid, gruesome affair, but it is something to keep the spectator awake.” Karloff did not see the film as a horror movie but something more terrifying, emphasizing imagination over explicit violence. Sara Karloff describes it as “a thoughtful film” that raises questions about who is the perpetrator and who is the victim. As debates continue about the limits of technology and its control, Frankenstein remains unsettlingly relevant. Shapiro agrees, calling it a “masterpiece of humanity” and the reason for its enduring legacy.