Dr. Victor Frankenstein creates his creature, who escapes into the countryside to find that humanity has only pain and sorrow for him. But a psychic link between created and creator draws ... See full summary »
Baron Frankenstein is once again working with illegal medical experiments. Together with a young doctor, Karl and his fiancée Anna, they kidnap the mentally sick Dr. Brandt, to perform the ... See full summary »
In the beginning of the movie you see a woman getting raped by a man-creature of some sort. The movie takes place years later when the child that was a result of that rape is on the rampage... See full summary »
A dead and frozen Baron Frankenstein is re-animated by his colleague Dr. Hertz proving to him that the soul does not leave the body on the instant of death. His lab assistant, young Hans, ... See full summary »
The character 'Dr. Polidori' is not taken from Mary Shelley's novel, but was a real life acquaintance of hers. He started to write "The Vampyre" in the same weekend that she got the idea to write "Frankenstein". The actual Polidori served as Lord Byron's doctor at the time, who mockingly referred to him as 'Pollydori', just like Clerval does in this TV adaptation. See more »
When Victor is talking to Elizabeth outside the church at his brother's funeral, he is holding his right hand on her shoulder. The shot switches to Elizabeth's face, and his hand is still on her shoulder. In the next wide shot, Victor's hand is down by his side. The following closeup of Elizabeth shows Victor's hand back on her shoulder. See more »
Dr. Victor Frankenstein:
[to the Creature, viciously]
Are you satisfied now? Have you punished me enough for giving you life?
[he calms down, then:]
Dr. Victor Frankenstein:
I've wronged you, I know. I, I disowned you. I wanted to destroy you. How can I blame you for anything that you've done? Poor creature... you're as weary of life as I am. If only I could rid mankind of us both. I'm a weak human, I can't stay long in this terrible place. But your iron body will keep you alive against your will. You'll be all alone here. That would be too ...
[...] See more »
I remember seeing the original broadcast of this two-part miniseries back in '73, and how impressed I was by the cast and the writing. Witty, literate, touching and horrifying by turns, it definitely set a pretty high standard for itself just by the title alone, yet then proceeded to exceed that standard, which is something that few movies ever do, let alone those made for television.
The all-star British/American cast and the production design gave it the old-time feel of early films from both the Universal and Hammer Studios genres, yet the sharp writing by Don Bachardy and Christopher Isherwood lent an almost Merchant-Ivory sense of credibility that most films of this kind can't even hope to pull off.
Even more surprising that the director, Jack Smight, was better known for his work on television series and disaster films than on something as well-crafted as this.
And the performances...In a cast of well-seasoned veterans, it's almost impossible to cite stand-out favorites, but if I had to, Michael Sarrazin's Creature is one of the most outstanding to be introduced out of the many versions, and definitely the most multi-layered and sympathetic, (which would not be equalled until twenty-years on, by Clancy Brown in the less-superior THE BRIDE.) Worth equal praise is the rivalry between David McCallum, Leonard Whiting and the always-dependable James Mason as the brilliantly twisted Dr. Polidori (affectionately known now and forever as "Polly-dolly.")
And what review would be complete without mentioning Jane Seymour as Prima. I won't spoil the shock and surprise involved with her character and Sarrazin's, but needless to say that was ONE scene that made quite an impression on my young mind, (and for those who remember, you know EXACTLY which part I'm referring to!) It was quite an introduction to a lovely young ingenue, who would become even more memorable to American audiences less than a year later with her big screen debut, as Bond girl Solitaire in Roger Moore's initial 007 outing, LIVE AND LET DIE.
It may not exist in its original form, as previous reviewers have pointed out, but one can only hope for a newly restored and uncut DVD version of this classic TV gem. In an age of bloated, overproduced blockbusters like TITANIC and PEARL HARBOR, the 240-minute version of this outstanding drama would be more than worth your time. Now here's hoping we'll get the opportunity to see it again, as it was intended.
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