Frankenstein and the Monster From Hell (1974)
UK --- horror/ science fiction

Dir: Terence Fisher

It's curtains for the Hammer Frankenstein series. Peter Cushing returns to the titular role in this somber elegiac final episode. If "Frankenstein Must Be Destroyed" was this series' "White Album", then this film is definitely their "Abbey Road". The previous entry in the Hammer Frankenstein series was meant to be a reboot of the franchise by starting afresh with a younger Baron Frankenstein. That venture was not successful, and as we see Hammer Studios realized the team of Peter Cushing and Terrence Fisher needed to put closure to the era of true Gothic horror they started.

Our film opens once again in a graveyard, where a robber (played by Patrick Troughton, the second Dr. Who) is stealing a fresh corpse. The unknown bandit is not alone, as a police man is onto him. The grave robber is next seen at the doorstep of a young man (Shane Briant) with the dead body in tow. This is, I think a way of teasing the audience into thinking this film is continuation of "Horror" with perhaps another recast. The young man is outed by his assistant grave robber at a local pub. We see that this man has the same banal hobby as Frankenstein, as he's cutting into the corpse for his collection of eyeballs.

Soon enough, the policeman comes knocking to investigate the young man's home. Upon looking around the young man's laboratory, he proclaims it , and arrests him. The young man is revealed to be Simon Helder, and his next stop is in a court proceeding where he tries to plead his case, but is still found guilty and sentenced to time in a local asylum for the criminally insane. On arrival, Simon demands audience with the director, where he attempts to find information on another patient named Baron Frankenstein. Unfortunately, the bumbling alcoholic director finds out soon enough Simon is only an inmate, and is spirited away by the two guards. They cruelly wash him down with a fire hose in front of the other inmates, but the man in charge comes to the rescue; Baron Frankenstein, back in black with a blond wig and a stovepipe hat. Frankenstein has Simon cleaned up by a mute onlooker named Sarah, and the guards are reprimanded by the hapless director. Simon meets with Frankenstein and reveals to him that he knows exactly who he is and that he has been committed for the same reason as the Baron was. The Baron, in turn, reveals that he now goes under the name Dr. Carl Victor.

The once adventurous yet diligent Baron Frankenstein, has now grown quite gaunt and while still even-tempered has become much more sinister and insane. Now that Frankenstein has found a new assistant in Dr. Helder, and shows him around the vicinities and introduces him to some key patients he is to care for. The Baron then introduces Simon to the inmates in a special wing of the asylum, that houses, of course those he has use of. The first is missing, a vicious patient named Schneider who is missing because he's buried. Another named professor Durendel, who's a genius at arithmetic and can hold a tune on the violin, and has an affinity for Sarah. Yet another inmate in a man named Tarmut, who is a sculptor of wooden figurines, and also has an innocent crush on Sarah.

Simon, however, begins to suspect the Baron isn't being forthcoming with him. In the morning, he sees them burying Tarmut, whom Frankenstein remarked had great hands. Upon investigation of a wailing in the night, Simon finds Sarah tending to a patient in a hidden room; the secret laboratory of Frankenstein and a frightening new monster.

This new monster (played by "Horror"s David Prowse), looks like George "The Animal" Steele with a Halloween mask of Abe Vigoda and walks with a hunchback, but has succeeded in being the most grotesque version of the series. Frankenstein's project this time is a far step down from anything remotely looking human, in a truly hideous, almost neanderthal-esque body. . . and he faults his burnt hands. He asks of Simon his opinion and assistance, and as evidenced from the opening, his specialty is eyes. They deposit a new pair of eyes, and soon after the professor conveniently hangs himself, providing a donation of a brilliant brain.

Simon, realizing the Baron may have murdered an innocent man for his experiment criticizes his methods. Unfortunately, like all of Frankenstein's prior creations, he cannot control the monster. The inherent mental or psychological tendencies of the victims always return. The professor awakens first in the monster, then the homicidal patient, Schneider, is not far behind. The Baron begins to realize his latest creature may be just another bad creation. The monster has failed to exhibit that the body was rejecting the brain. Later, when Simon goes to check on Sarah, who's been watching the creature, he finds her asleep. He awakens her with a peck on the forehead, apologizes and sends her on her way, but the jealous monster saw it. He attacks Simon, but the Baron comes to his rescue (Cushing in full his Van Helsing mode); knocking it out and returning it to its cage, Frankenstein realizes his fears were all too correct. The monster is out of control. Frankenstein then formulates his most horrific idea of the series, when he suggests that he plans to mate the monster with Sarah. Finally coming to the conclusion that Frankenstein has gone mad, Simon tries to put the monster out of its misery.

"Frankenstein and the Monster From Hell" is very much noteworthy for it's final tribute to Gothic horror of the past. It isn't the best of the series, but certainly is in the top three. Like most of the Hammer Horror pieces, they've built a repertory. I have also noticed that somethings carry over from one film to another, either intentionally or not:

- The films often opens with a thief, usually stealing a corpse.

- The actors are one thing as Thorley Walters (Frankenstein Created Woman and Frankenstein Must Be Destroyed), Veronica Carlson (Frankenstein Must Be Destroyed and The Horror of Frankenstein) and David Prowse (The Horror of Frankenstein and this film) returned in subsequent films.

- Notice that an asylum figured prominently in both this film and "Destroyed".

- Two films featured a mute girl as an assistant, "Evil of Frankenstein" and this one.

- A dirty old man is interrupted in "Horror" and this film.

- The guillotine figures in the first three films

- Everything usually goes up in flames as in "Evil", "Destroyed",

This version clearly derives its inspiration from the fairy tale "Beauty and the Beast" and Victor Hugo's "The Hunchback of Notre Dame" as the creatures love of Sarah is a heartbreaking shadow of those tales. A melancholy swan song of of one of British horror's mainstays, "Frankenstein and the Monster From Hell" ties everything up nicely. If you haven't already followed the Frankenstein series, it is worth a try. It made a star of Peter Cushing, Christopher Lee, and David Prowse, who all later on went on to star in George Lucas' Star Wars saga. One bit of dialogue is an interesting commentary on the Frankenstein character, when he refers to an inmate who believes that they are god, Frankenstein comments "He is not the first, nor will be the last". A perfect summation of what the Frankenstein series was all about, one man's quest to be a god in his own right.

The Horror of Frankenstein (1970)

UK --- science fiction/ horror

Dir: Jimmy Sangster

Hollywood may have reinvented the word reboot for their declaritive use of tireless remakes, but they didn't invent the idea. Remakes is one thing, but a reboot is basically doing exactly what good old Dr. Frankenstein would do; reanimate the dead. Even going so far as to murder someone to accomplish it. Here was Hammer Studio's answer to the remake, when they felt the needed to get in touch with a new generation of filmgoers, they remade their 1957 classic "The Curse of Frankenstein" with decidedly unfound results. There is, however, one thing they did that would anger original Hammer Horror fans of the films, they made this entry with intended comedic elements. Personally if their was intended humor in this one, I didn't see much of it. Saw it in Mel Brooks' "Young Frankenstein", but not here.

Helmed by multiple Hammer feature (including "The Curse of Frankenstein") screenwriter Jimmy Sangster, "The Horror of Frankenstein" stars Hammer alum Ralph Bates assuming the role of the mad aB. Honestly, his performance isn't bad in this film. I think with a better script, he could have wrestled the honor from the excellent Peter Cushing. His Victor Frankenstein also seems to come off as slighty more intelligent, and while he's less malicious, he's also more promiscuous. The film begins in Frankenstein's youthful days with a group of school friends Henry, Elizabeth, Stephan, and Maggie. Frankenstein yearns for more as he plans to attend the university to further his studies in anatomy; a hint at Baron's genius and desire for banal scientific experimentation.

When he gets home to his castle, he catches his father finishing up with a young housekeeper named Alys. He begs his father to finance his studies at the university, but his father is against it. Thus, we get our first victim of the film, as Victor rigs his father's shotgun to backfire. While at the university, Victor meets a fellow eager student in Wilhelm, whom he invites back to his castle to work in his personal laboratory.

While en route Victor and Wilhelm rescue Elizabeth and her father from bandits. Then they get home where Victor reacquaints with Alys. They soon prepare the lab for work, but unbeknownst to Wilhelm the Baron begins his horrific adventures into mad science. The first is the headless corpse of the highwayman he killed earlier to save Elizabeth. A police officer visits Frankenstein, and it is his childhood chums Henry and Maggie who is now his wife. After a visit to Elizabeth he soon plots to steal Elizabeth's fathers tortoise for his experiments. Then soon, with a large electrical generator, a massive vat of acid, and the bribery of an undertaker for fresh bodies, Frankenstein begins his infamous travails.

"The Horror of Frankenstein" definitely falls far below in quality than any entry in the series. Hammer's attempt to usher in a new generation failed, as evidenced by the return of our man Peter Cushing in the next film of the series. Featuring too many bad gags that fall short even for British humour, a monster that looks all too human, with a silly look on his face, to be believeable, and too many bad cleavage shots and sexual content took away from the gothic atmosphere that Hammer what it was. The great cinematography that was always a staple in the series is also non-existent in this one. Though it has an interesting ending a destruction of the monster.

As mentioned, the plot is basically a reworking of "Curse". Similarities abound such as having a mistress in Justine and Alys, having an old friend that is in love with him, but not in return, both oddly enough named Elizabeth. The character Wilhelm, in this film, serves the same purpose as Paul Krempe did in Curse as well as all the multiple Hans incarnations. I have always thought it would be interesting if Hammer made a film where Frankenstein met Dracula. How would Frankenstein react to a supernatural umdead plague going against all scientific reason? Not sure, but it's a shame they never took up the challenge.

Frankenstein Must Be Destroyed (1969)

UK --- horror/ science fiction

Dir: Terence Fisher

Besides having the honor of having quite possibly one of the best titles in cinema history, "Frankenstein Must Be Destroyed" also raised the bar for the entire series. And much like the Beatles' "White Album", they could never really live up to this one. The team of Terence Fisher and Peter Cushing are knocking on all cylinders for this entry, as we find the mad Baron is back to his evil deeds with ruthless agility. In this film, the filmmakers come right out the bullpen to establish that it is Frankenstein himself who is truly the monster, leaving no question or sympathy in the audience mind.

In the opening, we are witness to the brutal beheading of a town doctor by way of a well-dressed sickle-wielding psychopath. We also see a vagrant burglar trying to break into the wrong abode, when he finds himself in a laboratory complete with a corpse on ice. The thief tries to hide as the owner returns swiftly discovering his unannounced visitor. The owner carrying a hatbox (a callback to the last film, Frankenstein Created Woman) is revealed to be a strange looking pock-faced bald man. The two wrestle as the thief tries his best to escape, but during the struggle the hatbox gets opened to reveal a severed human head. This along with the corpse-sicle is too much for the would be thief as he escapes the house of horror. The owner does not chase after him, as it is revealed it is none other than Baron Frankenstein, who quickly disposes of the evidence.

The would-be burglar runs for his life into the arms of a policeman who takes him in for questioning as he's covered in blood from his struggle with Frankenstein. Hammer Horror alum Thorley Walters provides the comic relief in a sorts as a pedantic always-one-step-behind police inspector hot on the trail of Frankenstein's machinations.

Dr. Frankenstein soon finds himself at doorstep of the comely Anna's (played by another Hammer Horror alum Veronica Carlson) boarding house. He later affronts a couple of fellow boarders discussing an old colleague gone mad, Dr. Brandt, whom had also studied brain transfer successfully. Once this comes to Frankenstein's attention, he makes new plans perform this surgery by rescuing the mad doctor from the asylum, securing the doctors notes on the procedure, and implanting his brain in the body of a local professor.

He can't do it alone however. After overhearing Anna and her fiance Karl (who serendipitously works at the mental hospital) discuss their illicit drug dealings to help her mother, he soon finds his new assistants by blackmailing the couple. As opposed to prior films having loyal help, it's only fitting to see such disgust and reluctance come from his servants this time, confirming the despicable character of Frankenstein in this piece. Once we learn the plan, we are spirited away with the couple on this journey as they are pulled into Frankenstein's relentless quest for banal evolutionary science. He does indeed abduct Dr. Brandt, and soon after capturing Professor, Frankenstein and team successfully transfer the brain of Dr. Brandt into a new body. The doctor's mournful wife is not far behind as she recognizes her husband's old colleague, Frankenstein, on the street and inquires about her own husband's whereabouts after his disappearance from the asylum.

Frankenstein amiably allows her to visit his creation whose face is bandaged-up, but when after he convinces her it is indeed her husband, he quickly plans his escape. The final twenty minutes of the film is directed at breakneck precision as we get a monster that is not bogged down in makeup effects and truly assumes the role of protagonist, even with a unique twist on the ever-present Hammer Frankenstein climax where they all go up in flames. Fisher really directs some great and memorable scenes throughout this venture. High on suspense such as the escape from the asylum and a scene where Anna and Karl's house is being searched by police with the Baron in the basement. I found the sound design especially potent in some scenes. Some such as the asylum guards snores, or in particular the excruciatingly meticulous display at the procedure of the surgery with every bone-cracking noise accentuated. The cinematography in this one is once again top notch. There are so many little touches from the smoky fog to a lush glow of Veronica Carlson in a pink nightie. Aside from a Producer-forced rape scene injected into the film, all of the aforementioned highlights makes "Frankenstein Must Be Destroyed" the best of the series. Had this been the final film, the series could have went out with a bang. It is pure Hammer Horror at its best.

Frankenstein Created Woman (1967)
UK --- horror/science fiction

Dir: Terence Fisher

Where the last film, "The Evil of Frankenstein", seemed to pay homage to the original Universal Studios productions of Frankenstein, you would think now is the time to do the Hammer version of "Bride of Frankenstein". Well they did, but not quite as expected. When I first watched this film, I filed it in the category of, "Wasted Potential", mainly because I was comparing it to the previous entries. Instead, "Frankenstein Created Woman" has a much more interesting premise. As mentioned, upon first viewing, it does seem to veer into a supernatural slasher film, leaving us with little sympathy for anyone. Having said that, the film seems to open up some deep questions about the soul, something the predecessors only hinted upon in conversation.

The film opens with the famous Hammer Frankenstein trademark of the guillotine. Except the head razor has little or nothing to do with the Baron at all this time around. It is actually a flashback to this film's Hans' father. This sets up one half of the vengeance plot of the film.

Next we see Hans join a dotty old Dr. Hertz (played by Hammer Studios regular Thorley Walters) as they rush to resurrect a body in a coffin, until it is revealed to be none other than Baron Frankenstein himself. One could take this in two ways, first as it would appear the filmmakers are telling the audience Frankenstein has become a full on monster, even of his own doing. The other could be this is a sly reference to Hammer's other recurring cinema monster, Count Dracula.

Nevertheless, it's revealed Dr. Frankenstein is indeed dead, and having been on ice for an hour, has just successfully risen from the dead, proving the soul shall return to the body. Another banal experiment well done, and so to celebrate, they send Hans out for wine. Hans happens to be in love with the deformed daughter of an inn keeper. The daughter, Christina (played by Playboy model and Star Trek guest star from "Mudd's Women" Susan Denberg), it would appear has been constantly harassed by a trio of young elites who would normally fit right into a Hammer Dracula film.

When Hans defends his lover and gets into a brawl with the trio, he is later framed for the murder of Christina's father, the innkeeper. Hans is arrested by local authorities and after a trial is found guilty, sending him to the same fate of his father, the guillotine. Christina happens upon the execution and witnesses the death of her lover, sending her into a tearful hopeless act of suicide by jumping into the river. Where death can be found, Frankenstein, of course is not too far behind. He orders Dr. Hertz to retain the body of Hans for his experiment immediately after the beheading. As an added bonus, the townspeople go to Dr. Hertz with the body of Christina, and Frankenstein takes up the task of surgically altering her while using his soul transference apparatus to save Hans in Christina's newly formed body. The experiment is a success, but Frankenstein is careful to not yet reveal to her her true identity.

The rest of the film just serves as a catalyst for a formulaic revenge climax. Christina systematically goes after her lovers killers,using her new found sexual wiles, as a mysterious blond bombshell. When bodies turn up around town, the authorities immediately suspect the Baron. It is now he realizes completed what he was waiting for, that his experiment has worked, and that Hans' soul has returned from beyond the grave.

However, this film's reception has been, it is well written and balanced enough to get its message across. I believe there may have been some scenes in this film exist somewhere, or were left on the cutting room floor, as there is evidence of Frankenstein carrying Christina who's wearing a kinda little white bikini. Not sure what more of the story it added or not. Anyway, besides the wonky science of a rudimentary machine that can virtually upload the soul of a person, one can trust the films script thoroughly. If you forgive them bypassing the notion of an afterlife.

The cinematography is again well done, as are most of these Frankenstein entries. As much as it owes tribute to the Universal classic "Bride of Frankenstein", Hammer's attempt seems more like a homage to other films that dealt with facial surgery that did not yet exist. The French film "Les Yeux Sans Visage/Eyes Without A Face" both incidentally using the female protagonist name of Christina (Christiane in Eyes), and a mad doctor of a father.

The Evil of Frankenstein (1963)
UK --- horror/ science fiction

Dir: Freddie Francis

When it comes to sequels, they are either good, bad, or equal to the originals. Which is really just a nice way of saying bad, but at least they tried. The unique thing about Hammer's Frankenstein series is each successive film seems to have a new take on the Frankenstein mythos. Often times, foregoing the events established in the previous films. "The Evil of Frankenstein" tries to go back to the root of Frankenstein films, not just to the "The Curse of Frankenstein", but all the way back to the Universal/Karloff era. Because this film derived its inspiration from those films anyway, it is the only reason why it, in my humble opinion, sustains its saving grace as one of the better entries in this series.

Baron Frankenstein returns to his nefarious intentions of creating artificial life, as seen in the beginning of this adventure into mad science. He has a hired hand steal another corpse from a cabin in the country. It is of course to use the heart of the dead man and reanimate it through the use of electrical power. But his blasphemous intent is never too far ahead of the "hounds of heaven", and when a local priest learns of his blasphemous efforts, he destroys his experiment. And so to flee the authorities, he and faithful assistant Hans return to Frankenstein's roots in the town of Karlstaad (what was in "Curse" called Ingolstadt) to see what he can pillage of his castle.

Upon arrival to town, they find a carnival fair going on, which provides the Baron a perfect cover to hide as a stranger in town. Unfortunately for the Baron, he discovers the Burgomaster has done his own pillaging of the Frankenstein estate, as it would appear he has acquired some of the Baron's belongings. Frankenstein only returned to see if he could find something of value to continue his scientific affairs, but alas, it would seem there may not be anything to return to. After outright accusing the Burgomaster of thievery in public, he blows his cover to the authorities in a bar, leaving Frankenstein and Hans to flee the town, with the assistance of a wild mute girl from the town, and into the wilderness of the hills. It is here that Frankenstein finds his true roots; his first creature is discovered frozen in ice.

We have just seen a speechless re-enactment of Frankenstein in the midst of his first creation. This was obviously scripted into the film for two reasons. As mentioned earlier, this was to reboot the past for audiences who do remember "Curse". Also to take advantage of the lifted embargo from Universal (now that they were distributing this film), which barred the filmmakers to have any visual references to the original 30's and 40's Frankenstein films and allowing them to use the distinct enlarged Karloff brow and the sophisticated electrical set pieces of the laboratory.

Upon freeing the monster from the ice, the trio return to castle Frankenstein as the Baron and Hans once again begin to resurrect the already undead creature. The Baron, however soon discovers the creature will not obey his commands, and so they recall a hypnotist in town for the carnival and plan to use him to control the monster. Albeit, a worthy effort at first, the Baron soon regrets his decision when the conniving Zoltan soon requires more for his gift of control over the creature. When Zoltan finally uses the monster to murder the Burgomaster, all bets are off. The Baron kicks the hypnotist off his property and must wrestle control of his creature from the locks of the unscrupulous Zoltan power, before he loses yet another creation.

In this venture, it's easy to see that in the beginning they are really trying to establish Dr. Frankenstein himself into being the true monster. With an early scene with Frankenstein and a little girl in the forest that seems to be a reference to the original Frankenstein story, except here it's not the monster. However, throwing in another antagonist does not help this effort, as by the end of the film, you do have a little sympathy for not only Frankenstein's monster but what his seemingly benevolent father as well. Aside from the fact the Monster's head looks to be made of plaster, this entry into the series, cinematography-wise, looks akin to its predecessors. Besides altering of the story and not much on scares or gore, it stands for me a harmless homage to the Universal films.

The Revenge of Frankenstein (1958)
UK --- horror/science fiction

Dir: Terence Fischer

Riding on the success to 1957's 'Curse of Frankenstein', Hammer Studios produced a follow-up that is on par with its original. Peter Cushing reprises his role as Dr. Baron Von Frankenstein; mad scientist extraordinaire.

We pick up from the guillotine, where Frankenstein is seemingly on his way to damnation. Skip ahead to two graverobbers, who decide to rob Baron Frankenstein's final resting place, when its revealed he is not buried there, but very much alive. We soon learn that the Baron has relocated to the hamlet of Carlsbruck and assumed the alternative identity of Dr. Stein, assisted by his crippled dwarf (Ygor counterpart) Karl. He has assumed this personage of a philathropic doctor who helps the downtrodden, as well as incalls from the wealthy. One wealthy doctor who recognizes him, Dr. Hans Kleve, knows full well what he is all about, and volunteers to help the baron on whatever he needs.

Hans learns that Frankenstein has been recycling certain body parts from his ward patients. His newest plot this time is to implant the brain of Karl into the working constructed body of his latest creation. Karl, who longs for a normal looking body with properly working limbs. Once Karl's brain is successfully inserted into the new creation, however, things soon go awry.

Dr. Frankenstein and Kleve also get a new candystriper in Margret Conrad; a naive young woman who Karl falls for. She assists in his escape from the lab, and soon the now more humane Frankenstein's monster is unleashed. Not only do the monster's bodyparts begin to revert back to the deformities of Karl's affliction, the monster also has a new horrific taste for human blood.

This film takes the Hammer Frankenstein series into a new direction, focusing less on the monster and more and more on the banal exploits of Dr. Frankenstein himself. Though a lot less gory and violent than the other entries, "The Revenge of Frankenstein" again showcases Frankenstein as the villian. Even in one scene where the doctor denies to assist a pleading monster help him, which only further allows us empathy for the creature.

The Curse of Frankenstein (1957)

UK --- horror/ science fiction

Dir: Terence Fisher

Mary Shelley's classic novel "Frankenstein or The Modern Prometheus" changed the world of literature forever. The tale of a mad scientist bent on the prospect of creating new life from his bare hands has had long-lasting ruminations. The ideas of the basic storytelling conflicts are all here, be it in man -vs- nature, man -vs- society, or man -vs- himself. They're all right there in FRANKENSTEIN. The story has been put to film ever since film was invented, going back as far as Thomas Edison's foray into film production. Though many of the adaptations haven't come anywhere near to being 75%-100% faithful to its literary counterpart, including the famous Universal James Whale feature, some at least has brought some of the novel's gothic spirit.

This leads us to the 1957 Hammer Studios effort with "The Curse of Frankenstein". While it isn't the end-all/be-all of Frankenstein films, it is must definitely a shining hallmark for its graphic depiction of the iconic characters. Peter Cushing puts in an absolute pitch-perfect performance as a brazen power-mad (but no quite as loony as Colin Clive's) and downright evil bastard version of Baron Frankenstein.

The film is told in flashback, from the perspective of Baron Frankenstein, as he recites how he came to be imprisoned for the murders of several people. He pleads his innocense, stating that true monster is his creation, a reanimated corpse compiled of multiple body parts. The baron, assisted by the increasingly reluctant Dr. Paul Krempe, begins his strange experiments on animals first. Then forays into using human body parts. Whilst having an illicit affair with his maidservant, the baron is anticipating the arrival of his arranged wife to be Elizabeth. But all the while, he and Paul begin to collect body parts for the monster. Played by Christopher Lee, when Frankenstein's monster is finally given life, it is an insane creature that only knows murder, and the doctor is not above apeasing his creation's blood thirst. Frankenstein and assistant Paul eventually come to a rift in their beliefs, as Paul begins to show affection for Elizabeth and attempts to stop Frankenstein from his mad machinations.

The Hammer Studios has a long tradition of great horror films, being influential to Hollywood as well as the rest of the world. In hindsight, you can see parts of every great filmmaker from Mario Bava to Tim Burton in these early Hammer horror films. All worth exploring.