Frankenstein: The True Story

I first saw this film on television at age 12 or 13, in black-and-white (we didn't have a color television at the time). I recall it being shown in two parts, but even in black and white and at a young age I could see it was a rather lavish production. The cast is excellent. I found the entire story fascinating and I was mesmerized by it. As with most television films of that era (prior to home video recording technology) I was afraid I'd never see it again. I was oh-so-pleasantly surprised when it was run on a premium cable network in 1997 while I was living in California! Watching it in color made it even more fascinating than before. It is certainly a departure from more "traditional" treatments of this story, which makes it even more of a true gem captured on film! The viewer receives a more graceful, romantic treatment of a fascinating story.

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.

I rented this movie the other night. I was impressed by how many well known actors were in it. The acting was very good. Leonard Whiting was very convincing and seemed to really share a bond with his monster. The monster didn't seem to be all that evil until people started being mean to it. I think the movie tried to show us that beauty is only skin deep. Jane Seymour was excellent. I recommend this movie highly, it is very well done.

Originally broadcast on US TV in two 90 minute parts, Frankenstein: The True Story was - rather ironically - chopped up and stitched back together to be shown cinematically overseas as a two hour movie. I strongly suggest seeking out the uncut original, which, thanks to the excellent all-star cast and superb production values, still has the look and feel of a major theatrical release rather than the TV mini-series that it actually is. Even though the plot takes more than a few liberties with Mary Shelley's novel, this is still a very worthwhile version of her oft-told tale, one that captures the essence of the source material, dispenses one or two shocks along the way, and looks sumptuous throughout.

Leonard Whiting plays Dr. Victor Frankenstein, who, spurred on by the untimely death of his younger brother, tries to find a way to bring the dead back to life, aided in his quest by the like-minded Dr. Clerval (David McCallum), who has developed a special serum and revolutionary solar power source for just this purpose, and who unwittingly provides the brain for their creation by suddenly dropping dead. The experiment seemingly a success, Victor sets about introducing his surprisingly handsome creature' (Michael Sarrazin) to high-class London society, unaware that a reversal in the reanimation process is gradually causing physical abnormalities. Horrified at his increasingly ugly countenance, the creature becomes suicidal, but, already being dead, finds killing himself harder than he thinks.

Meanwhile, Clerval's previous scientific associate, Dr. John Polidori (the amazing James Mason), arrives on the scene hoping to join forces with Frankenstein to perfect the process. When the first creature accidentally kills the beautiful daughter of a blind man, he supplies Polidori and Frankenstein with the final components for a second creation: a beautiful woman that they name Prima (played by drop-dead gorgeous Jane Seymour). Her introduction to the social elite causes problems between Victor and his pregnant wife Elizabeth (Nicola Pagett), and with the creature, who, now horribly disfigured, is jealous of the attention that Prima is receiving.

Things proceed to go downhill for Victor Frankenstein - as they always seem to do for those who dabble in such ungodly matters - leading to a tragic finale on a ship bound for America, but redirected to the North Pole by the creature.

The incredible cast - which also includes the likes of Agnes Moorehead, Ralph Richardson, John Gielgud, Peter Sallis, and Tom Baker in cameo roles - rarely put a foot wrong, with Sarrazin making for an especially brilliant sympathetic monster, while Seymour's Prima is quite the opposite, a beautiful but soul-less creation, every bit as wicked as her mentor Polidori. Director Jack Smight proves a far more capable director than his primarily TV-based resumé suggests, largely handling the material with restraint, thus making the occasional grisly moment all the more effective: a reanimated severed arm that just won't stay put is quite unnerving, but it is the creature settling the score with Prima in front of a horrified crowd of posh onlookers that is the shocking showstopper. Visually, the film is impressive throughout, with a special mention for the colourful second experiment, Prima brought to life in a vat of swirling rainbow coloured liquids and bubbles - worthy of the great Terence Fisher himself.

8/10. The three hour plus runtime and gradual pace might occasionally have you looking at the clock to see how much time is left, but don't let that put you off, for there is so much here to enjoy.

I was so pleased and surprised when I saw the DVD of this film for rent recently. I originally saw it on TV back in '73 (I was about 8) and it has stayed with (haunted?) me every since. A number of people have posted about how it made such an impression on them at the time, and I am certainly in that camp. Judging by other comments, it would seem that the only audience that actually watched the whole thing was between the ages of 5 and 10 :}.

Anyway, watching it again last night with much more seasoned eyes, I was able to appreciate so many more aspects of this very well done film. While not a direct interpretation of the novel, it is certainly among the top three film versions of the story. It's not what you would call action packed but surprisingly, clocking in at around 3 hours, doesn't drag either, due to a tight script.

It would have benifited from more music throughout as it carries a very sparse score. Guess it wasn't in the budget.

In this release there was a very crucial scene which didn't match my memory, and I've come to find out that it had been edited. It was a somewhat gory scene but for crying out loud, it was on TV in '73! And we couldn't put it on the DVD now?? I don't get it. Other than those couple of points, it really is a somewhat forgotten classic.