Dir. Terence Fisher
The story is a confessional flashback, meaning the Baron's evolution from cultivating an infectious curiosity to succumbing to an isolating obsession is paced by his own telling, working inexorably toward the creature's reveal. Universal forbade the use of their existing iconic image, so HAMMER had to make their own more gruesome version, sans neck-bolts.
It's privilege that enables the Baron to carry out his work. Meddling in pure science at the level he does is the exclusive preserve of the rich. If he'd been impecunious the creature would probably never have been born.
The Revenge of Frankenstein (1958)
Dir. Terence Fisher
Picking up from where the previous film ended, Revenge follows the Baron as he sets up his shop of secret horrors elsewhere.
To his credit, he's learned much from past failures, as we all ought to do, but his proclivities attracting the attention of his peers is an unavoidable eventuality.
There's a surprising amount of gallows humour in the first half that some folks may find unwelcome. Personally, I didn't mind it.
The addition of an aide, a tragic character affected by the cruelty of a society that believes itself civilised, lifts the remainder of the film to memorable heights.
The 'revenge' in the title may be a little misleading. It doesn't mean things are simplified. Think of it as a strong redress for a judgement, working toward proving to oneself and others that you may have been right all along.
To his credit, he's learned much from past failures, as we all ought to do, but his proclivities attracting the attention of his peers is an unavoidable eventuality.
There's a surprising amount of gallows humour in the first half that some folks may find unwelcome. Personally, I didn't mind it.
The addition of an aide, a tragic character affected by the cruelty of a society that believes itself civilised, lifts the remainder of the film to memorable heights.
The 'revenge' in the title may be a little misleading. It doesn't mean things are simplified. Think of it as a strong redress for a judgement, working toward proving to oneself and others that you may have been right all along.
The Evil of Frankenstein (1964)
Dir. Freddie Francis
What's worse is they did it badly. The make-up is atrocious. The Baron is a less complex individual than he'd been before, and the creature's story is woefully underdeveloped.
Katy Wild's deaf-mute character is a bright light in the dimness, and I'll watch anything to see Peter Cushing in action, but the film was a lumbering step in the wrong direction.
Frankenstein Created Woman (1967)
Dir. Terence Fisher
The Baron's continued fascination for creating life boils down to 'the soul is the goal'. He wants to understand and harness the spark of life, so it was only a matter of time before he used his skills to create something that had bumps in all the correct places, but to HAMMER's credit they approached it in an unexpected way.
Ironically, one of the most powerful openings of the entire series may be the reason that many people dislike the fourth entry. Pitching the emotional content so high at the beginning means it has little choice but to subsequently fall to less impressive levels as it goes on. They're levels furnished with some unusual aspects, though; the most apparent being the court scene.
Beneath the surface there's commentary on what's beautiful versus what isn't, even going so far as to make us wonder if any part of death can be equated with beauty.
The debate over whether or not Mary Shelley's original novel is science fiction will go on and on, but this particular film is easier to make a judgement call on. My answer is yes, it is.
Frankenstein Must Be Destroyed (1969)
Dir. Freddie Francis
The resilient Baron Frankenstein desires to cure a man he sees as a kindred spirit, both of them having worked on similar advanced medical theories, so he uses his honed wiles and his classy arrogance to turn a less than perfect situation into a morally dark but advantageous one.
Cushing as the Baron is amazing, and he's finally learned to use a proper pseudonym!
However, there's one thing about the story that bothered me. I won't reveal what it is, but it turns out it was a last minute addition by a studio head, someone who seemed to have no understanding that in film when such actions are shown they require repercussions, or at the very least acknowledgement in subsequent scenes. Ignoring it completely attests to the pointless nature of it.
Despite the aforementioned upset, FMBD really is good. Unusually, there's no standard creature, but there's no shortage of victims (in more than one sense of the word); one in particular being a victim of their own advocations. The ending was excellent.
The studio's sixth Frankenstein film is basically a retelling of their first but with a comedic slant, both direct and subtle.
It sounds like a terrible idea on paper, doubly so when you find out that Cushing is absent, so it's all the more surprising to find that it's genuinely entertaining for the first hour, only going to shit once the creature appears.
Ralph Bates takes on the Baron's role, playing him with a supercilious and icy chill.
HAMMER semi-regular Veronica Carlson is the glamour, but her character is trounced by Kate O'Mara's. As the house maid, O'Mara meets the Baron's iron will with her own cold-cast one.
Cushing as the Baron is amazing, and he's finally learned to use a proper pseudonym!
However, there's one thing about the story that bothered me. I won't reveal what it is, but it turns out it was a last minute addition by a studio head, someone who seemed to have no understanding that in film when such actions are shown they require repercussions, or at the very least acknowledgement in subsequent scenes. Ignoring it completely attests to the pointless nature of it.
Despite the aforementioned upset, FMBD really is good. Unusually, there's no standard creature, but there's no shortage of victims (in more than one sense of the word); one in particular being a victim of their own advocations. The ending was excellent.
The Horror of Frankenstein (1970)
Dir. Jimmy Sangster
It sounds like a terrible idea on paper, doubly so when you find out that Cushing is absent, so it's all the more surprising to find that it's genuinely entertaining for the first hour, only going to shit once the creature appears.
Ralph Bates takes on the Baron's role, playing him with a supercilious and icy chill.
HAMMER semi-regular Veronica Carlson is the glamour, but her character is trounced by Kate O'Mara's. As the house maid, O'Mara meets the Baron's iron will with her own cold-cast one.
Frankenstein and the Monster from Hell (1974)
Dir. Terence Fisher
Dir. Terence Fisher
HAMMER's seventh and last Frankenstein feature was also director Terence Fisher's last ever sitting in the big chair. His contribution to the franchise and to the studio's success is impossible to overstate.
What's also to be applauded is the return of Cushing to the role of the Baron. The modest budget and awful creature effects made it even more important to have such a redoubtable character actor as a focal point.
He's hiding out in a hospital for the criminally insane. Well, he's not exactly hiding, the building houses people that society at large ignores, which is the perfect environment for Victor to continue his work uninterrupted. As such, the primary threats to his continued efforts are ones of his own making.
Even though it's in less gothic surroundings, there's a noticeable return to the glory days of the HAMMER Studio method, accompanied by a welcome reintroduction of a tragic aspect to the creature. It's not the kind of perfect end to the series I'd have liked, but it's a worthy one, all things considered. If only the beast's piss-poor make-up had been as praiseworthy, and the title less ridiculous.
What's also to be applauded is the return of Cushing to the role of the Baron. The modest budget and awful creature effects made it even more important to have such a redoubtable character actor as a focal point.
He's hiding out in a hospital for the criminally insane. Well, he's not exactly hiding, the building houses people that society at large ignores, which is the perfect environment for Victor to continue his work uninterrupted. As such, the primary threats to his continued efforts are ones of his own making.
Even though it's in less gothic surroundings, there's a noticeable return to the glory days of the HAMMER Studio method, accompanied by a welcome reintroduction of a tragic aspect to the creature. It's not the kind of perfect end to the series I'd have liked, but it's a worthy one, all things considered. If only the beast's piss-poor make-up had been as praiseworthy, and the title less ridiculous.
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