Frankenstein Created Woman (1967)

Baron Frankenstein has acquired the dead body of a young maiden, Christina, and all it lacks is the spark of life. He captures the soul of a recently executed young man and installs it in the young woman. With the memories from the young man still intact, she starts to kill the people whose false accusations led to the young man's execution.

Frankenstein Created Woman is a Hammer Horror film directed by Terence Fisher. It stars Peter Cushing as Baron Frankenstein and Susan Denberg as his latest creation. It is the fourth film in Hammer's Frankenstein series.

Here we have another fine entry in Hammer's Frankenstein series.  It tries something unique as far as Frankenstein films go.  Instead of creating a monster from dead bodies, the good doctor instead isolates the soul from one body and transfers it to another.  The film is excellent in every way....from the plot, the acting and to the atmosphere.  It provides the typical Hammer style which most horror fans have grown to love.  It also solidifies Fisher as Hammer's most important director and Cushing as a true horror icon. A perfect follow up to the not so good "Evil Of Frankenstein".

 In this film Frankenstein is actually portrayed as sort of a good guy.  His deeds don't seem near as horrible as the three rich lads that kill the owner of the local tavern.  It's more a tale of revenge as opposed to monster runs wild. Cushing's performance shows that his character is even more cocky and sure of his genius and skills than he was in previous films.  He's the sarcastic Baron that we all know and love. His character also shows that his main goal is the forward movement of science.  In the beginning of the film he's more than willing to commit suicide by freezing himself to conduct his experiments. A man willing to do this to himself certainly isn't concerned with how he uses others to complete his work.

The cast around Cushing is good as well.  Thorley Walters is wonderful as Hertz, the absent minded and somewhat dim witted doctor that assists Frankenstein.  He is supposedly a doctor as well but is mesmerized by the genius of the Baron.  Susan Denberg performance is also memorable as Christina.  Creepiness abounds as she talks to a severed head to determine who she should kill next.  She changes from deformed innocent lass to killer. Plus she was also a Playboy model with makes her easy on the eyes.

Who dies next Hanz?

The movie has a few small flaws but nothing to damage my overall feelings on the film.  It's not as visual as most Hammer films are.  It could be because cinematographer Arthur Grant was working on his first horror film for Hammer and was not as familiar with the visual style that came before him. It is certainly unconventional as far as most "Frankenstein" films go but Cushing and Fisher make this film work.

Trivia:
Susan Denberg is dubbed.

We are never told in which Country the film is set, however the Coat of Arms on the coach is that of the Canton of Berne in Switzerland. 

Double-billed with "The Mummy's Shroud."

Tales From The Crypt (1972)

Tales from the Crypt is a 1972 British horror film, directed by Freddie Francis. It is an anthology film consisting of five separate segments, based on stories from the EC horror comics of the fifties by William Gaines.  Five people on a tourist trip end up getting lost in a crypt and run into the Crypt Keeper (Ralph Richardson) who proceeds to show them how they each died.

The Crypt Keeper

After recently reviewing films that run from average to shitty beyond belief, I now run into this gem. It's filled with a star studded cast that does a great job. (Peter Cushing, Joan Collins, Ian Hednry and Richard Greene)  This is a fantastic film with a great performance by Peter Cushing, as Arthur Grimsdyke, in his segment "Poetic Justice". In fact, Cushing won the Best Actor Of The Year Award in France for this role.  This was the first horror adaption of comic to film and could be considered an inspiration to Creepshow.

Peter Cushing has a heart in this film.

 I'm not going to take you through all five tales, mainly because I'm too damn lazy to write it. But another fine segment was "And All Through The House" which has Joan Collins as the wife who kills her husband but can't call the police when a psycho Santa ambles up to the house.  This story also showed up in the "Tales From The Crypt" TV show years later.  Hell, all the stories are good and all the characters are deserving of their fate.  You don't feel bad for any of them when they get their just deserts.

Ho Ho Ho

 If you're a fan of British horror films or anthologies then this is the a film you must see. The movie is stylishly made and has suspense and gore that is sure to please.  Pick up the DVD for a cold winter's night.  It won't disappoint.

Trivia:
Peter Cushing is said to "act as himself" in this movie: Cushing's wife had died recently and he was very depressed; while Cushing's character is a widower who uses a ouija to talk with his dead wife.

Ralph Richardson filmed his major role in a day.

Peter Cushing was originally intended to play Ralph Jason, but after looking at the script he persuaded the producers that he would do more justice to the role of Mr. Grimsdyke.

Last full length cinema film of Robert Hutton.

Robert Zemeckis has said this is his favorite movie to watch on Halloween since it was released. he later produced a HBO show based off the comic series and directed the first episode, which was also the first story in the movie.

Peter Cushing wanted to do the movie so much that he took a lower fee.

Stephen King and George A. Romero considered remaking this movie together. Their work together resulted in a completely separate but similar film, Creepshow.

Director Freddie Francis never read the original comics, fearing it would affect his personal interpretations on the stories. 

Despite being top of the bill and one of the six leads Joan Collins has only 15 lines

Only two stories in this film - "Reflection of Death" and "Blind Alleys" - originally appeared in EC Comics' "Tales from the Crypt." "...And All Through the House" appeared in "The Vault of Horror" and "Poetic Justice" and "Wish You Were Here" both appeared in "The Haunt of Fear."

"Wishing You Were Here" has a scene where Barbara Murray eviscerates Richard Greene with a sword, exposing his intestines. This scene was originally cut in order to get a PG rating, although it was restored in later versions.

The Blood Beast Terror (1968)

The Blood Beast Terror is a 1968 horror film from Tigon Bristish Film Productions.  If you look in the left hand corner of the above movie poster you will see Peter Cushing. (One of my favorite actors)  Cushing considered this the worst film he ever made. I concur. And by that I mean the worst film HE ever made. But it looks like Citizen Kane compared to Blackenstein.

There is a basic horror movie theme here.  Victims are discovered with their blood drained and a detective (Cushing) is on the hunt to discover the killer.  Cushing as always is fun to watch and I give a tip of my hat to the filmmakers for trying to bring a different type of monster to the big screen.  Despite being a slow movie, I was intrigued as to who or what the killer really was.  I hung around just to find out.  Spoiler coming:  It's a woman that turns into a moth.   That sets up an ending that makes you groan.  The moth dies because she sees the light from a fire and flies into it, thus burning to death.

Like a moth to the flame...

Despite terrible reviews from all around, the film is not that bad. It does have some misdirection that keeps you interested.  It also has some comic elements with Glynn Edwards (as Sergeant Allen) and Roy Hudd, as the morgue attendant who eats his frigging meals off the slabs in the morgue, complete with dead bodies.


It's obvious that this movie was shot on a shoestring budget. The movie has it's flaws such as hardly ever seeing monster and the poor ending.  The film didn't change the face of horror but it wasn't a complete disaster either.

You don't have to point shit out to Peter Cushing.  He sees all bumbling policeman.

Trivia:
Robert Flemyng replaced Basil Rathbone.

First film of Roy Hudd

Robert Flemyng reportedly hated working on the film.

Twins Of Evil (1971)

Maria and Frieda, recently orphaned identical twin teenage girls, move from Venice to Karnstein in Central Europe to live with their uncle Gustav Weil. Weil is a stern puritan and leader of the fanatical witch-hunting 'Brotherhood'. Both twins resent their uncle's sternness and one of them, Frieda, looks for a way to escape. Resenting her uncle, she becomes fascinated by the local Count Karnstein, who has the reputation of being "a wicked man". - Wikipedia 

Twins of Evil is a 1971 horror film by Hammer Film Productions starring Peter Cushing, with Damien Thomas and the real-life twins and former Playboy Playmates Mary and Madeleine Collinson.  It is the third film of The Karnstein Trilogy that began with The Vampire Lovers.

A lot of these later Hammer films from the early 70's during the studio's downward spiral were overlooked for 30 years.  However, looking back now it's clear that some of these films are incredibly entertaining and hold up quite well. This film pulls out all the stops.  It has everything you expect from a Hammer film....blood, sex, evil and throws in Peter Cushing as a religious nut hunting down and burning young women at the stake. During the filming, Cushing was still mourning the death of his wife and it appears he put all of that angst into his performance. He is brilliant with the complex character of Gustav, who begins as an evil misguided witch hunter and ends as a vampire hunter trying to redeem himself.

Cushing with another masterful performance.

But as great as Cushing was, this film will forever be remembered by the twins.  The Collinson's made a few more B films after Twins, but this is their finest moment. Their acting is better than one may think when they imagine Playmates playing leading roles in a film. They certainly make the film interesting and provide a twist that other vampire films have lacked.  They also pump up the films sex appeal.

Evil strikes.

 The film was written by Tudor Gates and directed by John Hough. He presents a beautiful picture with moody atmosphere and dramatic images.  He also delivers more tease than actual nudity and sex throughout the film.  A great job is done having the emphasis on evil at both ends of the spectrum, from both the vampires and the men of god.

Fans of Hammer horror certainly should not miss out on this film.  It offers a lot of different elements that are not commonly seen in vampire films.  On a cold dark evening this is a wonderful film to put in and watch. One of the best of the latter day Hammer films.

Trivia:
Both the Collinson twins were dubbed.

Ingrid Pitt was offered the cameo role played by Katya Wyeth.

Used the same sets as Vampire Circus.

The Vampire Lovers (1970)

The Countess is called away to tend a sick friend and imposes on the General to accept her daughter Marcilla as a houseguest. Some of the villagers begin dying, however, and the General's daughter Laura soon gets weak and pale, but Marcilla is there to comfort her. The villagers begin whispering about vampires as Marcilla finds another family on which to impose herself. The pattern repeats as Emma gets ill, but the General cannot rest, and seeks the advice of Baron Hartog, who once dealt a decisive blow against a family of vampires. Well, almost. 

The Vampire Loves is a Hammer produced film that was directed by Roy Ward Baker and starring Peter Cushing, Ingrid Pitt, Madeline Smith, Kate O'Mara and Jon Finch.  It is based on the J. Sheridan Le Fanu novella Carmilla and is part of the so-called Karnstein Trilogy of films, the other films being Lust for a Vampire and Twins of Evil.  It is notable as being one of the first films depicting lesbianism as a central theme.  Although not nearly enough hot lesbianism for my tastes. Instead of neck, this vampire prefers to sink her teeth into a nice pair of breasts.  It has all the vampire elements....crosses, stakings, blood and sex.

Carmilla seduces a young victim.

The film breaks no new ground other than the lesbian theme.  It's typical vampire fare and only vampire fans in general will enjoy the film.  The dialogue is rather dull and nothing very important is ever said.  At times, it seems to just be random conversation.  However, as is typical for Hammer, they do a wonderful job with the visual look of the film. There are creepy old castles, misty graveyards and a good dose of blood. It is also a fairly close retelling of Carmilla.

The lead vampire, Ingrid Pitt, actually outshines Peter Cushing in the film. She is an empowered female that overshadows the weak timid females she preys upon.  And it's not just the females....other than Cushing, she weaves her spell and dominates the males here as well. It's actually a fine performance on her part.  She had a lot more talent and charisma than some of the other females roaming about the horror genre at the time.  Cushing seems to be walking through the film.  He's not bad but it seems to be a "been here done that" film for him.  This character certainly doesn't challenge him as the Baron Frankenstein character did.

Ingrid Pitt is a damn fine vampire. 

 Overall, the film is average.  Fans of Hammer, such as myself, will enjoy it. They will enjoy the gothic sets, the blood and the breasts. However, this is not the film I would select to introduce a newbie to the world of Hammer Horror.

Bitch, you can't escape Peter Cushing.

Trivia:
The role of the Man in Black was offered to Christopher Lee but he declined the role and John Forbes-Robertson was cast instead. Forbes-Robertson would also later replace Lee in Hammer's The Legend of the 7 Golden Vampires.

This film was given an R rating by the Motion Picture Association of America due to the vampire bites inflicted on the women's bosoms.

This film was given an R rating by the Motion Picture Association of America due to the vampire bites inflicted on the women's bosoms.

It was the final Hammer film to be financed with American money

Quotes:
Marcilla: You must die! Everybody must die!

Baron Joachim von Hartog: They were all evil and remain evil after death.   

You can't stop love.

The Curse Of Frankenstein (1957)

In prison and awaiting execution, Dr. Victor Frankenstein recounts to a priest what led him to his current circumstance. He inherited his family's wealth after the death of his mother when he was still only a young man. He hired Paul Krempe as his tutor and he immediately developed an interest in medical science. After several years, he and Krempe became equals and he developed an interest in the origins and nature of life. After successfully re-animating a dead dog, Victor sets about constructing a man using body parts he acquires for the purpose including the hands of a pianist and the brain of a renowned scholar. As Frankenstein's excesses continue to grow, Krempe is not only repulsed by what his friend has done but is concerned for the safety of the beautiful Elizabeth, Victor's cousin and fiancée who has come to live with them. His experiments lead to tragedy and his eventual demise. By garykmcd

The Curse of Frankenstein was Hammer’s first color horror film and set the stage for a run of classic gothic horror pictures. It was a worldwide success which led to the studio’s own versions of Dracula and The Mummy.  When released, the film drew poor reviews, which further proves that reviewers really don’t know shit, myself excluded.  Thank god the public didn’t share this view. Martin Scorsese and Tim Burton have both sung the movie’s praises and have cited it as an influence on their own work.  

This film introduces us to a duo that became legendary in the horror genre:  Peter Cushing and Christopher Lee. As Baron Frankenstein, Cushing delivers an incredible performance and makes the character his own.  This isn’t Colin Clive, who played the good doctor in Universal’s Frankenstein, babbling about “it’s alive” and feeling sorry for himself.  Cushing’s Frankenstein is banging the maid and not above killing to get the parts he needs to create life.  In fact, Baron Frankenstein is the real source of horror in this movie.  Lee’s role is minor in comparison but he does give a decent performance.  But in his defense, it would be hard for anybody to top Boris Karloff as the Frankenstein monster and this creature was portrayed completely different. While Universal made the monster sympathetic, Hammer’s monster was a symbol of the evil and corruption of Baron Frankenstein.  In continuing with comparisons, while Universal switched up doctors throughout their movies, Hammer instead focused on the complex character of the doctor and changed up on the monsters.  Curse of Frankenstein also throws a change up on the cliché of the mad doctor’s assistant. It’s no longer a hunchback or displeasing visual character but instead is the Baron’s former teacher and the voice of reason over the immoral acts that Frankenstein is engaging in.  

Terrance Fisher directed the movie and went on to become one of the prominent horror directors in the 2^nd half of the 20^th century.  Although not as heavy in Curse of Frankenstein, Fisher was the first to have sexual overtones and explicit horror in his films.  This is common place in films now, but for that time it was definitely groundbreaking.  The screenplay was written by Jimmy Sangster and this was the first of many team-ups with Fisher.  In fact, this collaboration may be just as important as the Lee/Cushing duo at Hammer. (Let’s also mention that Sangster wrote the Horror In The Heights episode from the original Night Stalker series:  One of my favorite TV series and a huge inspiration to the future X-Files)   The duo also collaborated The Horror of Dracula, The Mummy and Brides Of Dracula.  

I also want to give a mention to makeup artist Phil Leaky.  Although his makeup isn’t as iconic as what the legendary Jack Pierce created for Karloff, it is actually much more realistic. It actually looks like the monster went through surgery and was pieced together from various dead bodies. And with this being one the first color horror films, it had to have an effect on an audience not used to seeing something this graphic. 

 

Having just viewed this movie again, I must say that it holds up today.  It showcases what made Hammer so great during that golden era.  The mood, the atmosphere and the rich color make this a perfect example of everything that made Hammer horror movies so special.  If you’re unfamiliar and wish to discover what the term “Gothic Horror” symbolizes, this is the movie to start with.   

Critic R. D. Smith proclaimed, “For all lovers of the cinema, only two words describe this film – Depressing, Degrading!”  To you Mr. Smith I say, Kiss My Ass. 

TRIVIA: 

For many years this held the distinction of being the most profitable film to be produced in England by a British studio.

The first Frankenstein movie to be filmed in color, from November 19 1956- January 3 1957.

The idea originated with Milton Subotsky, who went on to co-found Amicus Films, Hammer's main rival during the 1960s and early 1970s. The script was revised several times to avoid repeating any elements from the Universal Frankenstein series. As part of this effort, new monster make-up had to be devised especially for this film.

Christopher Lee's monster make-up was almost literally done at the "last minute". After previous attempts to design a monster make-up using a cast of Lee's head had failed, make-up artist Philip Leakey made the final design the day before shooting began, directly onto Lee's face, using primarily cotton and other household materials. Since he didn't use any latex or molds, the make-up had to be recreated from scratch every day.

Although they had both previously appeared in Hamlet and Moulin Rouge, Christopher Lee and Peter Cushing met on the set of this film for the first time. They would pass the time between shots by exchanging Looney Tunes phrases, and quickly developed a fast friendship, which lasted until Cushing's death in 1994.

QUOTES:

Baron Frankenstein: Let's let our friend here rest in peace... while he can.

Baron Frankenstein: I've harmed nobody, just robbed a few graves!

Priest: Perhaps you'd better start from the beginning.  (Anybody that has heard the beginning of White Zombie’s song Electric Head Part 1, will recognize this immediately when it’s said)

Baron Frankenstein: Pass the marmalade Elizabeth.

I told you. Do not give my film a bad review!!!!