The Evil of Frankenstein

Having been exiled from Karlstaad, and with their creature gunned down on a mountaintop, The Evil Of Frankenstein opens with a now skint Baron (Cushing) and his apprentice Hans (Elès) moping around the forests like a Gothic Steptoe and Son, half-heartedly yanking the odd corpse out of huts, before being sent packing by another set of disgusted locals. The Baron has no choice but to creep back into town and retrieve his equipment to flog it off. To add insult, Castle Frankenstein has been looted and defaced with noosed effigies. "Why can't they leave me alone?" sighs Victor. It's all a bit much.

To cheer themselves up, the pair attend a travelling carnival disguised in facemasks like Batman and Robin. Victor spots a familiar face in the crowd: "Well, well, well, my old friend the Burgomaster. Now he's chief of police. Easy to see how he got his promotion!" And he's wearing the Baron's ring. Not only that, he's now in possession of Victor's clothes, his chairs, his desk - "Even my bed!" Frankly, the pair need a positive: as luck has it, a deaf and dumb Björk look-alike leads them to a cave, where they discover the perfectly preserved body of the creature in a glacier.

Like Vernon Kay, "he's alive, but his brain is dormant," the result of being shot in the head in the previous film. The Baron hires the carnival's dodgy mesmerist Zoltán (Woodthorpe) to try to bring it out of its coma. Like some faithless pet cat who decides it's getting tastier treats from the old lady next door, the creature ignores the Baron, and will now only take orders from Zoltán. However, the bequiffed ageing wideboy has his own plans for the screeching lunk. "There are people in this village I want punished," he huffs. Not being up to speed with the finer points of semantics, the monster stomps off in its corrective boots to rip the Burgomaster a new one. Job done, it returns home, gets drunk, screeches a bit more, and goes for a lie down. Yet despite giving him life, the monster in no way considers the Baron his besht fuggin' mate. Then, as if suddenly collapsing under the weight of its own misery, the film ends very abruptly.

Directed by cameraman Freddie Francis, after Hammer's Terence Fisher bailed out following a car accident, The Evil Of Frankenstein is generally regarded by horror buffs to be the series' nadir, in part owing to the monster's laughable visage, which resembles a man wearing a rotting box of cornflakes on his head. (Ironic, given that this incarnation's appearance was made possible by the film's distributor Universal relaxing their copyright on Jack Pierce's flat-headed design for Boris Karloff.) But mostly, because it treats the continuity laid down by the previous movie with the same kind of respect the Baron has for dead people.

In The Revenge Of Frankenstein, the Baron had succeeded in creating a reasonably human-looking monster, before it was shot; was himself beaten to death by an angry mob for his groundbreaking contribution to genetics; and was then privately resurrected by his apprentice Hans. Here, there's no mention of the Baron's life-and-death experience; the creature (the delightfully named Kiwi Kingston) looks nothing like its forebear; and Hans appears to have downsized his IQ in the interim. The locals have also apparently forgotten they've actually killed him and instead merely run him out of Karlstaad on a rail. It's the Sliding Doors of horror threequels.

Despite this wild shift in text and focus (a consequence of Hammer producer Tony Hinds replacing the usual Frankenstein writer Jimmy Sangster), The Evil Of Frankenstein is quite fun in its doggedly depressing way, and for a film made in 1964, surprisingly modern; this is practically a punk movie, with its nihilistic tone, a monster that elicits not the slightest shred of sympathy, and tombstone humour at odds with the melodramatic origins. "Cut out his heart?" gasps the Baron's hired grave robber. "Why not?" comes the reply. "He has no further use for it." For a relatively bloodless series, the violence (check out the scene where the foul creature attacks and kills the Burgomaster in his own bedroom) is certainly more than you'd expect from this era of Hammer, and indeed certain scenes were replaced or re-shot for its 1968 television showing. And as you'd imagine, with the award-winning Freddie Francis directing proceedings, the cinematography is first rate. Really, it's a one-off, standing quite apart from the cycle, and none the worse for it.

I've watched this movie a few times and although Peter Cushing gave his usual great performance this film falls a bit short of the mark in Hammers' Frankenstein cannon. First and foremost, there is no continuity between this film and it's predecessor, the very well done,"The Revenge Of Frankenstein" This has a lot to do with Freddie Francis being Director instead of Terence Fisher. Kiwi Kingston looks like a 3rd rate Boris Karloff, however, being an ex wrestler, and not an actor, also, wearing very bad makeup he does his best with the material handed to him. The supporting cast, Sandor Eles, Peter Woodthorpe, Duncan Lamont, and David Hutcheson, do an OK job, it's just that with the very good "Curse Of Frankanstein" and the excellent "The Revenge Of Frankenstein" i was expecting a lot more. It's still a film worth seeing. Grab that popcorn and enjoy. John R. Tracy

This film appeared from no-where. It did not follow from The Revenge of Frankenstein, which had immediately preceded it, and the next film in the series, Frankenstein Created Woman, makes no mention of this film. This is a one-off film in the Hammer Frankenstein saga much in the same way that Scars of dracula is a one-off in the Dracula saga. For once, the story is rather flimsy, and the characters fail to build any pathos with the audience. The acting is good, but has no-where to go. It seems to be a remake of any number of Universal horror films rather than an original Hammer film. The direction is rather flat and the monster is just some monolithic doomsday machine running around, destroying everything. On the plus side, the atmosphere is suitably gothic and the costumes are realistic. It is, however, the least best Frankenstein film featuring peter Cushing.

Peter Cushing makes the greatest Dr. Frankenstein and he certainly doesn't disappoint here. Hammer Studios made several Frankenstein films, and this may not be the best, but it certainly is worth the time.

After reviving his monster, Dr. Frankenstein enlisted the services of Zoltan the Hypnotist (Peter Woodthorpe, the voice of Gollum in The Lord of the Rings). Zoltan was a despicable character, and Woodthorpe was perfect for the role.

Sandor Elès as Hans, Dr. Frankenstein's assistant, and Katy Wild, as a deaf and mute beggar girl were also very good.

Of course, one would have wanted to see more of Caron Gardner, the Burgomaster's wife, but it was not to be.

Like many, Evil of Frankenstein is my least favourite of the Hammer Frankenstein films starring Peter Cushing and is a lesser entry of the Hammer horror films. But does that make it a bad film? No, in fact it is very watchable, just disappointing.

Evil of Frankenstein has its flaws, the main one being some of the story which is like different elements from past Universal/Hammer films recycled and cobbled together to sometimes muddled and underdeveloped effect, there are though some interesting elements(I personally found the mute girl subplot quite touching). It also took a while to get going and there is a clumsy and contrived script with a number of contradictory elements compared to other Frankenstein films, as a standalone the film's okay but continuity-wise comparatively it just didn't seem to fit. The monster's make-up is poor this time round, wasn't crazy about it in Curse of Frankenstein(the only real criticism this viewer had of that film) but at least the make-up in that film didn't look like layers of out of date oatmeal being put on the actor's head and face like here, giving it a fake rather than freaky look. It was nice to see the Monster as a misunderstood creature again but Kiwi Kingston for personal tastes played the role rather lifelessly, the monster never felt menacing here and it wasn't easy to root for him either. Sandor Eles also does next to nothing with a very underwritten role.

However, Evil of Frankstein looks great apart from one cheap back-screen projection. The cinematography is simply splendid with nice shadowy effects and the sets and costumes are wonderfully sumptuous and Gothic, who can't love the lab set. Freddie Francis had big shoes to fill and his direction was a respectable effort but there was a sense that he wasn't quite the right man for the job. Narratively and pacing-wise, his direction does have a tendency to lumber but when it comes to the visuals and creating an atmosphere Francis' experience as a cinematographer shines through. There are some effective scenes here, the opening scene is brilliantly creepy and the climax and monster-coming-to-life scene are exciting. One notable exception is Frankenstein's escape from the Burgomaster, clumsily done as well as a little cheap-looking and should have been excised(personal view of course). Don Banks' music score is enough to evoke chills. The cast are good on the whole. Peter Cushing comes out on top as a more sympathetic than usual Frankenstein, he gives an as always great performance and makes his lacking dialogue seem more than it actually is. Peter Woodthorpe plays an absolute slimeball and literally has a ball with it while Katy Wild is touching as Rena the mute beggar girl, conveying a good deal of emotions through eyes and facial expressions.

Overall, very watchable but this is not Hammer at their best. 6/10 Bethany Cox