The scientists of today think deeply instead of clearly. One must be sane to think clearly, but one can think deeply and be quite insane. – Tesla


Mad scientist

From Wikipedia, the free encyclopedia

One popular stereotype of a mad scientist: male, aging, crooked teeth, messy hair, lab coat, effervescent test tube, goggles, gloves and a dramatic pose

Mad scientist (also mad doctor or mad professor) is a caricature of a scientist who is described as “mad” or “insane” owing to a combination of unusual or unsettling personality traits and the unabashedly ambitious, taboo and/or hubristic nature of their experiments. As a motif in fiction, the mad scientist may be villainous (evil genius) or antagonistic, benign or neutral; may be insane, eccentric, or clumsy; and often works with fictional technology or fails to recognize or value common human objections to attempting to play God. Some may have benevolent or good-spirited intentions, even if their actions are dangerous or questionable, which can make them accidental villains.


The prototypical fictional mad scientist was Victor Frankenstein, creator of his eponymous monster,[1][2][3] who made his first appearance in 1818, in the novel Frankenstein, or the Modern Prometheus by Mary Shelley. Though Frankenstein is a sympathetic character, the critical element of conducting experiments that cross “boundaries that ought not to be crossed”, heedless of the consequences, is present in Shelley’s novel. Frankenstein was trained as both alchemist and modern scientist which makes him the bridge between two eras of an evolving archetype. The book is said to be a precursor of a new genre, science fiction,[4][5] although as an example of gothic horror[6][7][8][9] it is connected with other antecedents as well.

1896 saw the publication of H. G. WellsThe Island of Doctor Moreau, in which the titular doctor—a controversial vivisectionist—has isolated himself entirely from civilisation in order to continue his experiments in surgically reshaping animals into humanoid forms, heedless of the suffering he causes.[10]

Horace B. Carpenter as Dr. Meirschultz, a scientist attempting to bring the dead back to life in the 1934 film Maniac

Fritz Lang‘s movie Metropolis (1927) brought the archetypical mad scientist to the screen in the form of Rotwang, the evil genius whose machines gave life to the dystopian city of the title.[11] Rotwang’s laboratory influenced many subsequent movie sets with its electrical arcs, bubbling apparatus, and bizarrely complicated arrays of dials and controls. Portrayed by actor Rudolf Klein-Rogge, Rotwang himself is the prototypically conflicted mad scientist; though he is master of almost mystical scientific power, he remains slave to his own desires for power and revenge.[citation needed] Rotwang’s appearance was also influential—the character’s shock of flyaway hair, wild-eyed demeanor, and his quasi-fascist laboratory garb have all been adopted as shorthand for the mad scientist “look”. Even his mechanical right hand has become a mark of twisted scientific power, echoed notably in Stanley Kubrick‘s Dr. Strangelove and in the novel The Three Stigmata of Palmer Eldritch (1965) by Philip K. Dick.[citation needed]

Bela Lugosi as Dr. Paul Carruthers, the mad scientist protagonist of the poverty row horror film The Devil Bat (1940). Slighted at his workplace, the chemist Carruthers breeds giant bats to attack his wealthy employers.

A recent survey of 1,000 horror films distributed in the UK between the 1930s and 1980s reveals mad scientists or their creations have been the villains of 30 percent of the films; scientific research has produced 39 percent of the threats; and, by contrast, scientists have been the heroes of a mere 11 percent.[12]

See also[edit]


  1. Jump up^ “Encyclopedia Britannica – Frankenstein”. Retrieved 10 November 2015.
  2. Jump up^ Clemens, Valdine. Return of the Repressed, The: Gothic Horror from The Castle of Otranto to Alien. p. 93. Retrieved 10 November 2015.
  3. Jump up^ Wilson, Daniel H.; Long, Anna C. The Mad Scientist Hall of Fame. p. 100. ISBN 978-0806528793. Retrieved 10 November 2015.
  4. Jump up^ Abrams, M.H.; Harpham, Geoffrey. A Glossary of Literary Terms. p. 355. Retrieved 10 November 2015.
  5. Jump up^ Corbett, Robert. “Romanticism and Science Fictions”. Romanticism On the Net. doi:10.7202/005970ar.
  6. Jump up^ Tweg, Sue; Shelley, Mary Wollstonecraft; Edwards, Kim. Frankenstein. p. 13. Retrieved 10 November 2015.
  7. Jump up^ Jelinek, Kenneth P. (1997). Gothic Horror and Scientific Education in Mary Shelley’s Frankenstein.
  8. Jump up^ “Frankenstein as a Gothic Novel”. Retrieved 10 November 2015.
  9. Jump up^ “Frankenstein as a Gothic Fiction”. Retrieved 10 November 2015.
  10. Jump up^ “Novels: The Island of Doctor Moreau”. Retrieved 10 November 2015.
  11. Jump up^ Geraghty, Lincoln. American Science Fiction Film and Television. Retrieved 10 November 2015.
  12. Jump up^ Christopher Frayling, New Scientist, 24 September 2005.


  • Garboden, Nick (2007). Mad Scientist or Angry Lab Tech: How to Spot Insanity. Portland: Doctored Papers. ISBN 1-56363-660-3.
  • Haynes, Roslynn Doris (1994). From Faust to Strangelove: Representations of the Scientist in Western Literature. Baltimore: Johns Hopkins University Press. ISBN 0-8018-4801-6.
  • Christopher FraylingMad, Bad and Dangerous?: The Scientist and the Cinema (Reaktion Books, 2005) ISBN 1-86189-255-1
  • Junge, Torsten; Doerthe Ohlhoff (2004). Wahnsinnig genial: Der Mad Scientist Reader. Aschaffenburg: Alibri. ISBN 3-932710-79-7.
  • Norton, Trevor (2010). Smoking Ears and Screaming Teeth. (A witty celebration of the great eccentrics …). Century. ISBN 978-1-84605-569-0
  • Schlesinger, Judith (2012). The Insanity Hoax: Exposing the Myth of the Mad Genius.[1] Ardsley-on-Hudson, N.Y. Shrinktunes Media ISBN 978-0-98369-824-1
  • Schneider, Reto U. (2008). The Mad Science Book. 100 Amazing Experiments from the History of Science. London: Quercus. ISBN 978-1-84724-494-9
  • Tudor, Andrew (1989). Monsters and Mad Scientists: A Cultural History of the Horror Movie. Oxford: Blackwell. ISBN 0-631-15279-2.
  • Weart, Spencer R. (1988). Nuclear Fear: A History of Images. Cambridge, Mass.: Harvard University Press.

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