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Cushing Is Obsessed With Artificial Life in Hammer's Goriest Film
"Frankenstein And The Monster From Hell" of 1974 is the final entry to Hammer's Frankenstein series, director Terence Fisher's last film, and arguably the goriest Hammer production (maybe along with "Scars Of Dracula" from 1971). The last Frankenstein film from Hammer is a vastly underrated, grim, eerie and excellent finale to the fantastic series, and it is fun to see how Baron Viktor Frankenstein (brilliantly played by Peter Cushing) becomes more and more insane and ruthless throughout the series. While he was just a dedicated scientist who had to use some macabre methods to achieve his goals intended for common welfare in the first features, Baron Francenstein is absolutely obsessed with the idea of resurrecting the dead, and has hardly any scruples in the pursuit of his objectives in this final feature of the Frankenstein series. Still, Frankenstein could not be described as a 'villain'. Some of his goals are still noble, he hates unnecessary cruelty, and he is certain to act in common interest of mankind. His obsessions, however have increased and become more extreme...

Doctor Simon Helder (Shane Briant) is an enthusiastic reader of the works of ingenious scientist Baron Victor Frankenstein. When he gets caught with snatched body parts, which he needs for his own attempts to create a human being, he is sentenced to imprisonment in an insane asylum, managed by an incompetent and perverted director and a bunch of sadistic guards. The only kind-hearted person in the asylum seems to be Sarah (Madleine Smith), a young woman who doesn't speak, and who is referred to as 'Angel'. Soon after Simon's arrival, however, the guards' sadistic practices are brought to an end by the mysterious Doctor Victor. And you can take a hard guess what Dr. Victor's real name is...

Peter Cushing once again delivers a wonderful performance as Baron Victor Frankenstein. Beautiful Madleine Smith also fits very well in her role of Sarah, and Shane Briant plays his role of Simon well. Observant Hammer-fans might recognize the man who plays the bodysnatcher, Patrick Throughton, for his role of Christopher Lee's vassal in "Scars Of Dracula".

"Frankenstein And The Monster From Hell" is a great, vastly underrated Horror flick that should not be missed by a Hammer-fan. The setting in the insane asylum, the typical Hammer score, photography and atmosphere and Peter Cushing's great performance make this movie a must-see for a lover of Horror. Highly recommended!
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The final movie in Hammer's Frankenstein series could well be the best of them all.
Infofreak25 February 2004
'Frankenstein And The Monster From Hell' is an important Hammer movie for two reasons. First it was the last in the series which began back in 1957 with 'The Curse Of Frankenstein'. Secondly, it was the final movie for Terence Fisher, who directed all but two of the Hammer Frankenstein movies as well as other Hammer classics like 'Dracula: Prince Of Darkness' and 'The Devil Rides Out'. The previous entry in the series 'The Horror Of Frankenstein' had been a failed experiment. Fisher didn't direct it, Peter Cushing didn't play Frankenstein (Ralph Bates did), and it jumped the story all the way back to the beginning. So in watching 'Frankenstein And The Monster From Hell' we can just pretend it never happened. Shane Briant plays Simon Helder, a young doctor attempting to duplicate Frankenstein's experiments. He is charged with sorcery and is sentenced to an asylum by a judge who had previously done the same thing to the Baron himself. When Helder arrives at the asylum he is told by the director (John Stratton, who gives a wonderfully slimy performance!) that Frankenstein is dead, but Helder immediately suspects that "Dr Victor" (Peter Cushing) is in fact Frankenstein. Of course he is right and he soon becomes Frankenstein's assistant. Sarah, a beautiful mute girl known to the inmates as "Angel" (Madeline Smith) has been helping the Baron (who has injured hands), but she is just an amateur. Now that he has Helder he can continue with his life's work - creating another monster. Cushing plays an older and slightly nutty Frankenstein in this one, and Stratton is very good as his idealistic assistant. Madeline Smith is as beautiful as ever, but in case you're wondering, keeps her clothes on, so you'll just have to watch 'The Vampire Lovers' again, won't you. The supporting cast also includes Dr Who #2 Patrick Troughton and Bernard Lee (M from the Bond films). David "Darth Vader" Prowse once again plays the Monster, but unlike his silly one in 'Horror Of Frankenstein', this monster is very scary and repellent looking, being closer to a caveman than anything we've seen in the previous movies. It's an inspired touch and very effective. In fact the whole movie is inspired and could well be the best in the series in my opinion. While it's sad that it was Terence Fisher's epitaph at least he went out on a high note. I highly recommend 'Frankenstein And The Monster From Hell'.
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The Last Frankenstein Movie by Hammer and Last Terence Fisher's Film
Claudio Carvalho3 September 2014
A body snatcher (Patrick Troughton) is caught by a police sergeant (Norman Mitchell) and he snitches the name and address of his client, Dr. Simon Helder (Shane Briant). The doctor is arrested and accused of sorcery, and sent to a psychiatric institution. There he meets Dr. Carl Victor, a.k.a. Baron Victor Frankenstein (Peter Cushing), who is presumed dead but actually he is alive and secretly continuing his experiments reanimating the dead. Dr. Helder worships Frankenstein and has studied his works and he becomes his assistant together with the dumb Sarah (Madeline Smith). One day, Dr. Helder discovers Dr. Frankenstein's secret laboratory and accidentally releases a Monster (David Prowse) in the institution, bringing panic to the inmates and staff.

"Frankenstein and the Monster from Hell" is the last Frankenstein movie by Hammer once again with Terence Fisher and Peter Cushing. This movie is also the last movie made by Terence Fisher and more graphic than the usual in a Hammer's film. The atmosphere is dark, with a nasty collection of eye balls and Peter Cushing is thinner and drearier. My vote is six.

Title (Brazil): Not Available
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Frankenstein And The Monster From Hell (Terence Fisher, 1974) ***
MARIO GAUCI22 October 2006
Hammer's last Frankenstein outing is one of their best; despite the great sadness that went in its production (inherent in the film's overall effect but thankfully not swamped by it), the film emerges as a pretty solid and well-crafted chiller with a remarkable Gothic flavor (all the more impressive for being made on such shoddy finances - the film allegedly carried one of the companies' lowest-ever budgets!).

Script and direction keep the action of the plot moving, despite the necessarily cramped settings. Peter Cushing and Terence Fisher's own personal state of minds create a poignant, almost elegiac ode to Gothic horror: this was to prove their final collaboration (indeed, it was Fisher's very last film). The camera-work, James Bernard's score and the production design all contribute to make this a true harking-back to the heyday of Hammer horror (in view of the fact that a lot of changes were effected during the early 70s with varying degrees of success); still, along with BLOOD FROM THE MUMMY'S TOMB (1971), DR. JEKYLL AND SISTER HYDE (1971), DEMONS OF THE MIND (1972) and CAPTAIN KRONOS - VAMPIRE HUNTER (1974), this is one of the last great Hammer films.

The Baron had evolved a great deal during his sixteen-year period at Hammer (producing seven films in all, only one of which did not feature Peter Cushing and only two were not helmed by Terence Fisher), reaching its zenith perhaps in FRANKENSTEIN MUST BE DESTROYED (1969) where virtually no trace of humanity could be detected in the character! This final venture finds him more relaxed (or, perhaps, I should say resigned) but certainly no saner or less involved with his obsessive quest to achieve immortality!! The rest of the cast is equally admirable: Shane Briant, one of Hammer's bright young hopefuls, building upon his achievements in both DEMONS OF THE MIND and CAPTAIN KRONOS - VAMPIRE HUNTER; Madeleine Smith graces the screen with her presence, managing to give her character (an abused mute inmate) an inner strength and compassion that would normally be difficult to communicate without words; Dave Prowse's monster is a memorably designed hulk (somewhat overdone in the style of Fredric March's Hyde persona in the 1931 version of DR. JEKYLL AND MR. HYDE) but who unreservedly elicits the audience's sympathy because, saddled with numerous body parts that do not belong to him, he is forced to go on living when his sole desire (possessing an ugly interior as well as exterior) was to end it all!; a few supporting characters are allowed to shine as well, notably Patrick Troughton, John Stratton and Bernard Lee.

The DVD transfer is stunning, especially in widescreen. However, Paramount really dropped the ball by opting to release the edited U.S. version: I have to agree with those who condemned them for it, because the missing footage (the artery clamping scene chief among them - as it stands now, the dialogue follows on too hurriedly, making the cut extremely obvious; the scene was not particularly graphic, but it certainly amplified the Baron's character and his dedication to his work) is certainly important and, if anything, helps keep the film's pace balanced as the 'stitching' together of scenes {sic} is awkwardly handled on more than one occasion (see also Bernard Lee's funeral, where Cushing suddenly appears beside the coffin when it is dropped to the ground); similarly, the climax is marred by the loss of footage where the inmates tear the monster apart (on the DVD it would seem that the monster was entirely made up of bits and pieces of flesh, so easily is he dismembered, when we know full well this isn't so!); interestingly, however, though all these bits of added gore are to be found on my murky full-screen VHS, one shot from the DVD is not in fact present - the slashed throat of the John Stratton character!

The Audio Commentary is an immensely enjoyable and lively talk: though the subject matter wanders alarmingly, the relationship between the three participants is so genuine that one cannot help but be drawn into their reminiscences, opinions and idle chatter; indeed, I'd go so far as to say that it's perhaps the best Commentary on a Hammer DVD I've heard!
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This final Hammer Studios' Frankenstein was a delight!!
ricardosablan11 September 2006
I thoroughly enjoyed this final entry in the Hammer Studios Frankenstein series. The acting and film quality were good, especially Peter Cushing. His presence on screen makes all the difference when it comes to interest and appeal. The stylish Victorian Era costumes add to the imagination. Though the "monster" was not as appealing, it can be overlooked by the direction of Terence Fisher and the commanding lead of Peter Cushing. I have always enjoyed all of the Frankenstein films from Hammer, and this entry is no exception. The ending left me wanting more! I recommend it to all horror enthusiasts who love this style of horror and Peter Cushing!
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Peter Cushing brings a strong portrayal of the scientific attempting to create a human taking parts here and there
ma-cortes17 February 2016
Acceptable Frankenstein entry with colorful photography ,thrilling as well as chilling musical score by James Bernard and Peter Cushing , as ever , does a top notch performance in the role which made him a terror movie legend , it still stands as one of the great screen acting . Last of the Terence Fisher/Frankenstein films , this one deals with the Baron hiding out in a psychiatric institution and he , then , joins forces with another scientist who becomes his assistant . The latter is a young doctor who helped by a mortuary attendant and Bodysnatcher (Patrick Troughton ) took corpses from graveyards until being detained , accused of sorcery and condemned . In the insane asylum resides hidden the notorious Doctor Victor Frankenstein (Peter Cushing) who along with inmate Dr. Simon Helder (Shane Briant) , being attended by the dumb-mute Sarah (Madeline Smith , this character was first offered to Caroline Munro) carry out creepy experiments . Victor and Simon set about constructing a man using body parts they acquire for the purpose , including the brain of a prestigious scholar . Both of whom create a weird being and bring it to life . As his brain came from a genius and his body came from a killer and his soul came from hell . After successfully re-animating him , things go wrong . Frankenstein whose experimentation with creation of life becomes an obsession , but his creature behaves not as he intended .

The classic actor of horror movies named Peter Cushing is terrific as Frankenstein , giving a portentous performance , as always . Atmospheric , slick terror film , creaky at times but it's still impressive . This exciting film packs thrills , chills , eerie events and lots of gore and guts . In fact , real human blood was used in this film , blood that could no longer be used for transfusions was sourced from the blood bank and used in the film, including in the notorious scene where Victor Frankenstein uses his teeth to clamp the artery of the monster . Intelligent and twisted screenplay has nice plot , including fine production design , enhancing its atmosphere thanks to its brilliant color by expert cameraman Brian Probyn . The script by Anthony Hinds or John Elder 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 . After the successful Universal Pictures as ¨House of Frankestein¨, ¨Bride of Frankestein¨ , ¨Son of Frankestein¨, ¨Frankestein meet the wolf man¨ and ¨ The Zingara and the monsters¨ , Frankestein personage was left until Hammer Productions took him and produced ¨The curse of Frankenstein¨ ; although Universal threatened a lawsuit if Hammer copied any elements from the classic version . Followed by six sequels as ¨Revenge of Frankestein¨ by Fisher , ¨Evil of Frankestein¨ by Freddie Francis , Frankestein created woman¨ by Fisher , ¨Frankestein must be destroyed¨ by Fisher , ¨The horror of Frankestein¨ by Jimmy Sangster and this ¨Frankestein and the monster from hell¨ by Fisher ; all of them starred by Peter Cushing and one by Ralph Bates , besides similar artistic and technician team as the cameraman Jack Asher , Production designer Bernad Robinson , musician James Bernard and make-up by Philip Leaky .

This ¨Frankenstein and the Monster from Hell¨ results to be the last of Hammer's Frankenstein movies , being compellingly directed by Terence Fisher , though inferior to previous installments . This was the final film directed by Terence Fisher before his death on June 18, 1980 at the age of 76 . It was also the 29th and final Hammer film that he directed . The first was ¨The last page¨ (1952), he subsequently shot classic horror films as ¨Dracula¨, ¨Dracula , prince of darkness¨ , ¨The brides of Dracula¨ , ¨The mummy¨ , ¨Phantom of opera¨, ¨The Gorgon¨ , ¨The devil rides out¨ and many others . Rating : Passable terror film , 6/10 ; essential and indispensable watching for Peter Cushing fans .
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Eyeballs, hands, etc.
JasparLamarCrabb30 June 2008
Warning: Spoilers
A really creepy twist on the Frankenstein legend. Peter Cushing is priceless as the good doctor. He looks like a fop, but is in fact quite possibly the most callous of all Dr. Frankensteins. He's ruthless, cold and completely amoral. In other words, he's perfect. Victor Frankenstein, committed to an asylum for the criminally insane, has taken the place over and is up to no good. Terence Fisher's smooth direction and one of the most hideous monsters make this late Hammer entry a real classic. The creature is a grotesque collection of body parts, stitched together in the worst ways imaginable. David Prowse is ideal as the monster and Madeline Smith (as Cushing's mute assistant) is quite a stunner. Fisher sprinkles the film with a lot of great touches: the nervous as hell asylum director; two over-zealous orderlies; Cushing not only dropping a discarded brain, but stepping on it too. One complaint - the obvious miniature used for the asylum's needless given the number of real castles all over Europe. Nevertheless, a great movie!
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Hammer House of Horror: The Frankenstein series.
Joseph P. Ulibas26 February 2005
Frankenstein and the Monster from Hell (1974) was made during the waning days of Hammer Films. Peter Cushing once again reprises his role as Baron Frankenstein (under another non de plume)and he's up to his old tricks again. Why can't the Baron learn from his past mistakes? He must be addictive to cutting up corpses and trying to reanimate the dead. Maybe this time he'll learn not to mess with mother nature. Most of the gooey stuff was edited from the U.S. version. British body builder and future Darth Vader David Prowse once again makes an appearance as "The Monster" (In here he looks like a big bulky hairy Neanderthal).

A mild mannered doctor is working in a mad house. He looks very familiar and he has a knack for sutures and plasma. A young doctor is soon taken under his wing and he learns the doctor's true identity. Will the new guy be able to keep the old doctor under wraps or will he be up to his old tricks once again? Terrance Fisher helmed this Hammer film for one of the last times. Fitting how Peter Cushing and himself ended their long run with Hammer Films. The series was clearly running out of gas and ideas. The series was finally put to bed for good. We'll never see a studio like Hammer or their sister company Shaw Brothers ever again. It's a shame as well for fans young and old.

Recommended for Hammer fans.
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kai ringler13 November 2007
I enjoyed watching this film very much, first off i am a Hammer Films fan of all of the horror creatures, not just Frankenstein, although it is my favorite creature. Peter Cushing was excellent in this one. David Prowse, aka Darth Vader did very well as the monster i thought. i love the idea of the film also,, a sanitarium, what a perfect place for the Baron to practice. Von Helder character was also very good, in fact probably stole the show for me. I also liked the character of Angel, and the Director as well, the film has it's funny moments as well, not to much that i didn't like about the film,, the brain transplant scene, well could have been better, and a few other scenes , but hey that's minor stuff, all in all i thought this was a great film to end the Hammer Films collection of Frankenstein, and i would recommend this to all horror fans,, and Peter Cushing fans also.
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Hammer's most gruesome production?
Coventry17 May 2005
The last entry in Hammer's legendary Frankenstein cycle by far isn't the best one, but it probably is the most appealing chapter to enthusiast horror buffs due to the excessive use of blood and ugly make-up effects. "Frankenstein and the Monster from Hell" is the direct successor of "Frankenstein must be destroyed", since Jimmy Sangster's "Horror of Frankenstein" introduced a different lead-actor (Ralph Bates) and repeated the initial premise of the infamous baron. Terence Fisher's grand finale is set entirely in a mental asylum where good old Peter Cushing continues his deviant experiments undercover. He changed his name to Dr. Viktor and receives help from a gifted new-arrival who got convicted for committing the exact same sorcery-crimes (although Frankenstein considers it science). In their private asylum-chambers, the doctors create new life using the brains and body parts of unfortunate patients of the asylum. Although good campy fun nonetheless, this film slightly disappoints compared to its predecessors. I feel like Fisher could have used the grim asylum setting much better and even Cushing's characters isn't as 'evil' as it was in the other films. Simon Helder – Frankenstein's partner in crime – is entirely listless and Madeline Smith doesn't do much either, aside from looking really cute. The monster doesn't evoke feelings of fright and he actually looks more like a fugitive cast-member of the "Planet of the Apes"-series. On the other hand, you could say that this installment is one of the better since the scenery is raw and the monster is more repellent looking. There are some really nasty killings in this film and the medical experiments are extremely graphic (a gratuitous brain-transplant, anyone?). Purely talking trivia, this also is an interesting film as it was Terence Fisher's last directing achievement. This great director easily was one of the genre's most important icons, with on his repertoire most films of both the Frankenstein and Dracula franchises as well as some other milestones like "The Devil Rides Out" and "The Mummy". His last film (Fisher passed away in 1980) is great entertainment and nothing more.
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A fitting swansong for the Hammer Frankenstein series and Terence Fisher
TheLittleSongbird24 January 2015
Frankenstein and the Monster From Hell for me is one of the weaker films from the Hammer Frankenstein series- Horror's the weakest with Evil second weakest- but that is not meant to be disparaging, just that I preferred Curse, Revenge, Destroyed and Created Woman.

Unlike the previous films the low-budget unfortunately does show in the production values especially with the Monster and the brains. The costumes are very stylish and while the sets are claustrophobic considering the setting that was actually appropriate and there is still the Gothic touch. However the photography is not quite as tight this time round(it is brilliant though in the scene where the Monster digs up the graves through a lightning storm, which is one of Hammer's most Gothic scenes) and the Monster make-up/costume despite being intentionally hideous and somewhat the most monster-like also looks a little ridiculous. Cushing also inexplicably wears a wig that doesn't suit him, and even he thought so.

However Fisher's direction is as taut as ever, never diluting the atmosphere there is and the music score is appropriately eerie. The script has the odd bit of wit and is very literate, the odd tired spot on just a few occasions but that is all. The story returns to the Gothic roots of Hammer's 50s output, in a nostalgic and affectionate way without being outdated at all. It is compellingly told and while the goriest of the seven Frankenstein films it's not in a gratuitous or over-utilised way; it's also not just suspenseful and at times creepy but it is movingly melancholic too especially with the open ending. It also does a better job showing and exploring the relationship between a mute girl and the monster than in Evil of Frankenstein, there is a rape scene but off-screen and unlike that in Frankenstein Must Be Destroyed it was handled with taste and served more of a point in the storytelling and interplay between Frankenstein and Helder is a delight.

The performances are uniformly great. Shane Briant gives a restrained performance while always engaging and Madeline Smith is really touching communicating with just her face, body language and eyes. John Stratton is wonderfully slimy and David Prowse acquits himself far better than he did in Horror of Frankenstein, here he is very formidable but I did find myself taking pity on the monster as well(none of which were apparent in his performance in Horror). The acting honours do go to Peter Cushing whose performance brims with authority and he's also quite moving, both from his appearance and that it was the last time he played the Doctor/Baron. Look out also for Bernard Lee and Patrick Troughton. All in all, a solid Hammer Frankenstein film and a very fitting end to the series and for Terence Fisher. From the title, you'd think it'd be cheesy and amateurish but it's anything but. 8/10 Bethany Cox
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Give the Baron credit: he never gives up!
Scott LeBrun13 October 2013
Warning: Spoilers
Peter Cushing makes all the difference in this final entry in Hammer Studios' cycle of Frankenstein films. Overall, the film isn't overly atmospheric, and is talky, albeit with some effective moments of horror. It also looks like budgetary restrictions may have hampered it a bit, as most of the action is confined to one basic location, an insane asylum. Still, the monster this time is of a different variety - it looks like the missing link - and the acting is as sincere as it's ever been for a Hammer film. It also *looks* pretty good, and there is the kind of gore that horror lovers began to see in this sort of thing. A little sex appeal is provided by the extremely comely co-star Madeline Smith, as the mute Sarah. The inmates are also a fairly colourful bunch.

Shane Briant stars as Simon Helder, a surgeon up to the same kind of thing as Baron Frankenstein was, once upon a time. He's arrested, charged with sorcery, and sent to the aforementioned asylum to serve a five year sentence. Guess who runs the place? Simon finds out that the Baron is once again doing resurrection experiments, and helping himself to the inmates when he needs body parts - like brains and hands. Simon is eager to help out, although he doesn't possess the ruthlessness of the Baron and does have *some* scruples, leading to some friction. Naturally, the experiment is fraught with problems.

Marking the swan song for prolific Hammer director Terence Fisher, "Frankenstein and the Monster from Hell" is good, not great, Hammer horror, that does remain watchable with its new twists on the familiar formula. The cast is excellent: Cushing is solid as a rock, and works well with the young Briant. The Baron actually gets to have a good laugh for once here, which is refreshing to see. The film is also noteworthy for co-starring Cushing and David Prowse, who would of course team up as villains in "Star Wars". Prowse plays the Monster as he did in the previous entry, "The Horror of Frankenstein". John Stratton is deliciously sleazy as the asylum director. There are small roles and cameos for the likes of Clifford Mollison, Patrick Troughton, Charles Lloyd Pack, Bernard Lee, Philip Voss, Christopher Cunningham, and Sydney Bromley. One good thing is that the Monster is as pitiable as he should be, while being intimidating at the same time.

This is reasonably engaging entertainment that ends in a very fitting way. If you're a Hammer fan, it does come recommended.

Seven out of 10.
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"Ah, kidneys...delicious!"
Ali Catterall15 November 2009
Warning: Spoilers
Young surgeon and Frankenstein student Simon Helder (James Spader lookalike Briant) spends carefree days grave-robbing with his body-snatching assistant (Troughton), until he is arrested for 'sorcery' and bundled off to a lunatic asylum. Luckily, he soon discovers a fellow inmate just happens to be Victor Frankenstein.

Presumed dead, and working as the asylum's doctor under an assumed name, the Baron - Marquis de Sade-style - has been given virtual run of the institute and its patients, having blackmailed boozy, lecherous director Klauss (Stratton) to secrecy.

Together with the Baron's mute, beautiful assistant, Sarah 'The Angel' (Smith), Helder becomes Frankenstein's collaborator in necromancy, filching body parts from dead inmates. A suitable brain is found in Hannibal Lector-like Professor Durendel (Lloyd-Pack), who the unhinged Frankenstein has driven to suicide, and whose brilliant mind and virtuoso violin playing belied a temper "as savage as a wild cat".

A truly hideous body is borrowed from one Herr Schneider, a virtual Neanderthal who apparently favoured "stabbing people in the face with broken glass". Promising. A sadly underrated little shocker, Frankenstein And The Monster From Hell proved to be a swan song for both Hammer (it was the studio's last Frankenstein excursion), and director Terence Fisher, who would never make another film (he died in 1980).

Cushing, meanwhile, had suffered a recent tragedy with the death of his wife, possibly accounting for his gaunt, melancholy demeanour. And, accordingly, the film seems suffused with sadness, echoed in the claustrophobic sets (actually a result of budgetary restrictions), and enlivened only with occasional flashes of graveyard humour - disembodied eyeballs swivelling round to stare out from a jar; a brain kicked across a floor; Cushing's post-prandial sigh of "Ah, kidneys... delicious!"

Grisly, even by Hammer's increasingly unrestrained standards (a desperate concession, probably, to the New Wave of graphic horrors), and featuring a sickening finale akin to George A Romero's Day Of The Dead, the film would nevertheless suffer from the unluckiest of release schedules - crumbling before the hype surrounding The Exorcist and the opulent Pinewood-produced TV movie 'Frankenstein: The True Story'.

Despite these setbacks and brickbats, Frankenstein And The Monster From Hell is evocative, funny and rather moving. It remains a testament to Fisher's surgical skills in patching-up a tired saga for a studio in its death throes.
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Differences between Paramount DVD and Japanese laser
Dr_AC-Fool_For_Blood26 April 2007
Warning: Spoilers
All right, not that anyone (other than the true-blue HammerHeads) really cares, but here's what we've got. I was comparing the Paramount R1 DVD with a dubbed version of the Japanese laserdisc, so these scenes may not be on the UK VHS either.

Changes or trims: (SPOILERS) 50 min: There is a doozy of a cut here, with Cushing's Dr. Frankenstein assisting Shane Briant with an operation by using his *teeth* to hold the stitching in place (as a result of his hands being burned, presumably from FRANKENSTEIN MUST BE DESTROYED's climax). I've seen this in stills, but never on screen.

52 min: couple of brief trims involving close-ups of an eyeball.

59 min: the skull-sawing sequence is trimmed.

1:28 min: throat slashing has a *tiny* trim.

1:29 min: Sequence with inmates tearing monster to pieces is trimmed, missing a particularly gruesome bit where someone treads upon a gizzard of some sort.

I don't know that it adds up to five minutes or not, but those are all the difference I noted.
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Neolithic Lobotomy Gone Astray.
Spikeopath5 October 2013
Frankenstein and the Monster from Hell is directed by Terence Fisher and written by John Elder (AKA: Anthony Hinds). It stars Peter Cushing, David Prowse, Shane Briant, Madeline Smith and John Stratton. Music is by James Bernard and cinematography by Brian Probyn.

Working under the name of Doctor Victor, Baron Victor Frankenstein (Cushing) is head physician at an asylum for the criminally insane. When Simon Helder (Briant), a gifted doctor himself and a follower of Frankenstein's work, is committed to the asylum on sentence of sorcery, the pair quickly form a partnership that will unleash Frankenstein's latest project…

Actually made in 1972 but released two years later, Frankenstein and the Monster from Hell came out as Hammer Horror was limping along on its last legs. It was to be the last in the Frankenstein series and the last film directed by the brilliant Fisher. The reputation of the film is a very mixed one, certainly the box office returns and critical notices at the time point it out as a misfire. But what I have come to find is that staunch Hammer Horror fans have a kind regard towards the film, and I think that is fair given that it pretty much goes back to past glories, if not in scope, but in narrative and atmospheric toning.

Yes it is viable to say that it's pretty much a re-jig of the earlier Revenge of Frankenstein, so in that it's a bit lazy, but I like to think that the return of Cushing, Fisher and Hinds suggests they were making one for the fans here, and it's not without merits in spite of familiarity and budgetary restrictions. It's great to have Cushing back as Victor, his personal life woes giving him a gaunt look that suits Frankenstein's character arc no end, this in spite of the daft wig he dons and a moment of Superman type heroics that doesn't quite sit right. Briant is ebullient and good foil in the mixed up surgeon stakes, and Smith adds the Hammer Glamour without having to strip naked.

Why? Why? Why?

But it's with the setting, the asylum and its characters, and the monster itself where it hits heights not acknowledged by the critics. Prowse's monster is a return to tragicreature territory, with the brain of a genius who wanted out of life, the hands of a skilled craftsman and a Neolithic monstrosity of a body, once the creature knows what he has become his sadness pours out in droves. Prowse doing a great job of conveying such tragedy with visual reactions and bodily movements. The mask unfortunately means when it speaks the lips don't move, but it's a fine Hammer creation regardless.

The asylum inmates are in terms quirky and troubling, and with most of the shoot restricted to a couple of interior sets, the sense of being incarcerated is evident. Props are minimal, with a few of the good doctors odd looking tools and machines dotted around the place. The gore is used sparingly, but the impact is in the grand traditions of Hammer, while the back stories to Smith's mute and Asylum Director Adolf Klauss (Stratton) are edgy strands waiting to be pulled at in the name of Guignol entertainment. It's not a great send off for Doc Frank in Hammer world, not least because the finale lacks punch, but for loyal fans of the studio's creature features there is love and honest respect shown by the makers. 6.5/10
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One of my favourite horror films from Hammer.
HumanoidOfFlesh7 December 2001
I love all Hammer horror films simply because they are a part of my childhood."Frankenstein and the Monster from Hell" is great-the acting is really good and the film is quite scary in a subtle way.Peter Cushing as a Baron Victor Frankenstein/Dr Claus Victor is as always amazing,and Dave Prowse is very believable as an ugly monster.There's a bit of gore,which is quite unusual for Hammer horror.Fans of "Scream" and similar teen-oriented garbage won't like this one-you have to be a true horror fan to fully appreciate this film.However if you like old-fashioned horror,give this one a look.
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Hammer, Pure and Simple
gavin694225 October 2013
Last of the Hammer Frankenstein films, this one deals with the Baron (Peter Cushing) hiding out in an insane asylum, so that he may continue his experiments with reanimating the dead, along with inmate Simon Helder (Shane Briant), who has been institutionalized for conducting such experiments.

This was directed by Terence Fisher and produced by Hammer Film Productions, so you know it is good. This was also Fisher's final film (not just of the Frankenstein series but overall). Reviews tend to be rather negative, but it is still better than average and should be seen as such. (Actress Madeline Smith actually thinks this film is better than many Hammer films because it is actually focused on acting and not buxom ladies.)

I love Cushing in everything he does. I guess this was not a big hit and has only in recent years been re-evaluated. I love it. Cushing is as great a baron as ever, and David Prowse (Darth Vader) makes an excellent "monster from hell" -- a hairy beast with the mind of a professor and violinist.

Prowse, interestingly, went in cold to Hammer Studios hoping to play a monster and was initially turned down. Within a few years, he would get a call and go on to be the only one to play a Frankenstein creation more than once. He ended up getting to know Cushing rather well.
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Last but not least.
BA_Harrison28 June 2015
The last of Hammer's Frankenstein series, "…and the Monster From Hell" once again stars Peter Cushing as Baron Victor Frankenstein, who, having faked his own death in an asylum, now works there as the resident doctor, continuing his experiments on the side. When young surgeon Dr. Simon Helder (Shane Briant) is sentenced to five years in the asylum for following Frankenstein's ghoulish work, he recognises Victor and confronts him; before long, Simon is assisting the Baron in building another monster (played by Dave 'Darth Vader' Prowse) using spare parts from inmates who have conveniently passed away. For once, Victor succeeds in creating a cognisant creature, one that can think, talk and do advanced mathematics, but eventually the body begins to take over the brain—not good news since it originally belonged to a violent ape-like man with a fondness for stabbing people with broken glass.

This set up allows director Terence Fisher to explore some interesting themes, not least the emotional trauma of waking up with a face like a baboon's backside and more body hair than Tom Selleck: as Baron Frankenstein's creations go, this is one of the most pitiful, and is rightfully miffed at his predicament. Fisher also makes great use of the film's harsh asylum setting, delivering plenty of atmosphere, with the gibbering inmates adding to the overall sense of madness and the sleazy director of the institution proving to be as much of a monster as Frankenstein and his creature. Fans of Hammer glamour might feel a little cheated—Madeline Smith, as beautiful mute Sarah, remains frustratingly fully clothed throughout (what a waste of a great cleavage!)—but gore-hounds will be more than happy, Monster From Hell offering up such delightfully bloody sights as jars full of eyeballs, a man hanging from his neck by violin strings, a juicy brain transplant operation, a savage throat slashing, and the monster eventually being reduced to a bloody mess by the lunatics.

7.5 out of 10, rounded up to 8 for IMDb.
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Peter Cushings last turn as Dr Frankenstein
snicewanger2 May 2014
By 1973 Hammer's Dr Frankenstein series had pretty much run it's course. Peter Cushing had given the character everything he could give by this time, and looked rather tired and frail in this particular interpretation of Dr. F. Terrence Fisher was back at the helm and brought back the look and feel of Hammer to the film and did the best that could be done with a rather tired screenplay. Madeline Smith was nicely cast as a mute girl. Shane Bryant was a forgettable juvenile lead. David Prowse played the monster for a second time, and became the only actor to do so, he was also 3 years away from playing Darth Vader.

The action takes place at an asylum but the script is a rework of the previous five films and Cushing had to use every trick in his actor's reportorial to keep things moving . There is a bit more gore in this film but that was part of the horror of the 70's. I will give makeup artist Eddie Knight credit for creating a really horrific looking monster."Monster from Hell" isn't terrible but it's not real good either.

The story is watchable and if you are a Peter Cushing fan, which I am,or you wish to view the complete Hammer Frankenstein series you will definitely want to watch "Monster from Hell" but if you are just wanting to see a chilling horror movie some dark and stormy midnight, you will probably want to find something else. RIP Hammer Frankenstein.
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Fantastic finale to Hammer's fantastic Frankenstein series!
The_Void2 March 2005
The sixth and final film in Hammer's Frankenstein series is yet another treat from the studio! The Frankenstein series is massively better than Hammer's more popular Dracula series, and easily deserves the much higher praise that the latter receives. Sporting the ultra-camp title, 'Frankenstein and the Monster From Hell', this film is important for reasons other than the fact that it's a lovely slice of camp horror, as it also marks Terence Fisher's last film for the great Hammer studios. In spite of that, Hammer's favourite director still directs with all the competency that he instilled on his earlier pictures and manages to do something that Hammer films of the seventies so often failed to do - namely, capture the innocence that earlier Hammer films wore so proudly. As we entered the seventies, Hammer films tended to lean more towards the gritty euro-style that made a success of other horror films, and it was a huge shame as the colour scheme and the way that the films carry on regardless of how silly the plot lines were was one of the things that made Hammer so wonderful in the late fifties and sixties. It was maybe even the change in style that caused Hammer's downfall - but at least this film didn't suffer from it.

This time round we find everyone's favourite Baron in a mental hospital, after being arrested for sorcery. However, you cant keep a good mad scientist down, and before long Frankenstein has found himself a new apprentice and is on his way to creating an all new monster! Peter Cushing returns to the role that he so obviously loves playing, and once again epitomises the character of Baron Frankenstein to a standard that most actors could only dream of. It's amazing how well Cushing becomes the character, so amazing that it's hard to believe that Cushing isn't like this man in real life. The vigour and cold heartedness on display really is scintillating, and Cushing's performance makes the film a pleasure to view, just as it did in the previous films. The monster this time round isn't as ingeniously pronounced as it was in the earlier 'Frankenstein Created Woman' and 'Frankenstein Must be Destroyed', but it still represents a great central fiend. The monster suit is hokey, no doubt about it, but the monster almost succeeds in being frightening because of this and I would even go as far as to say that it's ridiculous looks helps the film! certainly shows that Fisher isn't afraid to do camp horror in a time when more serious films were the order of the day anyway.
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Frankenstein and the Monster from Hell
Scarecrow-889 July 2008
Warning: Spoilers
Surgeon and Frankenstein loyalist, Simon Helder(Shane Briant)is sent to an asylum for practicing methods similar to his inspiration, having received bodies dug from a grave robber. Inside the asylum, Simon realizes that Baron Victor Frankenstein(Peter Cushing, in perhaps his finest performance as the mad scientist)is actually running things as the director(John Stratton, playing him with twitches, almost as loony as the patients under him, overcome by his vices for drink and sex)sits idly by allowing him to secretly have almost total control. You see the Baron has incriminating evidence regarding the director's rape of his daughter, a lovely mute inmate, Sarah(Madeline Smith, saying nothing for nearly the whole film yet capturing the viewer's heart just like her fellow "prisoners")who assists him in his "research." Soon Simon, replacing the Baron on the daily activities for the inmates, discovers what the Baron has been up to..continuing his experiments. Through their own suicidal decisions, Baron uses body parts from his inmates to continue his work to create a man. Using the shell of a man born with primitive features(..and animalistic homicidal tendencies), Baron needs an assistant with capable hands since his are burned and Simon is only eager to help since he is a master surgeon. When a mathematical genius, with a musical talent as well, hangs himself in his cell(..motivated perhaps by a sheet appropriately left there ruling him incurable by Baron), Frankenstein and Simon will remove his brain, transplanting it into the body of the brute(..with the attached hands of a craftsman who also offed himself). When the results appear successful, Baron and Simon are optimistic that this will finally prove once and for all that Frankenstein's ravings of reanimating life weren't sorcery, but a breakthrough in science. But, as always is the case, Baron will encounter complications..this time in how the body parts "mesh" with each other. Baron believes that perhaps if the beast mates with Sarah, he can recover from his "deteriorating" state. Simon, realizing that his mentor's inability to divorce science from a moral sense of right and wrong, will attempt to release the weighted burdens of being a monster from Frankenstein's bastard child with devastating results.

I feel that if there was one area where Hammer didn't benefit from reviving the classic Universal monster movies, it was the make-up effects work during the Frankenstein franchise. Jack Pierce's genius and Universal's financial status to deliver top-notch creatures is absent from the Hammer Frankenstein films. I think if any Frankenstein film looked the cheapest, it was this one. The primitive monster in this particular film is terrible, looks like a costume in every way which is a shame, because I thought the dialogue was clever and wonderfully dark. Cushing, perhaps understanding that this was his final time as the diabolical Frankenstein, plays him to the hilt. There's even one time where he joyously glimmers when Sarah brings the Baron kidneys. There are moments where he sinks in misery before our eyes, perhaps realizing that his dreams may never come true, when his new creation begins to falter, after showing such promise. I really enjoyed how dedicated the Baron was, watching very observantly(..and impatiently)as Simon was performing surgery. The setting, which is poetry on celluloid(..where better should a madman continue his work than an asylum?), at the asylum is perfect for such a franchise, as the Frankenstein series, to inhabit. Briant is a more reserved, clinical assistant. Like the Baron, he eyes the future of science differently than the medical(..and moral)community..but, he doesn't adhere to the methods of retrieving proper specimens as his mentor. I think the film masterfully balances the black-as-coal humor with sad empathy for the professor whose brain is stuck in such a grotesque body. I also felt that the film gains our sympathy for the "casualties" inside the asylum, while also playfully displaying their problems sometime for laughs(..such as the inmate who thinks he's God)..I felt Fisher and company achieve a proper balance without the results ever veering off too unevenly. There are some grisly moments such as a brain removal(..showing the cutting away of the professor's upper skull before seeing Simon's extraction of the brain)and the monster's attack on Sarah's father. As the final hurrah for Fisher and Cushing regarding the Hammer Frankenstein franchise, I think the ending works well enough, showing that, despite always failing, the mad doctor journeys onward with a positive outlook. Oh, and the hair helmet Cushing was stuck with might earn a few chuckles...I actually have greater respect for Cushing because it must've been extremely difficult to keep the viewer's mind away from that wig and on the character and performance.
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Monster From Helder?
ferbs549 November 2007
In "Frankenstein and the Monster From Hell" (1974), the 7th and final entry of the Franky series from the legendary House of Hammer, we find the good Baron in what I believe used to be politely called "reduced circumstances." He has been committed to an asylum for the criminally insane, which institution he nevertheless lords over as head doctor while continuing his, um, extracurricular hobbies. When a young surgeon named Simon Helder (Shane Briant) is made an inmate there for similar unholy crimes, the Baron (the always wonderful Peter Cushing) finally acquires the able help he needs to carry on his labors. The two of them, with the assistance of a mute girl, Sarah (the very beautiful Madeline Smith), use the body of a homicidal maniac, the hands of a gifted sculptor, and the brain of a violin-playing mathematics genius to put together a new creation. And what a creation it is: Vaguely apelike, it has the head of a Neanderthal, a Karl Malden nose, corrugated and scarred cheeks, and thick red lips. The monster (from Helder?), unfortunately, tends to get a wee bit out of control... Anyway, while nothing great, this entry in the Franky series sure is a lot of fun, and includes some memorable gross-out scenes: a spilled jar of eyeballs, a close-up brain extraction, and a much-deserved throat slitting. A bigger budget might have helped, but the interior sets are handsome enough, and David "Darth Vader" Prowse's monster is truly a sight to behold. The Baron himself is a bit more crazed than usual in this outing, willing to go to any lengths to get the job done. And speaking of Hammer, might I suggest that "hammered" might be an appropriate way to watch this one...
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very good cushing/frankenstein movie with SOLID acting
r-c-s13 September 2005
Warning: Spoilers
well, of course we aren't dealing with Sherlock Holmes...yet this movie shows even B movies CAN have solid acting, if the screenplay is even just passable, yet actors are good: this is the case. No script could convey really new ideas about baron Frankenstein & his...err...dedication to probing the secrets of life & death. Sure, "the young Frankenstein", the one with de Niro etc etc add some twist here, some there; many are big budget; many indulge in popcorn psychology...yet none virtually tells us anything new: Frankenstein ought to be the main focus, not some hippie revision of his states of mind, or the creature's: who cares, i say. Here i challenge anybody to have a disinterested look at Cushing's performance...his motion...his facial mimic...all. Then i challenge them to compare with many big budget/big name incompetents unable to act unless in step-stop animation ( Russel Crowe anybody? ). Those skills would be awesome no matter the screenplay...

The special effects are fair...not gory for the sake of it but just trying to show you the "real thing"...and let's admit that's part of the Frankenstein franchise, isn't it?

The young assistant also delivers an extremely solid performance. Again, compare with many big budget/name clowns.

I said the script is virtually modest (besides the "nutty house" spin ), and that makes the acting even more impressive. 8/10 praising the acting...otherwise it would be no more than "King Kong versus Godzilla".
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Dumb, but fun-filled monster flick from Hammer!
capkronos9 July 2003
Baron Frankenstein (Peter Cushing) is right where he should be...a psycho ward...only he's running it! Upon the arrival of a crazed young doctor (Shane Briant) who becomes his assistant, Dr. F is back in the lab experimenting with body parts to create a hairy, flesh-munching ghoul.

Fisher's attention to atmosphere and Cushing's patented mad doctor lay down a solid foundation, but John Elder's stilted script, cheapo production values (nice miniatures!) and poor make-up FX (the monster looks like Big Foot mixed with Cornelius from PLANET OF THE APES) kill its serious intentions. However, there's enough going on here to merit at least one watch for horror fans.

David Prowse (who went on to play Darth Vader in the STAR WARS series) plays the creature. It was sixth and final film in the Hammer series and was also Fisher's last. The original Paramount tape had over 5 minutes cut out, which have since been restored on newer prints.

Score: 4 out of 10
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Cool movie and one of the best monsters ever!!
icirutrut30 December 1999
In this last movie of Hammer Studios' Frankenstein, Peter Cushing proves once again why he is perfect as the Baron. The plot is sometimes confusing, but works well. It moves fast and smooth like the movie Frankenstein Must Be Destroyed, but unlike The Evil of Frankenstein. In comparison to Destroyed, this movie ranks right up there with it. A good cast and script helps this movie entirely. In comparison to Evil, this movie beats it to a pulp. The Evil of Frankenstein was a disgrace, but Cushing's performence makes up for the plot entirely. All in all, Frankenstein and the Monster from Hell is a good, solid film that might be confusing to some, but is great for a late night movie.
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