Frankensteins Höllenmonster

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 .

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

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!

'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'.

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.