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.

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.

Every film version of FRANKENSTEIN has taken tremendous liberties with Mary Shelly's celebrated 1818 novel, and although it retains the core idea of the book this one is no exception. Produced for television by Universal Studios in 1973, the film contains a host of characters and ideas that draw more from previous film versions than from the original novel. More interestingly, however, it introduces a number of distinctly original concepts as well.

Simply stated, the film has a highly disconcerting and surprisingly overt homo-erotic edge. Instead of the inevitable "mad doctor" typical of films, Victor Frankestein is a remarkably handsome young man in the form of actor Leonard Whiting, a performer best known as Romeo in the famous 1968 ROMEO AND JULIET. He is seduced into the experiment by the equally handsome but distinctly odd Henry Clerval (David McCallum)--and not only do the two actors play the relationship in a disquietingly touchy-feely way, Clerval takes exception to Victor's fiancée Elizabeth (Nicola Pagett) and she returns the favor, demanding that Victor choose between them.

Lest any one miss the implications, the creature is played by none other than Michael Sarrazin, and while many men may be described as handsome, Sarrazin is among the few who can be justly described as beautiful. He arises from the laboratory table barely decent in a few strategically placed bandages, and when his facial covering is pulled aside by the eager Dr. Frankenstein we are treated to a lingering image of glossy black hair, pale complexion, remarkably liquid eyes, and lips that would make Vogue model weep with envy. Dr. Frankenstein takes him to his own apartment, where he educates this child-like innocent and very generously allows the creature to sleep in his own bed.

But, as in all FRANKENSTEIN movies, the experiment goes awry, and when it does the same disconcerting homo-erotic overtones take yet another turn. Due to some unknown error in the creation process, the creature begins to deteriorate in appearance--and instead of continuing to treat him kindly, Frankenstein keeps the creature locked up, becomes verbally abusive to him, and no longer allows the creature to sleep in his bed, relegating him to a cramped mattress on the floor. At the same time, Frankenstein is approached by the mysterious Dr. Polidori (the legendary James Mason), an oily scientist with a flair for hypnosis who claims to know what went wrong.

Polidori insists that they abandon the creature and create a new one: a woman, and when this new creation emerges from an entirely different process she too is remarkably beautiful; indeed, she is none other than Jane Seymour. But whereas the original creature was a gentle creature who only learned violence from Frankenstein's hateful rejection, this new entity is strangely icy, almost snake-like from the very beginning--and the male creature, now both vicious and wildly jealous, will exact a horrific toll upon all concerned.

It is worth pointing out that the script for this version of FRANKENSTEIN was co-authored by Christopher Isherwood (1904-1986), one of the few openly gay writers of his era. Sexuality in general and homosexuality in particular forms a theme in many of Isherwood's works, so it would seem reasonable to assume that he was responsible for the homo-erotic elements of the film. Jack Smight's direction does not offer anything nearly so interesting as the script, but it is workman-like, and while the production values tend to be a shade too baroque for their own good one never lacks for something to look at on the screen.

The cast is also quite good. At the time, the film was looked upon as a "television event," and it drew a host of noted actors, including John Gielgud and Agnes Moorehead. No one would accuse Leonard Whiting of being a great screen talent, but he acquits himself very well; so too does David McCallum, Nicola Pagett, and the always memorable James Mason. But the real knock-out performances here are by Sarrazin and Seymour, who truly blow the lid off our ideas of what a FRANKENSTEIN movie should be--and when they square off the result is unsettling in a truly unexpected way. In terms of the DVD itself, the film quality is considerably better than the rare late-night showings I've occasionally seen on television, but I would not describe it as pristine, and I found I frequently had to bump up the volume on the soundtrack.

If you are looking for something with which to scare yourself silly, you might want to give this version FRANKENSTEIN a miss; although it has a few visceral moments, the jolts involved are largely psycho-sexual. But if you are open to the sexually subversive, which is particularly unexpected in a made-for-television film from 1973, you couldn't make a better choice. Recommended.

GFT, Amazon Reviewer

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.

"Frankenstein: The True Story" is an excellent, made-for-TV mini-series. Very stylish and impressive. It boasts an all-star cast, and they deliver great performances. I saw this movie on the Sci-Fi Channel years ago, and planned to buy it on VHS tape. However, I soon learned that the original version was over 3 hours, and the version available on VHS was slightly over 2 hours. A sizeable gap cut out. So I decided against purchasing it. That may have been a mistake because now "Frankenstein: The True Story" is unavailable for purchase on VHS (at least I can't find it), and is rarely shown on TV. I'm hoping it's released to DVD soon, completely uncut and restored. That would be great.