Queerness in "Bride of Frankenstein"

I have to admit; I have never thought of Frankenstein’s monster as remotely queer. That is, to say, until this class. It does help to know that Bride of Frankenstein’s director, James Whale, was an openly gay man. It certainly gives some context to the film, as the 1930’s were not particularly kind to queer folk, even in Hollywood. It almost establishes the film as a sort of gay parable; a man (creature) ostracized by his community, misunderstood and thought to be a monster, when all he longs for is human interaction. Quite tragic, really. But so is the story of Frankenstein’s monster. It is a very similar theme explored in Moonlight. While obviously more direct, the film is essentially about a gay man, raised in a culture where men are taught to act tough, never show emotion, and hold their head high; themes DEFINITELY not associated with gayness, as typically, in this kind of culture, gayness is associated with femininity. Which, of course, is not the case in reality. Ignorance breeds contempt, as they say. It is a bit more complex with the story of Frankenstein’s monster, however, as he is technically a killer. While most of these instances are in self-defense, some are not. The beginning of the movie, for example, the monster attacks an unarmed married couple. Now you could argue in his defense by saying that he just survived an initial attack, what with the mill being burned down with him inside it and what not. You could also draw parallels between the monster and his attacker in their motives. The people of the village attack Frankenstein for what…because he’s not truly human? Because his monstrous appearance? They perceive him as a threat? I’d wager to say that it is simply because he is difference. Thus, he is misunderstood by all, and ignorance breeds fear. You could say the same about the monster. Yes, he attacks out of self defense, but he also attacks out of ignorance. He has come to perceive most as aggressive, for good reason, and attacks preemptively. So, in a few cases, much like the village people, the monster attacks out of ignorance; it’s one hell of a cycle. There are, however, a few instances where we see him as docile. He is kind to the virginal sheep herder, and even tries to help her when she faints at the sight of him. There is also the case of the mad scientist, whom he approaches looking for food and “drink” and “smoke”, and arguably, of course, companionship. However, due to the ill ulterior motives of the scientist, this relationship is not exactly altruistic. The most pivotal human interaction the monster has is with the old hermit in the woods. This is also, arguably, the most queer interaction. The hermit does not fear the monster because he is blind. He takes him into his home and thanks the lord that he has been provided companionship. He explains to the monster that he has awaited a companion like him for a long time. He even lays the monster down to bed after feeding and caressing him. While the relationship isn’t exactly sexual in nature, it is homoerotic.