Customer Reviews

Frankenstein and the Monster From Hell

5 star:		(12)
4 star:		(9)
3 star:		(11)
2 star:		(1)
1 star:		(2)

 

 

Though their reign as the Empire of British horror had surely diminished by the time of its release in 1974, Hammer Film's FRANKENSTEIN AND THE MONSTER FROM HELL marked a return to their familiar gothic traditions. Not only did it mark the last performance of the gaunt and fancy-wigged Peter Cushing in his most famous role of Baron Frankenstein, it was also the last film directed by Terence Fisher, the man who pretty much made the series his own. Also back were Anthony Hinds doing the writing choirs (under his "John Elder" pen name), composer James Bernard, and a bevy of familiar Hammer supporting players (Patrick Troughton, Charles Lloyd Pack, Peter Madden, Sydney Bromley, etc.).

The plot has Simon Helder (Shane Briant), a young doctor inspired by the work of Victor Frankenstein, being sent to an asylum for practicing "sorcery." There he meets Dr. Carl Victor (Cushing), who apparently harbors secret information on the underhanded director Klauss (John Stratton), and is able to run the place his own way. Young Helder quickly realizes that Dr. Victor is actually Baron Frankenstein, who wants the outside world to believe he is dead. Helder knows that Frankenstein could never give up his experiments, so after doing some snooping, he discovers his secret laboratory and his latest project.

The Baron's new experiment is the hulking, ape-like Herr Schneider (David Prowse), a homicidal inmate whom Frankenstein has kept alive after a violent suicide attempt and has grafted on the hands of a recently deceased sculptor (Bernard Lee). Since Frankenstein's hands were badly burnt in the name of science, the shabby stitch-work was done by Sarah (Madeline Smith), a beautiful mute girl who is nicknamed "Angel" who assists him. When Simon tells the Baron that he is a surgeon, the problem is solved. Soon new eyes and a new brain are given to the creature (allowing this to be a gorefest as far as Hammer is concerned), but he ultimately runs amuck in the asylum.

Filmed in late 1972, Hammer's final Frankenstein entry is one of those films that has divided appreciation among fans, some who think it's masterful and others who deem it a low point. The ultra low budget does show in Scott MacGregor's claustrophobic sets, unconvincing miniatures, and the monster's get-up is obviously a pull-over mask designed by Eddie Knight (though the monster is unique in the annals of Frankenstein cinema). But Fisher's direction and Cushing's consummate performance (adding complete madness this time to the character) display a true dedication to this kind of cinema, and the confinement of the asylum only adds to the doomed, somber mood. Prowse, who essayed the role of the monster in HORROR OF FRANKENSTEIN, is able to give the part some empathy--more so than any other Frankenstein monster in the Hammer camp. FRANKENSTEIN AND THE MONSTER FROM HELL may be nothing groundbreaking, but it's certainly entertaining and a worthy end to an important chapter in British horror.

It's great to see that Paramount is the latest studio to unleash Hammer films on to the DVD market, but they have released the R-rated U.S. theatrical version which is missing some scenes only found thus far on an atrocious-looking Japanese laserdisc release from the early 90s. The footage not found on this DVD is as follows (those who haven't seen the film may want to view it first before reading this, as I'll reveal some plot points): a few seconds of a sequence where the Baron damns his useless hands and grasps an artery from the monster's wrist with his teeth, followed by his rinsing his mouth out with water; when Briant inserts the monster's eyeball, and Cushing says, "Pop it in," a brief side view of this procedure is replaced in the American version with a reaction shot of Madeline Smith; a second split-second shot of Bernard Lee's character's handless arms in his open coffin (looks to be the same exact brief shot as the first, so perhaps the Japanese just wanted to repeat the bloody sight); after the asylum director has his throat mutilated by the monster, the gushing of blood that comes from his neck is a split-second longer on the Japanese version, and; a few seconds more of the inmates tearing apart the monster during the climax, most notably missing in action is a shot where his guts are being squashed by someone's feet.

Quite simply, Paramount went back to the original negative for this transfer, and these scenes were never meant (or were demanded to be censored) for the U.S. version. Getting past that, Paramount's DVD of FRANKENSTEIN AND THE MONSTER FROM HELL looks terrific, and far better than ever before. The film is nicely presented in the original 1.85:1 aspect ratio with anamorphic enhancement. As usual, the studio has done an excellent transfer. Sharpness and detail are very solid, and dark scenes that were once hard to make out are now clear as day. The print source is free of any major blemishes, and the somewhat subdued (for Hammer) colors appear greatly corrected, as do the various fleshtones. The audio is the original mono--there is some audible hiss present, but dialogue is generally clear and James Bernard's score is adequately robust. Optional English subtitles are also included.

The DVD has one extra feature (no trailer), and it's big one. A running audio commentary with actress Madeline Smith (Sarah) and actor David Prowse (the monster) moderated by genre historian Jonathan Sothcott. The commentary is rather energetic and quite funny, as both actors are never at a loss for words or a story to tell. They have plenty to say about the film, Cushing, Fisher, and the other players--which eventually leads to anecdotes about some of the other films of the period that they were involved in. This is very fun stuff, remaining interesting until the end, and you'll hear a lot of scoops you've probably never heard before in written interviews.

The first film I ever saw in Hammer Studio's Frankenstein series was also the very last, which I feel is a terrible shame, as this was a very good movie. While Hammer's Dracula films drastically revamped themselves twice over the course of their last three films, the Frankenstein series, which was running simultaneously, did it once and even then only partially (by doing no more than cast a younger actor as Dr. Frankenstein). So we have Peter Cushing returning for one final time, after a one-film break with the new guy, in the role of the good doctor, where we get to see him act with Darth Vader three years before the making of "Star Wars" (David Prowse, the man in the Darth Vader suit, is the monster in this one). And I'm glad that Cushing came back, because his performance is what makes this movie so great.

Rather than discuss plot points, as I'm sure you by now have a fairly vague idea of what to expect from this series (though I would like to mention that we get to see the second Doctor Who, Patrick Troughton, as a grave robber at the beginning of the movie), I would instead like to discuss Dr. F, because the character absolutely fascinates me ... especially in this particular film. Here we have a true monster, far worse than any undead beast he could ever bring back to life. Dr. F cares for absolutely nothing but his work ... not only does he have no second thoughts when it comes to disturbing graves, but he goes so far as to see the living as nothing more than potential materiel for his experiments. Witness the casual way he speaks of the patient he prompted to commit suicide (without ever explicitly stating his intention, but by leaving for the patient to read such depressing news that he knew exactly how the patient would react). When I first saw this scene, together with the final one, when Dr. F speaks optimistically about "the next time", I shared completely the shock, dismay, and revulsion felt by our young protagonist, Dr. Helder (Shane Bryant), as he realizes that the man whose work he'd dedicated his studies to and who(m) he'd idolized is so completely inhuman beneath his appearance and kindly manner, so totally obsessed with his life's work that nothing else matters at all, not even his own creations.

Dr. Frankenstein is amoral ... he does whatever he feels is necessary for his experiment to succeed, and hasn't a single care when those actions bring harm or death, let alone anxiety, to anyone else. And yet while certainly not a "good" man, the wicked acts which Dr. F commits are not motivated by malice or a desire to harm ... He's simply so completely blinded by the world of science that it's impossible for him to think in any other way. This makes him, for me at least, one of the most frightening characters in the whole realm of Horror ... a totally conciousless scientist, fanatically devoted to his work and more brilliant than we can even try to imagine. From the films I've seen, I don't believe that any of them give a better, more thought-provoking portrait of the character than this one, without having to rely on any of the films which came before.

"Frankenstein and the Monster From Hell", in spite of suffering from such an awful title, is a wonderfully intelligent and intriguing, visually striking (I love the dreary hallways of the mental institution, as well as the shots of the creature in the graveyard at night), and very well acted indeed. Peter Cushing is one of my favorite actors, and here he certainly doesn't disappoint. Do yourself a small act of kindness and pick up a copy of this DVD today, and then watch it tonight after the lights are out. I think you'll have a marvelous, though somewhat unsettling, time ...

This film will entertain you, but it will also make you think. Definitely five-star material.

Carry on Carry on

MN

Frankenstein and the Monster From Hell was not famed Hammer Studios' final film, but it in many ways represents the swan song of the premiere maker of vintage gothic films. Not only does the film play well even today, it has an incredible number of fascinating facts surrounding its production that makes it particularly notable. Consummate actor Peter Cushing and director Terence Fisher can be viewed as founding fathers of Hammer Studios, and this film marks a return to the spirit of the early days. It stands as the final entry in the famed Frankenstein series starring Peter Cushing as Dr. Frankenstein, and David Prowse makes an unprecedented second appearance as a Hammer monster. Some wonderful actors appear in even the smallest of roles, the overall look and feel of the film is wonderfully dark and serious, and the story is allowed to tell itself, foregoing sex appeal for violence and intellectual passion. Despite its almost ridiculously paltry budget, Frankenstein and the Monster From Hell truly shines as Hammer's last truly gothic motion picture.

Baron Frankenstein is dead; there's a death certificate to prove it, and he's buried in the yard of the insane asylum where he spent his last days. One young researcher sets out to fill his shoes, however, eventually being arrested for "sorcery" and consigned to the same mental institution as his idol. Simon Helder (Shane Briant) inquires about Dr. Frankenstein as soon as he arrives. The story of the Baron's death notwithstanding, he quickly recognizes the asylum's Dr. Victor as none other than Frankenstein himself. Assisted by the mute and ever so lovely Sarah (Madeline Smith), known as Angel among the inmates, the doctor has continued his work. He explains to young Dr. Helder how he managed to "kill" Frankenstein and get himself appointed the medical doctor in the asylum, and soon the ever-curious Helder is an active participant in the doctor's ongoing unconventional medical experiments. Rather than resurrect the dead, Frankenstein is now working on making a new man piece by piece based on an existing flawed creation. With the help of Helder's surgical skills, the men have soon given an animalistic misanthrope the hands of a craftsman and the mind of a genius, but of course the newly created monster seems less than overjoyed with his new life.

I am an unabashed fan of Peter Cushing; he was the ultimate gothic actor, a meticulous perfectionist who demanded the serious commitment of everyone surrounding him on whatever project he was working on. In Frankenstein and the Monster From Hell, he makes one of his most memorable entrances and delivers a sterling performance. At this particular time, Cushing was in deep mourning over the recent loss of his wife, and he is as grim and emaciated as you will ever see him. This makes his obviously whole-hearted commitment to this role all the more amazing. This sixth and final Hammer-produced Frankenstein film offers yet more proof that Peter Cushing is the greatest horror actor to ever live. Madeline Smith is just beautiful and delivers an amazing performance almost wholly devoid of spoken lines, and Shane Briant, looking quite James Spader-like, makes young Helder an admirable and deserving new underling of Dr. Frankenstein's. The monster is played wonderfully by David Prowse, the man who would later serve as the man behind the mask of Darth Vader; his costume isn't that impressive, but it works well given the budgetary constraints this movie operated under. Doctor Who fans will no doubt note the presence of Patrick Troughton as Helder's bodysnatching accomplice at the beginning of the film; Troughton would of course go on to become the second man to play Doctor Who on the famed BBC television series.

Frankenstein and the Monster From Hell is vintage Hammer horror, a really quite extraordinary achievement given the monetary and personal constraints the production faced. Terrence Fisher and Peter Cushing make an unbeatable combination, even when both men are laboring under heavy burdens of their own. The DVD comes with a commentary by actress Madeline Smith, actor David Prowse, and horror historian Jonathan Sothcott, and this commentary ranks among the best and most interesting I have ever heard. The trio expound upon all types of things, oftentimes going beyond the subject of the film itself to relate fascinating stories about their fellow performers and about the very history of Hammer Studios as well. All of this adds up to a film that all Hammer fans simply must own.

Frankenstein & the Monster from Hell (1974) is not a bad movie. Its not terribly exciting, but it definitely has it's moments and is worth a look for horror fans and most likely a buy for lovers of Hammer Films, Terrence Fisher, and Peter Cushing. I guess also for fans of David Prowse (body of Darth Vader) who plays "the monster from hell"! This is Hammer director Terrence Fisher's last film, another reason why it's worth a look. Fisher is responsible for much of Hammer's horror classics: all 5 Frankenstein films, Horror of Dracula, The Mummy, Curse of the Werewolf, The Gorgon, Two Faces of Dr. Jekyll, Phantom of the Opera, the list goes on...

This is also the last film in Hammer's Frankenstein series. It all started in 1957 with The Curse of Frankenstein, an absolute classic starring Cushing as Victor Frankenstein and Christopher Lee as the Creature. This is followed by Revenge of Frankenstein (1958), Frankenstein created Woman (1967), and Frankenstein must be Destroyed (1969), which brings us to The Monster from Hell (1974).

The plot concerns Victor Frankenstein (Cushing) being the resident medical doctor at an insane asylum where he secretly experiments with creating his own being. He's also a patient, by the way! He soon meets a young patient/doctor, Simon Helder (Shane Briant), who is sent to the asylum because he is caught doing similar experiments in the outside world. Frankenstein takes Helder under his wing and uses him to perform surgeries that he can no longer do because of his burnt hands. Frankenstein lets Helder in on what he's doing and introduces him to "the monster from hell" played and grunted by David Prowse of Darth Vader fame. Long story short, Frankenstein's creation grows tired of his lifestyle...and watch out!

This film is nowhere near as bad/silly as others may write. Yes there are bits of cheese, a laugh or two, and some underacted scenes, but don't most horror films have that? Its not a scarefest, but its not a laughfest either. Besides,its Cushing, Fisher, and Hammer for cryin' out loud! Paramount's DVD has a good looking 16:9 widescreen transfer, decent dolby digital mono sound, and english subtitles. Making it special is a commentary by David Prowse, Madeline Smith (Sarah/"Angel", Frankenstein's initially mute assistant) and historian Johnathan Sothcott. It also can be purchased for the same price as renting it a few times! All in all, it isn't the best Hammer film to start with, but it has its good qualities, most importantly atmospheric direction from Fisher and a solid creepy performance by Cushing, may they both rest in peace. Thanks to both of them for giving us so many classics.

Some interesting attempts at social commentary (note Frankenstein's proposal to dope the Monster up on aphrodisiacs and sic him onto the heroine, it plays like a creepy satire of the whole better-living-through-sex-and-chemistry ethos of the hippie era), some good dark humor and sinister imagery. Overall quite good character work too. I think its bad rep stems from its depressing nature: you have unpleasant things happening to fairly likable people, you have this melancholy soundtrack, and you have this dour prison of an asylum where everything happens. The ending, which implies that character is destiny & the surviving characters have basically a pretty lousy destiny, suits the film rather well, but is both a downer and mildly funny. If funny but depressing is your bag, you might like this.

The last of the Peter Cushing Frankenstein movies opens appropriately enough with a grave robbery. The delivery of the corpse, however, is not going to Frankenstein but rather to Simon Helder, a doctor who wants to follow in Frankenstein's footsteps. He is not very successful and in fact winds up arrested and sent to an asylum for the criminally insane.

Fortunately for Helder, Frankenstein is also in this asylum. He was committed there years earlier, but with the asylum director's cooperation, has faked his death and now serves the institution as Dr. Viktor. He is indeed the inmate running the asylum, and while not attending to patients, he is continuing his experiments. Happily for Frankenstein, his position of authority finally frees him from the meddling officials who always seem to disturb his work. Helder is soon working with him, along with the beautiful but mute Sarah.

This time, Frankenstein's subject is a "neolithic" man who is monstrous in size but homicidal. When the "monster" almost dies in an escape attempt, Frankenstein takes it upon himself to fix him up, giving him new hands, eyes and a brain. Of course, things go awry and the monster goes on a rampage. (As a note of trivia: this movie has David Prowse as the monster; he would go on to work with Cushing in Star Wars.)

The Hammer Frankenstein movies are a fun set, particularly due to Cushing. Unlike the Universal Frankenstein series, the focus is on the scientist, not the monster. Colin Clive, who is probably the most well-known Frankenstein from the Karloff movie (and despite the quality of the Hammer movies, none can top Universal's Frankenstein and Bride of Frankenstein), played the scientist as an obsessed genius. Cushing is driven less by obsession and more by arrogance, which often drives him into a villainy that Clive's Frankenstein would never have dared.

Frankenstein and the Monster from Hell is not a perfect movie, but it does not have some nice moments. Overall, it rates a low four stars, not bad, but not spectacular either.

If I had seen this movie as a child, it would have scared the living daylights out of me. Seeing it as an adult, it still gave me bad dreams. I really didn't expect such a classic Hammer production from one of their later films. It suggests the style from about ten years earlier in the full bloom of Hammer Horror. True, the monster is definitely on the low-budget side, but when he shambles toward you JUST before the door gets shut there is a deep primordial shudder evoked.
The story revolves around the most appropriate question of "what would Frankenstein do if he lived in an lunatic asylum?" The answer, not surprisingly, is to find new ground to plow in the old cemetary. Rejecting Universal's formula of creating new mayhem for the old monster to stumble through, Hammer's Frankenstein creates new "monsters" with their own, original baggage and issues. Also, they continue to twist the theme of "who is the real monster?" with new horrors consistently pointing to the diabolical Baron himself. In this area, Peter Cushing is fabulous. One wonders if the studio would have existed at all without him and Christopher Lee.
Another theme is presented again: degrees of evil. Frankenstein is a maniacal sociopath surrounding himself and exploiting those who have sinned in some awful manner. This is the truly horrifying nature of Monster from Hell. The asylum could be a metaphor for Hell and the inmates, damned souls. The ending fulfills this allegory: no one is leaving, and the torture begins anew.

Although it is uneven at best, Terry Fisher's last film for Hammer and the last in the Frankenstein series, Frankenstein and the Monster from Hell has a number of things to recommend it. Peter Cushing still brings considerable energy and acting chops to his portrayal of Frankenstein. Cushing has always played the Baron as a bit of a sociopath with his experiments (and, as a result, himself)the ultimate goal and center of his universe. His performance is anything but icy; the Baron is at turns charming and hypnotic like a dangerous snake.

Shane Briant had become something of a Hammer regular around this time. He gives a fine performance as a doctor and scientist following in Frankenstein's footsteps (in fact he has a book entitled The Complete Works of Baron Frankenstein when he is arrested!). He's been paying a local to steal bodies from the cemetary for his "research". When the local (the marvelous and distinctive Patrick Troughton a former Dr. Who no less)interrogated by a police constable, he gives up his boss in no time flat.

Sentenced to an asylum for the criminally insane, the new doctor meets the old doctor himself; Frankenstein, although crippled by disease, is still carrying on his old research. It turns out that Frankenstein had been sentenced to stay there as well but the director of the asylum has covered up Frankenstein's existence by claiming he had died some time ago. Suddenly, the new resident and the older, experienced Frankenstein take up where Frankenstein had left off creating a new creature. There's a number of new twists in John Elder's screenplay that make Monster well worth viewing.

The DVD transfer is quite good overall. This edition has both advantages and disadvantages over the British DVD release. Unlike the British edition, this DVD is in widescreen. Kudos to Paramount for choosing to release it in its original aspect ratio. Perhaps there is an edition of this film available in widescreen overseas, but I haven't seen it.

Paramount has duplicated the commentary from the British edition of this DVD. Unfortunately, the World of Hammer featurette isn't included nor the original theatrical trailer. Given the price, I'm a bit surprised. The theatrical trailer wouldn't have added greatly to the cost although licensing the featurette might have been an issue. Original actors David Prowse and Madeline Smith participate in the commentary along with genre historian Jonanthan Sothcott. The commentary is entertaining and interesting although it can't hold a candle to the one for Dracula Prince of Darkness where all the original principal actors were assembled. Still, it's an improvement when compared to the bare bones editions of Hammer classics that Warner Brothers released last year.

The mono soundtrack sounds pretty good and isn't as muffled as the VHS edition I had before. That could have been the tape or the transfer so this improvement might be all that big a deal. The only complaint aside from the missing trailer and featurette, is the few chapter stops for the film. Perhaps its more expensive to encode films with multiple chapter stops (seems likely). That would explain the measly 12 chapter stops for a film that runs under 100 minutes. Oh, and this is the American release of the film so rumor has it (although I can't confirm this as I don't have a copy of the laserdisc edition nor the overseas VHS to compare it to)that Paramount's version was trimmed to earn an R rating when it was released in the early 70's. I can't comment on that but can say, if that's the case, it's too too bad that in this day and age we can't have the unedited version available when it's available in the Hammer vault.

While Terry Fisher wasn't David Lean, James Whale or Alfred Hitchcock, he was a talented director working within a genre frequently looked down upon. Why Paramount and Hammer couldn't have dug up (pardon the pun)fresh information on the making of the film, or created a documentary with comments from Christopher Lee, Roy Skeggs (Producer) and others involved with Hammer about Fisher's career is beyond me. Yes, it would have added cost but more than a few fans would have paid the price to make it profitable.

Still, all things considered Paramount has done a very good job with Monster. Now if we can only get Warner (or Universal can't remember which has the rights) to release Fisher's second best film Curse of the Werewolf on DVD, I'd be a happy Hammer fan.

This was Hammer's final entry in the "Frankenstein" series and it indeed went out with a bang...I saw this as a kid on a late night "Thriller Chiller Theatre" type program, and it was heavily edited...but what fun! Peter Cushing once again completley steals the show as Dr. Frankenstein (or Dr. Victor) and just chews up the scenery. David "Darth" Prowse was the monster this time in a strange neandrethal-like suit, and manages to evoke sympathy for the monster like Karloff did in the 30's. Very Gothic/Victorian and great atmosphere, especially the scene where the Monster rips up the graveyard. The film takes place in an insane asylum, and deals with Dr. Frankenstein's being in charge there, and he continues his ghoulish expiriments with the help of a new assistant. Wonderful entry in the Hammer series and just cheesy enough.

Where is the center to this film? OK - we have a great start here from a GREAT Hammer Horror film. We have the legendary Hammer director Terrance Fisher. We have the great Peter Cushing doing his great role as the evil Dr. We have an insane asylum. We have the dead bodies, the gore, the blood, the...what happened?

Yes, this film has its moments. Yet, there is very little real horror. The "Monster from Hell" is almost lame. In fact, in somem moments, he looks pretty awful. Peter Cushing is rarely allowed to do what he did so well in past films. The supporting cast is lackluster. Yet, there are some good moments of Hammer charm. I think that the real problem was that the story just was not there. The story has Cushing and his assistant getting a genius at an insane asylum to give over his brain(after a murder, of course!)to a giant hairy beast - nothing really new. This already mild story is done with no imagination.

Yes, for Hammer fans, this one is entertaining - only if you are already a disciple of Hammer. Yet, if you're not, then stay away, this is not where to start your Hammer quest. Start with "The Devil Rides Out," "The Horror of Dracula," or other greats.