Que Pedaço de Mulher

Frank Henenlotter's Frankenhooker (1990) is a funny horror comedy starring James Lorinz as Jeffrey Franken, a young man who is extremely interested in medical studies and becoming a doctor. He makes his weird experiments in his house while his parents are little concerned as they think their son is little weird, understandably. Soon a horrible but incredibly comical accident happens to his girlfriend Elizabeth so Jeffrey takes all the body parts he can in order to re-build his girl. But he needs various body parts in order to complete his love and he develops a drug which makes its users explode. He goes to the streets searching for prostitutes and you know what he wants from them. He gets the parts, but will the new Elizabeth, Frankenhooker, be the same as she used to be?

This film is a must for lovers of B cinema and films which mix horror, gore and comedy. Franken's character is very mad as he talks alone all the time and inserts a power drill into his head everytime he is about to have some nervous problems under pressure. Usually when characters talk all the time without reasons in films it just shows how bad the script is, but in this case, the talking (especially for himself) is normal for this kind of crazy doctor and thus it doesn't feel irritating and bad choice.

Henenlotter's other films like Brain Damage (1988) and Basket Case (1982) are so fantastic as they mix humor and horror so uniquely. They are creepy and very funny (and clever especially in Brain Damage's case) at the very same film. Frankenhooker isn't an exception and the first lawnmower scene convinces the viewer what will the film be like. There are many severed limbs and body parts, but they don't seem repellent as the tone of the film is so tongue in cheek and not wicked. The scene in which some ten hookers EXPLODE is as funny as possible, but not gory at all, since the film had to get an R rating. It is even funnier now as crimson doesn't fly all the time, they just explode!

The mutants and attached body parts at the end are really creepy and almost nightmarish, and reminded me of Brian Yuzna's Bride of Re-Animator which has similar monsters. The effects work in Frankenhooker is fantastic all the way, and it all is now perfect, and wouldn't work anymore if done with computers or CGI. The pace is fast all the time and the viewer doesn't get bored. The Frankenhooker herself is also pretty outrageous and very deadly a hooker! The lady who plays her part is very talented with all her face expressions and movements. I like Basket Case and Brain Damage even more, but still Frankenhooker is a little classic by this talented and mad film maker genius. I give Frankenhooker at least 8/10 now after the first viewing.

Zorro is a beefed up super pimp, who goes around kicking ass and taking names. Zorro, and Jefferey's invention of "Supercrack" are the two things that make this movie hilarious. "No,no,no,no the question is who are you, and from what I've been hearing, your ass is mine and I'm taking possesion right now" " My girls are the best, the best to look at, the best for fun. You want the best, you gotta pay." " No no no no, they didn't leave, they didn't go nowhere, they just blew up. F***ing exploded, one minute they my bitches, and the next minute, pieces all over" These are all quotes from the man Zorro.

If you're a tiny bit familiar with the more light-headed and grotesque 80's horror cheese, the name Frank Hennenlotter won't sound new to you. "Basket Case" and "Brain Damage" are classics that prove creativity and dynamic motivation are actually all that is needed in order to make a fresh-looking horror film. Another triumph of ingeniousness in Hennenlotter's career is this "Frankenhooker". His most comic and personal film to date. It looks like slapstick, yet with a fair amount of gore, but it never at one point becomes entirely ridiculous or dumb. It's actually hysterical and imaginative (unless you're one of the humorless critics like so many on this review-list). A young electrician/brain surgeon (funny combination, isn't it?) loses his girl in a nasty lawnmower accident. Now, that thing alone actually made me chuckle! He wants to resurrect her, but since most of her body got hacked up, he has to collect new "parts". And where better to find those but in the red-light district of New Jersey. Naturally, both the preparations as the operation itself go horribly wrong and the 'hero' has to face absurd consequences. Like few other directors can manage, Frank Hennenlotter inserts his trademarks and typical styles. Frankenhooker is silly, but also very imaginative (exploding whores, anyone?) and it doesn't feature one dull moment. Hennenlotter surely was one of the most talented and self-educated directors in the horror industry. If he would have slightly more movies, I'm sure he would now enjoy a more justified status. I keep on hearing he will return in 2005 with a project called "Sick in the Head". Well I, for one, really hope it's true.

I very much enjoyed this twisted spoof; it's inspired. The tone is perfect, but I give a lot of credit to James Lorinz and his amusing patter. I think most B-movie guys (you know who you are) will like this. It gave me a BIG smile!

The "special" effects are deliberately bad, but match the tongue-in-cheek story. I may even track down the unrated version, which is two minutes longer.

How Director Frank Henenlotter kept everyone on the same page here is a mystery. No one stood out for (inappropriately) bad acting. The weird set pieces and oddball props work great. There is a nice progression from bizarre low-key humor to complete absurdity. It's really well constructed.

I happily give this six (6) stars.

PS Patty Mullen is a poster child for a blonde who IMHO looks better with black hair.

If they could use Mary Shelley's novel "Frankenstein" for "The Rocky Horror Picture Show" (1975), among other bizarre iterations, then I don't see why not have a mad scientist re-animate his girlfriend with the leftover parts of prostitutes who exploded from lethal doses of crack cocaine. Moreover, after seeing fellow Frankenstein exploitation flick "Flesh for Frankenstein" (1975), it's difficult to be shocked by such a premise as that of "Frankenhooker."

The mad scientist here is a young man named Jeffrey Franker who lives with his parents and creates his hooker monster in their garage. He has a brain with an eyeball in it that he experiments with in the house, and he uses an electric drill to literally prod his brain to come up with good ideas. It's no wonder he didn't finish med school. His garage laboratory is essentially what one would expect from generations of Frankenstein films following in the footsteps of the original design of the 1931 version, full of gizmos, beakers and the spark of life from a lightning bolt. To this, Jeffrey adds his estrogen-based blood serum, which keeps the body parts fresh. Jeffrey's girlfriend, whose name Elizabeth Shelley is a combination of the names of Dr. Frankenstein's wife from the novel and of the author of that novel, is torn to pieces by a runaway lawn mower. Jeffrey preserves what he can of her in his serum and seeks to remake the rest of her out of the body parts of prostitutes. He kills these women with an especially lethal crack formula of his own design, which causes them to explode.

It may seem pointless to analyze a film such as this, which was clearly intended to be goofy and trashy fun not to be taken seriously. But, its overriding joke regarding the objectification of women is asking for it. From the start, Elizabeth is shamed for her supposed excess weight. Jeffrey plays doctor with the prostitutes to find the best bits for her re-animated corpse--grading the women on their arms, legs and breasts and writing a check mark on his preferred buttocks. The prostitutes are stereotyped as only wanting money and drugs. I'm sure film theorists of the Freudian-Feminist, Laura Mulvey persuasion could and probably already have had a field day with this one. To top it off, the film's conclusion, as poetic justice, is a literal realization of castration anxiety. I'd like to sit in on a film theory class that screened "Frankenhooker," as opposed to old chestnuts such as the male gaze of "Rear Window" (1954). Freudian film theory, after all, already always has me rolling my eyes and chuckling--something "Frankhooker" does just as well.