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6.0/10
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Upon returning to his home village to continue his experimental research, the destitute Dr. Frankenstein revives his old creature, but a hypnotist wants the monster to control for himself.Upon returning to his home village to continue his experimental research, the destitute Dr. Frankenstein revives his old creature, but a hypnotist wants the monster to control for himself.Upon returning to his home village to continue his experimental research, the destitute Dr. Frankenstein revives his old creature, but a hypnotist wants the monster to control for himself.
- Awards
- 1 nomination total
Sandor Elès
- Hans
- (as Sandor Eles)
Tony Arpino
- Body Snatcher
- (uncredited)
Timothy Bateson
- Hypnotized Man
- (uncredited)
Robert Flynn
- Roustabout
- (uncredited)
Frank Forsyth
- Manservant
- (uncredited)
James Garfield
- Roustabout
- (uncredited)
- Director
- Writer
- All cast & crew
- Production, box office & more at IMDbPro
Featured reviews
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.
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.
MORD39 RATING: **1/2 out of ****
This was the first Hammer film I recall seeing as a kid, and I loved it back then. I am, admittedly, a Universal Horror addict and most probably enjoyed it because it was so much in that vein.
Now, decades later, I understand why Hammer fans dislike it: it's not what the Hammer Frankenstein series is supposed to be. Now that I've become well acquainted with all of the Hammer films I am inclined to agree somewhat...but it's still pretty good.
Peter Cushing is his reliable self as the Baron, and he seems to be given a more heroic twist this time around. The monster is not up to par, and it IS copied from the Karloffian image to some extent, but he's fun anyway.
The lab sets are fantastic, as is the music and gothic atmosphere. You can do much worse than this for a Hammer Frankenstein film (check out HORROR OF FRANKENSTEIN and see).
This was the first Hammer film I recall seeing as a kid, and I loved it back then. I am, admittedly, a Universal Horror addict and most probably enjoyed it because it was so much in that vein.
Now, decades later, I understand why Hammer fans dislike it: it's not what the Hammer Frankenstein series is supposed to be. Now that I've become well acquainted with all of the Hammer films I am inclined to agree somewhat...but it's still pretty good.
Peter Cushing is his reliable self as the Baron, and he seems to be given a more heroic twist this time around. The monster is not up to par, and it IS copied from the Karloffian image to some extent, but he's fun anyway.
The lab sets are fantastic, as is the music and gothic atmosphere. You can do much worse than this for a Hammer Frankenstein film (check out HORROR OF FRANKENSTEIN and see).
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.
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.
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 was the first Hammer film I ever saw, and I loved it back then on television while growing up. I'm sure the reason was because it was so much in tune with the old Universal monster films I loved, and at that time I hadn't seen any of the other British Frankensteins so I couldn't have been aware that EVIL wasn't really a true "Hammer" film. Well, sometimes ignorance is bliss, I think. Because ever since I caught up with all the other Peter Cushing Frankensteins, I gradually became clued in as to why so many diehards shunned EVIL. But that's a shame, really, as THE EVIL OF FRANKENSTEIN is a fine horror film in its own right and one of the more underrated monster films in fandom. Last night I had a friend at the house who's a Universal Fan, and he wanted to see his first Hammer Frankenstein film. So, what better choice than EVIL? But here's the thing with movies -- sometimes it all depends on your mood and the situation surrounding you when you watch them. The last time I had watched this movie, it didn't do as much for me; but now - while taking it for what it is and enjoying it with a fellow Universal fan - the film really delivered!
Peter Cushing is still great in EVIL. Sure, he's not playing the character exactly the same as in the other films, but it's refreshing to see him more heroic than usual, and it's not as though he's a total saint either (he does take a freshly dead man and cut out his heart, for crying out loud). There are small moments of indifference, too - such as when the mute peasant girl offers bread to Cushing and his assistant, Hans -- while Hans takes the trouble of saying, "thank you... but have you enough for yourself?" Baron Frankenstein takes his half without a word of gratitude and instead merely mutters to Hans, "she can't hear you".
Terence Fisher is a good director, but I think Freddie Francis does a fantastic job too on THE EVIL OF FRANKENSTEIN (and, later, on Dracula HAS RISEN FROM THE GRAVE). The laboratory is the best of all the films, and there are many neat cinematic touches -- like the grim shadowplay when the creature is stalking around town, and the monster's POV shot as he is first being raised up from his slab. The music is striking too, on par with just about any other Hammer classic. It accentuates the events of the movie very well. Kiwi Kingston makes a formidable hulking monster, and there are times when I even pitied him (it's rough to see him getting those migraines and to be abused by that hypnotist).
The only things weak about EVIL for me are some of the moments where we are at the fair, though once Peter Cushing crashes the Burgomaster's home to claim his property ("Be quiet, woman!!" - I love that! - ) we're back into high gear. Another debit for the movie is that its script seems a little perfunctory at times. In summary -- taken on its own without carping on what this isn't and enjoying it for what riches are to be found within it, THE EVIL OF FRANKENSTEIN can be a fun and satisfying experience as a stand-alone Frankenstein Film. *** out of ****
Peter Cushing is still great in EVIL. Sure, he's not playing the character exactly the same as in the other films, but it's refreshing to see him more heroic than usual, and it's not as though he's a total saint either (he does take a freshly dead man and cut out his heart, for crying out loud). There are small moments of indifference, too - such as when the mute peasant girl offers bread to Cushing and his assistant, Hans -- while Hans takes the trouble of saying, "thank you... but have you enough for yourself?" Baron Frankenstein takes his half without a word of gratitude and instead merely mutters to Hans, "she can't hear you".
Terence Fisher is a good director, but I think Freddie Francis does a fantastic job too on THE EVIL OF FRANKENSTEIN (and, later, on Dracula HAS RISEN FROM THE GRAVE). The laboratory is the best of all the films, and there are many neat cinematic touches -- like the grim shadowplay when the creature is stalking around town, and the monster's POV shot as he is first being raised up from his slab. The music is striking too, on par with just about any other Hammer classic. It accentuates the events of the movie very well. Kiwi Kingston makes a formidable hulking monster, and there are times when I even pitied him (it's rough to see him getting those migraines and to be abused by that hypnotist).
The only things weak about EVIL for me are some of the moments where we are at the fair, though once Peter Cushing crashes the Burgomaster's home to claim his property ("Be quiet, woman!!" - I love that! - ) we're back into high gear. Another debit for the movie is that its script seems a little perfunctory at times. In summary -- taken on its own without carping on what this isn't and enjoying it for what riches are to be found within it, THE EVIL OF FRANKENSTEIN can be a fun and satisfying experience as a stand-alone Frankenstein Film. *** out of ****
Did you know
- TriviaAccording to the Blu-ray's 'making of' featurette, Peter Cushing (Victor Frankenstein) is vigorously cutting away at a cabbage during the title sequence. It was originally used to emulate the crunching sound of slicing through bone, but this was eventually censored with the title music. Cushing, being very adamant on the technical details of his performance, always demanded the presence of technical advisors on set. During the surgical sequences, he wanted to make sure he used the scalpel correctly. He was also quoted to "want to convince any doctors in the audience."
- GoofsIn the police station/jail there is a lamp on the desk made to look like a kerosene lamp but the electric wire can be seen coming off it leading down towards the front of the desk.
- Quotes
Body Snatcher: [referring to a stolen body] I've got it!
Baron Frankenstein: So I observe... and so will half the county, if you don't hurry up and bring it inside!
- Alternate versionsTV version removes some scenes from the theatrical release and features 13 minutes of additional footage starring Steven Geray, Maria Palmer, William Phipps. Specifically, the scenes added for TV prints are: the scene in which a reporter asks an old doctor why nobody wants to talk about Baron Frankenstein (the later part of this scene is intercut with shots of the deafmute young woman, who IS part of the movie as originally filmed: the two men watch her and talk about her, but do not interact with her); the flashback scene showing the little girl being traumatized by the monster, becoming deaf and mute as a result (only his feet are shown); and the present-day scene in which the girl's father, now a drunken wreck, is told that psychological help may be able to overcome her muteness. These scenes are inserted into the movie smoothly, via dissolves rather than rough cuts, but they add nothing other than length. None of the characters actually gets involved in the story, and nothing about them is resolved: the reporter doesn't get the scoop he's looking for, the father doesn't get his revenge against the Baron, and the deaf woman doesn't get the therapy mentioned.
- ConnectionsFeatured in Late Movie 18: The Evil of Frankenstein (1980)
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- The Evil of Frankenstein
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- Runtime1 hour 24 minutes
- Aspect ratio
- 1.85 : 1
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By what name was L'Empreinte de Frankenstein (1964) officially released in India in English?
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