In Serbia, Baron Frankenstein lives with the Baroness and their two children. He dreams of a super-race, returning Serbia to its grand connections to ancient Greece. In his laboratory, ... See full summary »
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In Serbia, Baron Frankenstein lives with the Baroness and their two children. He dreams of a super-race, returning Serbia to its grand connections to ancient Greece. In his laboratory, assisted by Otto, he builds a desirable female body, but needs a male who will be superbody and superlover. He thinks he has found just the right brain to go with a body he's built, but he's made an error, taking the head of a asexual aesthete. Meanwhile, the Baroness has her lusts, and she fastens on Nicholas, a friend of the dead lad. Can the Baron pull off his grand plan? He brings the two zombies together to mate. Meanwhile, Nicholas tries to free his dead friend. What about the Baron's children? Written by
When Frankenstein "shocks" life into his creatures, him and Otto are touching the bodies with bare hands, yet they do not seem to be receiving any of the electricity. See more »
Something went wrong.
Otto, the Baron's assistant:
Maybe the mixture of the blood wasn't right. You was the only one who knew about it... But maybe someone got into the laboratory?
Otto, the Baron's assistant:
But who, Baron?
The children? But they wouldn't do it. My sister. My sister! She always was very jealous of me. Always! But, we failed. That beautiful Serbian female. Everybody would have jumped-everyone! But maybe that head of that... creature wasn't any good? His perfect nose, his perfect nose, he has the perfect brain, he was the ...
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This messy little splatter-fest was heavily censored in most markets back in the 70s and fully restored its wildly lurid visuals can still shock. The movie is all about the visuals and the splatter, and is so over the top that it gets a bit silly. The exploitation elements of the Frankenstein story - the grave-robbing, the obsessive experiments in mad science - have never been this wildly exploited and manage to straddle spoofery and shock cinema about equally well. This is not to say that this is in any way a good movie. It's almost a joke on the audience. The script is complete trash, straight out of a bad Gothic novel and probably meant to be laughed at, but played straight-faced by the film's 'actors'. The 'acting' is pretty horrible. Udo Keir is his usual creepy Eurotrash self and even moderately effective in a one-note performance, but he's the only cast member who has any business being in a period piece. Everybody else, especially Warhol protégé and gay icon Joe Dallesandro, is just too urban-contemporary (not to mention inexperienced) to pull off a 19th century look or 19th century speech. The women look decorative and shed their tops fairly often, but don't look for a romantic subplot or a strong female character because there aren't any. As straight-forward drama, this movie would get about 1/2 a star.
My rating is based on its effectiveness as an exercise in subverting audience expectations and slamming the Gothic horror genre which, after 15 straight years of Hammer and Roger Corman, had become a bit ripe.
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