When people imagine the distinctive visage of Frankenstein’s monster, they often picture the iconic flattened forehead, deeply sullen eyes, and neck punctuated by two protruding bolts. This is thanks to Jack Pierce, the makeup artist responsible for conceptualizing an array of ghouls for Universal Studios in the 1930s. The initial three films in that studio’s enduring Frankenstein series screen at the Trylon this weekend. Frankenstein (1931) continues to stand alone for the pathos that Boris Karloff brought to his signature role, portraying the reanimated creature as the cruelly tormented casualty of one man’s unconscionable ambitions. That film’s director, James Whale, returned for the more idiosyncratic sequel, Bride of Frankenstein (1935), in which absurdist humor mixes with existential horror as the creature seeks a mate. While less critically acclaimed than the preceding films, Son of Frankenstein (1939) is arguably the most entertaining of the bunch, as a Frankenstein heir seeks to restore his family name by—what else—bringing the dead back to life.