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'Terror of Frankenstein' is an exercise in extreme meta-fictional tragicomedy. Presented as the commentary track of a rushed reissue of a forgotten (but 100% genuine) Frankenstein film's ... See full summary »
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 »
The brilliant but misunderstood scientist Frankenstein builds a man made up of a collection of spare body parts. The monster becomes alive but he has mental capabilities much below par. The... See full summary »
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 »
Dalila Di Lazzaro
Baron Frankenstein (cousin of the late scientist who created the famous monster) lives in seclusion on his idyllic island retreat off the coast of Botswana. Here is were he decides to ... See full summary »
Set in 1815, a young Englishman touring Europe encounters more than he bargained for. His pursuit of the beautiful Countess St. Alyre brings him into contact with the Marquis D'Armanville ... See full summary »
I had always been intrigued by this Swedish-Irish production(!) - a follow-up to the same film-makers' lackluster IN SEARCH OF Dracula (1975) - for being the screen's most faithful rendering (even more so than the disappointing "official" 1994 adaptation by Francis Ford Coppola and Kenneth Branagh) of the oft-filmed Mary Shelley horror tale; while it is decidedly uninspired and choppy in treatment, its essentially literate and stately approach makes the most of the novel's classical plot and, as a result, it remains full of interest throughout. At first, I felt that Leon Vitali who, after appearing in BARRY LYNDON (1975), became Stanley Kubrick's long-time assistant! was too youthful in appearance to be convincing in the title role but one must remember that, after all, he was supposed to be a medical student. On the other hand, distinguished Swedish actor Per Oscarsson (whose face is effectively made up in a deathly pallor complete with darkened lips) brings out all of the creature's various qualities: an imposing build, his confusion and solitude and, eventually, a lust for vengeance towards his resentful maker. Though obviously a low-budget effort, the film still manages to approximate the narrative's epic sweep without, however, resorting to overstatement a fault which lies at the heart of the later 'definitive' Hollywood version's artistic (and commercial) failure. For the record, even though I am familiar with many another film version of the famous story, there are still a few more which I need to see, namely the 1973 Dan Curtis TV-adaptation, the darkly-comic modern French take of Alain Jessua's FRANKENSTEIN '90 (1984) and the futuristic Roger Corman version, FRANKENSTEIN UNBOUND (1990).
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