I Was a Teenage Frankenstein

"I Was a Teenage Frankenstein" is a more modern take on the old Frankenstein story. It stars the oddly cast Whit Bissell...odd because he's supposed to be British and sounds about as British as Elvis or Urkel!

When the story begins, Professor Frankenstein is lecturing about transplants...something very new back in 1957 and which hadn't yet been successfully done for most organs. Some of the folks at the lectures are skeptical...and Dr. Frankenstein is determined to show them. So, like the classic story, he assembles a monster out of body parts. Oddly, however, aside from the monster's face, he looks pretty ordinary. And, to control the monster, the Doctor promises to give his creation a new face IF it does his evil bidding...such as murder!

This Dr. Frankenstein is much more of an evil sociopath than you would expect. He's a nasty jerk who is cruel and abusive...and he's pretty shocking...more so than his monster! Just how awful and depraved he is, you'll have to see for yourself. However, interestingly, this is a positive aspect of the film....making Frankenstein that awful did add to the excitement in this otherwise ordinary monster film. Worth seeing despite the word 'teenage' in the title.

Any movie lover of the 1950's monster genre would surely appreciate this for what it is! Pure 50's schlock! What an American International Pictures achievement! You've got everything in here but a decent budget! You have the title, for one. How kitsch can you get? "I Was a Teenage"...You've got the premise of constructing a teenage marvel(Gary Conway on his way to stardom) out of spare cadaver parts; the mad doctor(played by the articulate Whit Bissell and his memorable "witty" remarks; his assistant (the somewhat embarrassed looking Robert Burton; and his faithful/curious fiancé (the lovely Phyllis "Lois Lane" Coates); all doing the best they could possibly do under the circumstances! Now how about scenes like the surgical bone saw cutting through the leg(it could have used some splattered blood on their faces for the total effect!), the convenient alligator disposal unit under the laboratory/morgue, hearing the sound of the beautiful blonde victim being choaked to death by the sex craved monster, Phyllis and Whit necking in Lover's Lane(oh,my!), Gary's head being carried off in a bird cage, and hello!...the final, and for no good reason, the color sequence showing you the classic monster make up creation in glorious Pathe color!(you've got to see this in its totally restored color version, on the big screen.)...you can't get any better than this! Hey movie goers, make sure you watch the complete unedited version, somehow, somewhere; not the edited British version, "Teenage Frankenstein", which was sold on video some ten years ago. You think they would ever attempt a remake of this classic gem?

The production of this film, hot on the heels of Michael Landon's immortal 'Teenage Werewolf' opus, signified that Teen Horror was in fact a specific genre of film. Teen Horror films have been a constant cinematic presence from 1957 to the present, although they have waxed and waned several times over the past 53 years. Everything you see in 'the Craft,' 'Buffy the Vampire Slayer,' and of course the ubiquitous 'Twilight' movies is a re-hash of Teenage Werewolf and Teenage Frankenstein.

Wereas Teenage Werewolf focuses on the personality and emotions of the Michael Landon character, thus structurally grafting the point of view of 'Rebel Without a Cause' to the horror genre, Teenage Frankenstein is more pre-occupied with Whit Bissel's portrayal of a Dr. Frankenstein living in the era drive-in movies. As such, Teenage Frankenstein follows more traditional monster movie conventions than Werewolf.

Nonetheless, teenagers are featured heavily, and teen actor Gary Conway as the eponymous monster is a major presence, so it is indeed appropriate to study this film in the context of the Teen Horror genre.

This film is an excellent example of the aesthetics of low-budget 1950's monster film-making. The acting is earnest and competent, the script does not get bogged down with dialog that would try to explain weak plot points, but rather dances across such places quickly, as one might dash across a wobbly bridge before it can collapse. It moves quickly and delivers just what the intended audience expected and needed: cheap and harmless thrills.

One of my favorite sequences involves the monster's search for a suitable head for himself at a nightime lovers' lane with teens parked in their cars. This is the earliest example I know of where the monster targets promiscuous teens. Also, since this film was obviously intended to be shown at drive-ins, so it must have been neat for 1957 teens parked in Studebakers in the dark to imagine their own heads as being coveted by a monster lurking somewhere nearby. Almost pushing the forth wall, really.

While this movie is fun and better than the title would suggest, it does lack the original psychic/emotional center that characterizes the classic horror pictures. King Kong, Frankenstein, Godzilla and Creature from the Black Lagoon all have a definite theme, a center, a statement relating to life and the human condition. So far as I could discern, this film does not. If a viewer can content himself with a bit of escapist fun, he will be satisfied.

What do Whit Bissel, Donald Murphy and Boris Karloff all have in common? They all played "the last member of the Frankenstein family" within a single year! Boris emoted in Cinemascope in FRANKENSTEIN 1970, Donald Murphy built monsters in a wine cellar in FRANKENSTEIN'S DAUGHTER and Whit Bissel created a teenage monster in the movie I am about to discuss.

As if most teenagers were not monsters already in their own right Whit decides to build an artificial man out of parts from young healthy teen athletes. To keep his creation under control Whit fixes everything except .. .wait for it . . .the face. The monster (Gary Conway) has the body of a muscleman but a face that, well, looks like it was sculpted out of clay (which it was!) and when he talks he sounds like someone who is, well, talking through a mask!

Okay, this has already been discussed in detail by other reviewers on this board but everyone seems to have ignored one very obvious gaffe. We all know the classic line "Speak! You have a civil tongue in your head. I know because I sewed it in place myself!" But in that same scene Whit gets a line that should properly have gone to his assistant (Robert Burton). Remember that Whit's Prof. Frankenstein has lived his entire life in England and he is visiting this country for a relative short time. His remark about the newly revived Creature "He should be chattering like a Senator at a filibuster." is far too American a statement to come from someone who is just visiting from another country. It is better suited to Robert Burton's character who is an American. Perhaps if Whit had said "chattering like an MP" (Member of Parliament) instead. Oh well, this is still a fun movie, especially now that the colour ending has been restored.

Points of interest: Gary Conway's real name is Gareth Carmody. He changed it himself because he thought it sounded too "highbrow" for an actor. Robert Burton later went on to battle THE SLIME PEOPLE in 1963. And of course many of us remember Phyliss Coates from "Superman" on television but how many remember she appeared in the 1952 film INVASION USA along with Noel Neill? Both Lois Lane's in one movie! I don't know what became of the alligator, but he certainly seemed to enjoy his role and he does indeed give a convincing performance.

Hollywood's first stab at Mary Shelley since the Universal days, AIP's 1957 "I Was a Teenage Frankenstein" was of course Herman Cohen's follow up to the phenomenally successful "I Was a Teenage Werewolf," shot back to back right after co feature "Blood of Dracula," in which the teen menace was a girl. Rather than a simple retread of "Werewolf," this script goes through the usual paces expected of a Frankenstein film, Herbert L. Strock's perfunctory staging enlivened by Whit Bissell's deadpan wit as the arrogant modern day Professor Frankenstein, eager to prove all those who scoffed at his limb transplant theories that he can indeed restore life to the dead, blackmailing his mild mannered assistant (Robert Burton) and even dispatching his devoted fiancée (Phyllis Coates) for disobedience. The idea of making the scientist a teenager rather than The Monster apparently didn't occur to Cohen, Hammer's massive worldwide success with "The Curse of Frankenstein" the obvious model (Peter Cushing's Baron a vivid anti hero), and Bissell, just as he had in "Werewolf," the adult manipulator of his youthful creation. A convenient crash near his home provides Frankenstein a teenage body to start with, replacing various hands and limbs but not yet the hideous wreck of a face. Gary Conway's Monster is alive at the 25 minute mark, his creator referring to him as 'my boy,' noting that he can both speak ("you've got a civil tongue in your head, I know you have because I sewed it back myself," "he should talk like a congressman at a filibuster!") and cry ("even the tear duct functions"). This Monster is a rebel with a cause, his most fervent wish to go out and walk among people, but when he does escape winds up strangling a young girl when she screams at his hideous appearance. His only other murders are clearly set up by his creator, the final one a gift of a new face (Conway's own with only a few scars), while the climax just lies there, the doctor receiving his comeuppance simply because he needed to, this final scene shot in not so vibrant color. Conway, in only his second screen role (following Roger Corman's "The Viking Women and the Sea Serpent"), would be back in the same makeup for Cohen's "How to Make a Monster," Gary Clarke replacing Michael Landon as the Teenage Werewolf, while Bissell returned to supporting ranks with "Monster on the Campus." The decade closed with Peter Cushing's sequel "The Revenge of Frankenstein," Boris Karloff starring in "Frankenstein-1970," and Donald Murphy hamming it up in "Frankenstein's Daughter," the 60s far more prolific for Mary Shelley's creation.