The Horror of Frankenstein

Hammer is good at sets, props, costumes, and casting overall. However, the writing for this one is on the weak side, as was the casting of Prowse as Frankenstein's monster and the makeup for the monster.

Frankenstein is played as a smart-alecky sociopath, which I didn't so much have a problem with. The people are him are rather stupid, which works out well for him but I found it a bit boring and perhaps it should have been played a little more for comedy than it already was. Prowse's monster is one of the least interesting monsters in any Frankenstein movie. He's a killer from the start, and then Frankenstein's attack dog essentially. He's also not merely large, but exceptionally fit, which just doesn't seem right.

Kate O'Mara shows off as much cleavage as is possible without showing more, suggesting Frankenstein perhaps invented tape. It didn't strike me as a particularly bloody film, so some of the other comments make me wonder if I didn't happen upon an edited version. I watched the Republic Pictures videotape released 1994.

By the 1970s, Hammer was struggling to find an audience still willing to cough up to see lavish Gothic productions; as a result, their output became increasingly targeted at the more profitable youth market. Having been exposed to more explicit teen horror films from the US, this particular demographic demanded that the studio adapt its format to suit. Graphic gore and nudity now had precedence over fog-shrouded graveyards and creepy castles.

In accordance with this new approach, The Horror of Frankenstein presents its viewers with a decidedly different take on Mary Shelley's classic: it's a sexier, nastier, gorier, and generally far more exploitative effort than any previous film in the series, and one which benefits greatly from a deliciously twisted script loaded with gallows humour.

This shake-up also called for a new leading man: out went Peter Cushing's well respected, but severely obsessive scientist, and in came Ralph Bates' more loathsome incarnation of Victor Frankenstein—a younger, mean-spirited, murderous, and cold-blooded individual. Bate's performance is practically perfect, convincingly portraying the utter contempt that his character feels for all mankind—even his closest friends and admirers.

Also rather memorable, albeit for completely different reasons, are the obligatory hammer babes: Kate O'Mara as Alys, the slutty housemaid who sees to the Baron's every needs (if you know what I mean), and Veronica Carlson as Elizabeth Heiss, the prettiest girl in the village and Victor's secret admirer. Both girls are absolutely stunning and possess quite impressive 'talents' (which, particularly in O'Mara's case, regularly threaten to spill completely out over the top of their costumes!).

Many Hammer aficionados seem to have a problem with The Horror of Frankenstein, unable to appreciate its wicked sense of humour. I however, think that it is an extremely fun flick, and a refreshing change to the usual Hammer style. The only gripe I do have with the film is that the monster itself (played by Dave 'Darth Vader' Prowse) is rather weak in its conception: with a little more time and effort spent on the creature make-up FX (the stitching looks like it was drawn on with marker pens), he wouldn't have been quite so laughable.

7.5 out of 10, rounded up to 8 for IMDb.

To clarify, it's really no treasure, but, neither do I agree with the consensus. As of this writing, other comments are overwhelmingly negative. But I don't think that this flick is all that bad. Sure - it's a temptation to compare it to other Hammer films and Frankenstein movies in general. But, because Peter Cushing and Boris Karloff aren't in it, THAT shouldn't be held against Horror of Frankenstein. (They weren't in Citizen Kane, either, but THAT'S a pretty good pic.) I'm guilty of too much comparing, myself, but, for some reason, I did not do it here. Maybe that's why I rated it "respectable". I'm satisfied with most aspects of this production, although, admittedly, the outset is a bit dialogue-heavy and action-starved. It takes a long, mundane time, but, through it all, we meet (among others), sociopathic med student, Victor Frankenstein; his straight-as-an-arrow classmate, Wilhelm; destitute-destined neighbor, Elizabeth; the buxom housekeeper (but lousy cook), Alys; the one-step-behind police lieutenant, Henry Becker; the good-at-what-he-does body and parts supplier and his widow; and, of course, the towering, impetuous monster. It has an easy-to-follow story, with enough Hammer cleavage... urrr, diversions... to make it interesting. This attempt is okay, in my book.

The Horror of Frankenstein shouldn't be considered as an official part of Hammer Horror's excellent Frankenstein series as it doesn't star the series' stand out actor - Peter Cushing and by all accounts is really just a re-run of the classic Mary Shelly, which Hammer already did with The Curse of Frankenstein some thirteen years earlier. This fact alone ensures that the film is never going to be as great as the other films in the series as, simply put, we've seen it all before. What made Hammer's Frankenstein sequels so brilliant was the way that they played around with the base story and created something fresh and exciting; whereas here it's just the base 'Frankenstein creates a monster' story. This was great in 'Curse' as we had an amazing Peter Cushing performance to delight over - but here we only have Ralph Bates to keep us entertained. Bates definitely is one of Hammer's better smaller stars, and he offers a worthy interpretation of the character for sure - but Peter Cushing is a hard man to follow, and Bates' just hasn't got what it takes.

One thing Bates does try his hand at, though, is the side of Frankenstein that Cushing did best - the egocentric confidence! Seeing Bates take the Mickey out of a number of people is always entertaining and his lines are surprisingly well written. Ironically, it's when the monster is introduced that the film really trips over as in the first two thirds, we've always got Bates' humour to revel in, but once the monster is introduced that all fades. Adding to the woe is the fact that the monster is really terrible, and doesn't even nearly compare to any of the monsters seen in the 'real' Hammer Frankenstein movies. It's surprising how much influence the Hammer Frankenstein movies have given Stuart Gordon's brilliant Re-Animator, and it's influence is evident in some parts of this film. While this movie isn't Hammer's best by a long shot, it's still definitely worth a shot as it features many elements that Hammer are famous for and, despite the fact that it was made in the 1970's, Hammer's eccentric camp style is still omnipresent. Not great...but certainly not all bad.

This was top Hammer screenwriter Jimmy Sangster's first directorial effort for the company (incidentally, I watched the other two - LUST FOR A VAMPIRE [1971] and FEAR IN THE NIGHT [1972] - in quick succession). I hadn't picked this up on DVD earlier because of its much-maligned reputation: however, I was extremely surprised to find it quite effective!

Given that it's basically a remake of THE CURSE OF FRANKENSTEIN (1957), Sangster took a radically different approach - treating the events as black comedy; the resulting film is very funny indeed at times (though it almost feels like "Carry On Frankenstein": witness the disembodied hand coming to life to give the two-finger gesture and Ralph Bates' comments at Kate O'Mara's cleavage!). The film features an abrupt, doubly ironic ending - while, as opposed to STRAIGHT ON TILL MORNING (1972), there's plenty of gore here but no nudity. Still, despite being made on the cheap, it all looks pretty decent (a virtue common to most Hammer product, in fact).

Bates (who showed real promise but, essentially, came to Hammer too late) and Dennis Price (as a cheerful body snatcher who likes to have his pregnant wife do the dirty work for him!) are very good; from the rest of the cast - which includes Jon Finch as a dogged police lieutenant who happens to be a former colleague of Frankenstein's - O'Mara as Bates' sexy but conniving housekeeper/lover comes off best (though Veronica Carlson, who's somewhat underused here, also proves undeniable eye-candy).

There are faults, however: Bates's scientist is, ultimately, too glum in comparison to Cushing's animated characterization; the monster itself is an unfortunate creation (pun intended) - Dave Prowse's physique is certainly ideal for the role (in fact, he returned for FRANKENSTEIN AND THE MONSTER FROM HELL [1974] and proved far more successful at it) but, as depicted here, it comes across as a mere killing machine, showing no emotion or curiosity at its surroundings (such as when the monster kills the O'Mara character or when it ventures outside into the countryside).

Essentially, then, the film emerges as an interesting but not entirely successful reinvention of the Frankenstein saga and, actually, a curious attempt on Hammer's part at this particular stage - given that it followed closely on the heels of one of their finest (and bleakest) efforts! That said, having now watched Hammer's entire Frankenstein series, I can safely say that it's superior overall to their Dracula films.

The extras include a 14-minute career overview by Hammer starlet/beauty Carlson - she feels lucky and privileged to have worked three times for the studio and in the company of such talented people as Freddie Francis, Christopher Lee, Terence Fisher, Peter Cushing, Jimmy Sangster and Ralph Bates. Sangster describes in the Audio Commentary how, when he started as a screenwriter, he was careful not to overstep the limitations set by the budget - which he learned from having been a Production Manager for Hammer for the previous several years; as a director, then, he often consulted with his editor to determine whether the latter got all the necessary coverage for any particular scene. He also discusses the rest of his career, going into some detail on the making of such films as TASTE OF FEAR (1961) and THE ANNIVERSARY (1968), and seems baffled - but, at the same time, amused - by the critical about-turn Hammer's output has enjoyed in recent years. With respect to THE HORROR OF FRANKENSTEIN itself, he admits that he was initially averse to the idea of Ralph Bates as Baron Frankenstein - but, eventually, the two became very good friends and, in fact, Bates appeared in all three films Sangster directed! By the way, Travis Crawford's interesting liner notes compare the film's self-mocking attitude to the even more radical 'revisionist' approach to the Mary Shelley tale seen in FLESH FOR FRANKENSTEIN (1973).