LOS ANGLES (AP) – The terror of “Frankenstein” dates back to 1818, when Mary Shelley wrote the novel. Many theatrical versions followed, as did silent films, the first made by Edison’s company in 1910.

Yet not until James Whale’s 1931 version was the horror movie accepted by audiences and studios as a classic genre.

On Tuesday, Universal is unveiling the DVD “Frankenstein- 75th Anniversary Edition” which includes the new digitally remastered movie, a biography of star Boris Karloff, plus featurettes, including one about the film’s influence.

Universal is giving the same treatment to “Dracula,” which was also released in 1931. But no horror picture quite captured the realism and style of Whale’s “Frankenstein.”

“It’s one of those iconic films that had a lot of influence,” comments Rick Jewell, a University of Southern California professor specializing in American films of the 1930s and ’40s. “It really established the horror film as one of the more potent genres in Hollywood.”

Carl Laemmle Jr. produced the first “Frankenstein” talkie at Universal Studios. (It was first presented to gasping audiences 75 years ago on Dec. 6.) His father, Carl Sr., who founded the company in 1903, had presented his son a unique 21st birthday present: command of Universal’s production. The young man was derided by the Hollywood crowd, who referred to him disparagingly as Junior.

“Junior had a lot more on the ball than people gave him credit for,” says cousin Carla Laemmle, now 96.

“He was called a rich man’s son. That was true, but he did have a vision and a sense of what people wanted,” notes the former actress and ballet dancer who once lived in a bungalow at her uncle’s studio.

Despite his father’s disapproval, he believed that horror films would be popular with the masses. He proved his point with “Dracula,” which starred Bela Lugosi in the vampire role he had played on Broadway.

Encouraged by the film’s success, he bought another Broadway play, “Frankenstein” by Peggy Webling. Lugosi and director Robert Florey had been assigned to the project, but Laemmle decided to try a different team.

The British-born Whale turned out to be an inspired choice as director. He had come to Hollywood in 1930 and had proved his taste and artistry in “Journey’s End” and “Waterloo Bridge.”

“Whale’s visual style added much to the film,” remarks Chris Horak, curator of the Hollywood Entertainment Museum and a lecturer on film at UCLA. “There were a lot of other horror films that never became classics. Whale had unique style in his work.”

Karloff was more of a gamble. He had been a character actor in films since 1916, often cast as a villain. Whale saw a soft side to Karloff and thought he could bring empathy to the role of The Monster.

The other essential member of the team: Jack Pierce, an inventive makeup artist who had worked on “Dracula.”

“Every morning Karloff would report to the studio and sit four hours while Pierce and his assistants applied the makeup,” says Scott Essman, who has written a book about Pierce and lectures on Pierce’s career.

Making Karloff seem a towering menace proved to be a tedious process. Cotton rolls were applied on his head to make him seem taller and square-headed. Electrodes were installed on each side of his neck. Coats of makeup made his face seem stolid.

The studio feared the movie would be too scary for audiences and so an opening sequence was filmed in which an actor appeared from behind a curtain to warn theatergoers. That proved unnecessary at the film’s preview. The viewers screamed but they also seemed fascinated.

“Frankenstein” made millions for Universal, and millions more when it was re-released as a double bill with “Dracula.”

Laemmle ordered more films in the horror genre, including “Bride of Frankenstein” and “The Mummy.” He went on to produce other hits such as “Imitation of Life” and “Show Boat,” becoming an independent producer. He died in 1979, still an object of derision.

Whale continued making his stylistic movies until he retired to devote himself to painting. In 1957 he drowned in his swimming pool. His life was portrayed in the acclaimed 1998 film “Gods and Monsters.”

Pierce remained at Universal, supplying makeup for the “Frankenstein” sequels, “The Wolf Man” and other films. Dropped by the studio in 1946, he worked in low-budget films and television and died in obscurity in 1968.

Karloff, whose gentlemanly manner and quiet wit belied his film characters, never complained about typecasting, accepting horror movies good and bad. He died in 1969.

But Frankenstein’s monster refused to die, appearing in scores of American and British films, ranging from the outright scary to comedies such as “Abbott and Costello Meet Frankenstein” and Mel Brooks’ “Young Frankenstein.”

AP-ES-09-20-06 1626EDT