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Of all the many films in the longstanding Hammer Frankenstein series, after "The Curse of Frankenstein," I like this one the best. It has a classic, almost mythic, structure of the lover who sacrifices himself to preserve the virtue of his beloved and a good deal of existential discussion about human nature. But beyond the heavy academics of its plot, Peter Cushing is truly great here. He's completely sympathetic, intelligent, and witty as a man struggling outside society's version of morality. Some people criticize Terence Fisher as a director who--apart from "Dracula" and "The Devil Rides Out"--had a static and slow-paced directorial style. They're completely wrong. Fisher was a master of the medium, a genius of composition whose films demonstrate so much intelligence. I miss the 1960's, Fisher, and Hammer Films.
There's more going on in this little Hammer than meets the eye. The script reaches for something beyond the usual Frankenstein story, and Terence Fisher accommodates with keenly focused, at times inspired, direction. Start thinking about what is inferred when the soul of a boy, the son of a murderer, is transfered to the body of a crippled, deformed girl. The resulting action does not follow a clear and easy "good verses evil" scenario. Within the confines of a Hammer movie's melodrama, Fisher, a classical stylist and at times a superb artist, often created magic. This is one of those times. The performances are all equally compelling. Cushing gives the Baron more texture here than in any of the other films, I think. Thorley Walters is a good foil, and his befuddled affection and respect for the Baron makes some of this really rather touching. Arther Grant's photography has never been better. I urge viewers to watch the film with an open mine. This is not the usual horror film; it's more a fantasy, a fairy tale.
Dr. Frankenstein (Peter Cushing) has discovered how to contain the soul
of somebody after they had died. His helper Hans (Robert Morris) is
(unjustly) found guilty of a murder committed by three other men and
guillotined. Hans' girlfriend Christina (Susan Denberg) kills herself.
Frankenstein saves Hans' soul and puts it in her. She comes out as a
beautiful woman but has Hans thirst for revenge...
As you can see logic does not play a strong role in this picture. For one thing Denberg is introduced as a dark haired, horribly scarred woman. After the "operation" she's blond-haired and looks perfect! Also, when she goes out to kill the men responsible for Hans death, she seems to know EXACTLY where they'll be (I love how she just guessed that Johann would be in a coach and it would break down). Still, Hammer films were never strong on logic so this can be forgiven. Also there's some dreadful day-for-night shooting (another Hammer trademark). Despite all this I DO love this film. It moves quickly and has some pretty bloody scenes (for 1967). There's also a flash of nudity in a bedroom scene.
The acting is very good. Thorley Walters gives a good performance as Dr. Hertz; Morris is actually pretty good as Hans; even Denberg isn't bad (although her voice was dubbed). Best of all, of course, is Peter Cushing. He plays Frankenstein to perfection showing the doctors obsession with creating life.
One of the better Hammer Frankenstein movies. Just turn off your mind and enjoy. I give it an 8.
The fourth film of Hammer's awesome Frankenstein series, legendary
director Terence Fisher's "Frankenstein Created Woman" of 1967 is
another creepy and excellent Hammer gem, and my personal favorite film
in the series. Movies like this are reason enough to admire both Fisher
as Hammer's most important director and leading man Peter Cushing as
one of the greatest Horror icons in the history of motion pictures.
Once again, Cushing stars as the ingenious and very unorthodox
scientist Baron Victor Frankenstein, exceedingly dedicated to the
acquisition of corpses for his eerie obsession of resurrecting the dead
by means of rather macabre methods...
I will not give any parts of the plot away, but I can assure that Hammer fans will not be disappointed by this one. Mad science, disfigurement, body snatching, resurrection, insanity and an adequate amount of blood, suspense and eeriness, as well as some very humorous scenes, "Frankenstein Created Woman" has it all. The movie provides the typical eerie Hammer-style score and photography, and therefore maintains the creepy and great atmosphere Hammer-fans love to see. Peter Cushing's performance as the macabre Baron is excellent as always, and beautiful Susan Denberg was a great choice for the female lead. Thorley Walters furthermore fits very well in his role of Frankenstein's colleague in (mad) science, Doctor Herz. "Frankenstein Created Woman" is a brilliant Horror-gem that comes with my highest possible recommendations. Along with the dark and gruesome "Frankenstein and the Monster from Hell", this is my personal favorite of Hammer's Frankenstein series, and it also ranks among my Top 10 out of all Hammer films. This is pure Gothic Horror gold that no Horror fan could possibly afford to miss!
The film 'Frankenstein created woman' is a film about a man named Hans
(Robert Morris) who is wrongly accused of murder and is sentenced to
death by Guillitine. After his execution a man named Dr.Baron
Frankenstein (Peter Cushing) borrowed his body for an experiment,
capturing his soul and transferring it into Hans girlfriends body - who
of which drowned herself after Hans was executed. When (Christina
Cleeve) she awoke with her new soul, she went out on a limb to track
down the three men who were the real murderers and kill them.
This film is fantastic and superb in every way for its great plot, good acting and mysterious/dark atmosphere helped make this film into my favourite vengeance movie of all time. What I love mostly about this film was how cunning and devious Christina Cleeve was when she was seducing the three real murderers, who were responsible for Hans' death for her outstanding beauty and adulterous charm was so captivating it seemed like she was of the devil. Another scene I quite admired that contributed towards the spookiness of this film was when Christina was talking to Hans' cut-off head in her bedroom and taking verbal orders from it on who she should kill next. There were, however, certain aspects in this film I didn't fully understand. When Hans was in court being charged with murder, why didn't he use his girlfriend Christina as an alibi for she was with him when the victim was murdered; Was it because he was embarrassed for people to know that he was acquainted with her (as she was deformed and twisted at the time) or some other reason. What ever reason it was, I'm sure it wasn't worth being executed for. Another bit I didn't understand was how Christina Cleeve knew who the real murderers were when she awoke with Hans' soul because Hans never knew who they were. Anyway, if you haven't seen this film, do watch it, for its an outstanding production and if you like 'Terence Fisher' films, you'll definitely like this one.
I like this one a lot better than the previous sequel, even though it also lacks Christopher Lee. Cushing seems more interested in the script, though, and the whole concept is more engaging. Basically, Frankenstein is now working with an aging and drunken doctor in yet another small German town, and he discovers a means to preserve a soul and place it into (of course) a dead body. This time, though, he decides to try taking the soul of his young assistant, executed for a crime he did not commit, and place it into the body of said assistant's hot young lover (Susan Denberg), after she kills herself. The new man-woman becomes dedicated to killing the men who raped her and set him up to be framed. Again, this is rather racy stuff for the material, and there's an unfortunate lack of monster makeup (except for part of the film, in which Denberg has a facial deformity), but I quite enjoy it.
In a small town in a vaguely defined area of middle Europe, Baron
Frankenstein and his muddle headed assistant Dr Hertz (Thorley
Walters)succeed in isolating the soul from the human body and
transplanting it into another. When Frankenstein's young assistant Hans
(Robert Morris) is wrongly executed for the murder of his girlfriend's
father he steals the corpse. Hans' girlfriend Christina (Susan Denberg)
is hideously deformed and is taunted by three young men (the real
killers), in despair over Hans' death she drowns herself and
Frankenstein acquires her corpse as well. Frankenstein then transforms
Hans' soul into Christina's body which he has operated on transforming
her into a blonde beauty. As a result Christina becomes a beautiful
woman with a split personality, half Hans, half Christina and sets
about avenging herself on her father's murderers by luring them to
secluded spots with the promise of sex but butchering them instead.
Following the box-office disappointment of "The Evil Of Frankenstein" (1964), in which Hammer dropped Terence Fisher in favour of Freddie Francis, the former was duly brought back for the fourth entry in the company's series. The result was one of the most accomplished with Fisher taking the somewhat confused script by Anthony Hinds (written under his usual John Elder pseudonym) and turned it into a Gothic fairytale, much in the same vein as James Whale's "The Bride Of Frankenstein" (1935) even though the plot bares no resemblance to that movie and Fisher refused to watch the Universal originals in preparation for making his own. He got sympathetic performances from Susan Denberg as the tragic Christina and Thorley Walters as Dr Hertz while Cushing was exemplary as Baron Frankenstein. Cinematographer Arthur Grant was renowned for the speed in which he could light a set, but occasionally some of his shots looked as if they could of been improved. However, at times he turned out some superb work for the company and here he does perhaps his best ever job behind the camera giving Bernard Robinson's economical sets a beauty that contrasts with the more sinister aspects of the tale. For instance the beautiful evening sky against the guillotine in which a young man has just been wrongly executed for murder suggests that for all the beauty of the small town and the weather, it overshadows a cruel and pitiless society.
Frankenstein Created Woman was released on a double-bill with John Gilling's "The Mummy's Shroud" in 1967.
*** This review may contain spoilers ***
Decades before THE CROW this story delivers a charming, touching
rendition of the same concept. Boy sees his homicidal father's
execution, yet grows up as gentle, chivalrous man working for
Frankenstein and his assistant. He's in love with Christina, a girl
crippled and horribly disfigured since her childhood, yet meek
Christina is the butt of the evil pranks and jokes of three spoiled
brats; as a result, young Hans fights them and beats them up. The same
spoiled brats kill Christina's father (owner of a pub) while drunk, and
poor Hans is framed as a result. Christina -with whom he was at the
moment of the murder- is out of town and cannot appear in court, barely
making it back to see Hans' head fall under the guillotine; as a
result, heartbroken Christina commits suicide by drowning. Baron
Frankenstein has come back from death to prove the soul won't leave the
body for a token period, and tries the same procedure on Christina, who
is reborn with a perfect body (thanks to the baron's surgery) and Hans'
soul the baron had managed to trap. Topmodel Christina then uses her
charms to kill the three spoiled brats one after the other, thus
avenging Hans' death. As I said, basically THE CROW'S plot decades
before the event. The little inconsequence is that the baron says it'll
take 6 months for Christina to be well again...yet when she unearths
Hans' head after killing the three idiots, the head's brand new.
Acting is excellent for this kind of movie, and the Hans-Christina couple elicits sympathy and pity. Cushing is good as usual and Thorley is good also as befuddled dr.Hertz.
A nice movie to watch again.
Frankenstein Created Woman is a Hammer Films production that is
directed by Terence Fisher. Written by Anthony Hinds under the alias of
John Elder, it stars Peter Cushing, Susan Denberg, Thorley Walters,
Robert Morris & Derek Fowlds. Cinematography is by Arthur Grant and the
music score by James Bernard.
Baron Frankenstein (Cushing) is dabbling with transference of the soul, when Christina (Denberg), a disfigured local who girl commits suicide after her lover Hans (Morris) is wrongfully executed, comes his way for revival, it sets the wheels in motion for violent and bloody revenge.
Bonkers plot and bonkers movie, but one that's well regarded in critical circles; by fans of Hammer Horror in general, and even one Martin Scorsese has it on his favourite movies list. Reworking Bride Of Frankenstein into a metaphysical based tale is close to being a genius idea, even if at times it's difficult to know if it's meant to be funny or not. The thematics most certainly are intelligent and well played out, not just the notion of transferring a peasant boy's soul into that of a former cripple-who now looks like (and is) a playboy model, but also class snobbery, corrupt justice system, bullying and of course revenge. All crammed into a 90 minute movie. But some scenes are just too daft to take serious if they were meant to be so in the first place? After crafting bona fide horror classics like Curse Of Frankenstein, Dracula and The Mummy, Terence Fisher owes Hammer Horror fans absolutely nothing. But gauging his efforts here is tough to do, for the blend isn't quite right. Moody and almost dreamlike in tone, it's also low on production values and, Cushing excepted, performed all very hammy by the overacting cast. But again, that may well have been the remit when shooting began? It's a safe recommend to Hammer fans because it's entertaining on either front, as a comedy or a dark little chiller . But personally I wouldn't be surprised to see it rated from anything between 1/10 to 10/10 across internet sites because it's really an odd piece of Brit cinema. I'll sit on the fence and go 7/10 for it.
*** This review may contain spoilers ***
The diabolical, and deeply driven, scientist Baron Frankenstein(Peter
Cushing)is still up to his old tricks, having discovered a
method(..after being brought back to life from being in a cryogenic
state)of harvesting the soul within an apparatus, extracted from the
body of a falsely accused young assistant, the kind-hearted Hans(Robert
Morris, so valiant and good, he could almost have achieved saint hood)
when he was convicted of the murder of a tavern owner, Kleve(Alan
MacNaughton). Kleve was actually murdered by a trio of rich deviants
who often drink the man's wine and insult his crippled, scar-faced
daughter, Christina(Susan Denberg). Anton(Peter Blythe)is the ring
leader of this group whose father is a powerful man within the village,
who gets a slice across his forehead in a scuffle with Hans who pulled
a knife defending himself against the slimeball and his partners,
Karl(Barry Warren)and Johann(Derek Fowlds). The fracas derived from the
three criticizing Christina, for whom Hans is in love. With Hans in bed
with Christina, Kleve interrupts Anton, Karl, and Johann drinking his
wine illegally, after breaking into his tavern after closing..the
result, their flogging him to death with canes. In a moment of weakness
Hans claimed he'd kill Kleve after he failed to take his side in
regards to Anton's hideous actions escalating the violence that
erupted..this would hurt Hans due to the police being in the bar. Hans,
charged with the murder of Kleve, has an alibi, Christina, but will not
get her involved resulting in his execution by guillotine..Anton, Karl,
and Johann seem to escape without penalty for all their crimes. But,
Frankenstein is able to seize Hans' body thanks to his "hands",
dim-witted, but effectively gifted surgeon, Doctor Hertz(Thorley
Walters, the source of comedy within the morbid story)who gets an hour
from the gravedigger due to blackmail. Frankenstein still needs a body
to put Hans' soul into, and it's delivered to him..Christina, who had
been away to see a doctor on her various physical ailments, watches in
horror as Hans' head came off by the guillotine blade, drowning
herself. Frankenstein, using Hertz's surgical hands as his guide, is
able to rebuild Christina's body and repair her face, while also
housing Hans' soul within her. Through Christina's now beautiful body
and pretty face, Hans is able to get revenge against the three who sent
him to his execution..yet again, Frankenstein's black science has
created a violent monster.
One of the most imaginative, original Frankenstein stories is still quite far-fetched and twisted. The idea of storing the soul of one into the female body of his lover creating the perfect revenge tale. It's intriguing yet warped at the same time. Cushing in this film, unlike the previous EVIL OF FRANKENSTEIN, doesn't have but a slight pinch of humanity, operating as the Baron rather determined, unemotional, relatively unsympathetic(..until the end at least), brilliant, and motivated to forge forward without weighing in advance the consequences of his actions. Always searching for the meaning of life and experimenting, with his own contributions to science leading down a dark world usually yielding nothing but devastating results. Thorley Walters steals the film as his overwhelmed assistant, Hertz, whose mind becomes overloaded by the Baron's intellectual theories regarding his experiments, but is in awe of his brilliance. He is who we sympathize with because Hertz sees the dark path the Baron's experiments are treading down, and is unable to stop it, trying to help a rather confused Christina who doesn't quite understand what is going on(..the vengeful soul of Hans motivates her to kill, using her alluring qualities to appeal to Anton and his lecherous brood, exacting blood shed when they are most vulnerable). We witness the exhausting environment of the Baron barking orders to Hertz and Christina, always needing their help as he continues his experiments. In this village, unlike those in the past(..in particular, EVIL OF FRANKENSTEIN, where he's a fugitive), he's free to do whatever he likes under his own roof, despite the grumblings of the locals and police. Even the ending changes from the usual where Baron's life is usually threatened, with him attempting to stop Christina from killing again, or posing harm to herself. This whole film is a change of pace from the norm of past Frankenstein films. I think it's rather criminally underrated, and would probably be appreciated more by a modern audience.
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