The Horror of Frankenstein seemingly announces a return to
macabre basics for the storied franchise, resurrecting a classic plot
inspired by Universal Pictures' Frankenstein, and Mary Shelley's original literary Modern Prometheus.
It should have been a fresh take for a new decade, but instead
assembles used parts from previous efforts, creating a shambling
retelling, lacking the passion or horror of Hammer's own 1957
production.
The Curse of Frankenstein had given a grim new face to the monster made famous by Universal Pictures in 1931. Christopher Lee was far less glamorous as the pallid sum of decayed corpse parts. His very appearance evoked horror -- a glaring contrast to the lacking creature of the 1970 retelling!
David Prowse is physically gifted as a 6'6" bodybuilder, and commits to the role with deliberate plodding, and a brain-damaged lack of expression. He has a curious charisma, but lacks tactile menace, or visual appeal as The Monster. He's unaided, wearing only the most basic makeup effects to distort the top of his head, suggesting a split cranium. A few symmetrically drawn-on pink scars do little to sell the concept of a patchwork body. Even wardrobe underwhelms, as he at first shuffles into the woods in "bandages" that look like tight, white, lopsided sports wear. This improves somewhat once a dark tunic is thrown over his metal neck-brace, enhancing his size and medieval facade.
Like so many Hammer sequels, Horror of Frankenstein is an endurance test for the audience. The majority is languid period drama, holding back the monster for the majority of the film. This wouldn't be so bad if the drama were more engaging, and the eventual reward more satisfying. The Monster just isn't worth the hour it takes.
To this point, the star of Hammer's Frankenstein franchise had been Peter Cushing. He was seen as recently as 1969 in Frankenstein Must Be Destroyed, and was particularly arresting as the driven mad scientist of the first film. With performance and natural character, he carried the first half of the original entry, emerging as its true monster. It's no surprise Cushing would be brought back for Frankenstein and The Monster From Hell - the final installment.
Ralph Bates repeats many of the same beats of murder and malice as Cushing, but is a much less dynamic Baron Frankenstein. He proves to be a villain through action, rather than unflinching conviction. Bates brings an unusual screen energy, playing the role with wry removal, and a distanced calculating that only dabbles in arrogance.
The peak of the movie is its third act, when the monster is unleashed, and various forces begin to converge on Frankenstein's castle, where the body count has steadily risen. The film sadly shies away from ratcheting up the tension of these disparate threats, playing them out one at a time, rather than all on top of each other. Even as the Monster escapes his dungeon cell and Frankenstein's control, the Baron keeps one step ahead of every threat.
Any hope for a big finish is utterly dashed when the Monster, tamed with an injection, meets his accidental demise in Frankenstein's lab. The death occurs right under the nose of ineffective law enforcement, but is only known to the Baron himself. This gives way to the laughable moment when Frankenstein's unwitting killer -- a small girl he'd frightened, but spared, initiating the manhunt -- declares he was actually a nice monster. Sentiments of pathos borrowed from better versions of the story, but unearned in this one!
The Horror of Frankenstein isn't completely without charm, but like so many remakes, you're better off just seeing the original. Colour and grit at least give the 1957 version a point of difference to Universal's classic black & white horror. Thirteen years on, little has changed in the Hammer approach, and nothing has improved.
The Curse of Frankenstein had given a grim new face to the monster made famous by Universal Pictures in 1931. Christopher Lee was far less glamorous as the pallid sum of decayed corpse parts. His very appearance evoked horror -- a glaring contrast to the lacking creature of the 1970 retelling!
David Prowse is physically gifted as a 6'6" bodybuilder, and commits to the role with deliberate plodding, and a brain-damaged lack of expression. He has a curious charisma, but lacks tactile menace, or visual appeal as The Monster. He's unaided, wearing only the most basic makeup effects to distort the top of his head, suggesting a split cranium. A few symmetrically drawn-on pink scars do little to sell the concept of a patchwork body. Even wardrobe underwhelms, as he at first shuffles into the woods in "bandages" that look like tight, white, lopsided sports wear. This improves somewhat once a dark tunic is thrown over his metal neck-brace, enhancing his size and medieval facade.
Like so many Hammer sequels, Horror of Frankenstein is an endurance test for the audience. The majority is languid period drama, holding back the monster for the majority of the film. This wouldn't be so bad if the drama were more engaging, and the eventual reward more satisfying. The Monster just isn't worth the hour it takes.
To this point, the star of Hammer's Frankenstein franchise had been Peter Cushing. He was seen as recently as 1969 in Frankenstein Must Be Destroyed, and was particularly arresting as the driven mad scientist of the first film. With performance and natural character, he carried the first half of the original entry, emerging as its true monster. It's no surprise Cushing would be brought back for Frankenstein and The Monster From Hell - the final installment.
Ralph Bates repeats many of the same beats of murder and malice as Cushing, but is a much less dynamic Baron Frankenstein. He proves to be a villain through action, rather than unflinching conviction. Bates brings an unusual screen energy, playing the role with wry removal, and a distanced calculating that only dabbles in arrogance.
The peak of the movie is its third act, when the monster is unleashed, and various forces begin to converge on Frankenstein's castle, where the body count has steadily risen. The film sadly shies away from ratcheting up the tension of these disparate threats, playing them out one at a time, rather than all on top of each other. Even as the Monster escapes his dungeon cell and Frankenstein's control, the Baron keeps one step ahead of every threat.
Any hope for a big finish is utterly dashed when the Monster, tamed with an injection, meets his accidental demise in Frankenstein's lab. The death occurs right under the nose of ineffective law enforcement, but is only known to the Baron himself. This gives way to the laughable moment when Frankenstein's unwitting killer -- a small girl he'd frightened, but spared, initiating the manhunt -- declares he was actually a nice monster. Sentiments of pathos borrowed from better versions of the story, but unearned in this one!
The Horror of Frankenstein isn't completely without charm, but like so many remakes, you're better off just seeing the original. Colour and grit at least give the 1957 version a point of difference to Universal's classic black & white horror. Thirteen years on, little has changed in the Hammer approach, and nothing has improved.
Originally Posted: https://letterboxd.com/dialmformicker/film/the-horror-of-frankenstein/
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