Frankenstein créa la femme

Frankenstein Created Woman(1967) is the most complex and tragic of all the Hammer Frankenstein films. DR. Frankenstein in the film tries to figure out a way to beat death by the transference of the soul. Susan Denberg is excellent as the deformed turned avenging beauty named Christana. Terence Fisher's brilliant direction in this movie is enough to show that along with Mario Bava was one of the best Horror directors of the 1960's. The movie is about how ignorance can have an effect on an entire community. Frankenstein Created Woman(1967) is a thought provoking horror flick that ends on a depressing note.

Attempting to continue his experiments, the Baron finds that the opportunity to transfer the soul of a young man into a recently-deceased young woman instead sets her out to avenge the group who framed him for death and causing him to try to stop her.

Overall this one was quite decent if slightly flawed. Among the finer points here are the rather fun experiments being conducted for there's plenty of time here working in the lab to complete matters fully throughout here. The opening attempts to bring him back to life from being in the freezer is quite nice by setting up the later work here with the soul that comprises the middle here where he begins going through the different resources possible for his contraptions here to bring that along even further along with the actual transference procedure where they bring about the change-over here of having the two changing his soul into their equipment and then into the girl for another really enjoyable sequence. The later scenes here of them getting her through the recovery process which includes the walking around learning to how to walk and the gratification of the changes made to her appearance due to the change as well as the return to the guillotine which brings about the shock of the opening death of the father there which is all quite fun here. The revenge part here is even better with the person talking in voices and switching into the other voice here to signify the changes as the tense stalking in the pub and out into the countryside as she goes after the last one on the picnic in the woods here so there's a rather fine series of kills in here. These here give this one enough to like overall that it holds off the few flaws within. The main issue here is that there's so little actual horror in here that it can feel very dull at times with the film really holding back how quickly paced this really could've been as a lot of what happens isn't too scary. The majority of time here isn't all that scary here with the continued ramifications of his father's past connecting with his own future from all the townspeople, their budding romance and another instance where the villagers are indeed afraid of the Baron through his reputation but aren't capable of doing anything about it here which in itself is yet another big flaw here as all of these here found throughout the first half just don't make this into much of a horror film. These here are just so bland that, though they do serve as the cause of the revenge later on, it just drags on for quite a while here taking it's time with the overloading these points that becomes very bland overall, and is one of the biggest issues here. Once again, the distrustful natives isn't too original being here, while the other big flaw here is the really abrupt ending which is such a sadden stop that it's hard to believe nothing more involved wasn't used here as it seems to be mere seconds after the revenge is taken that there's the chase and then the ending which for once could've used some stretching out here to really take advantage of what's going on. Otherwise, this one is a lot of fun.

Today's Rating/PG-13: Violence and the aftermath of a sexual encounter.

As I watch more Hammer films, it strikes me just how sad so many of them are.

Innocents and lost souls find themselves in a similar place in the afterlife, and it never ends happily for them there either. Here you have Susan Denberg, born with a facial disfigurement, taunted by the local toffs, who then sees her boyfriend executed. And that's just the start of her problems before an inevitable downbeat ending.

Hammer horror films, these days, are usually remembered mostly for Peter Cushing and Christopher Lee, and also quite often for their campness. But they're almost always quite serious-minded horror tales that rarely have the get-out of a joke or a comedy character. They're also surprisingly aware in terms of societal issues. I can just imagine the three upper-class blokes who taunt Denberg here being members of the Bullingdon Club or something.

Certainly one of the better or even best Hammer films that I've seen.

I like this one a lot better than the previous sequel, even though it also lacks Christopher Lee. Cushing seems more interested in the script, though, and the whole concept is more engaging. Basically, Frankenstein is now working with an aging and drunken doctor in yet another small German town, and he discovers a means to preserve a soul and place it into (of course) a dead body. This time, though, he decides to try taking the soul of his young assistant, executed for a crime he did not commit, and place it into the body of said assistant's hot young lover (Susan Denberg), after she kills herself. The new man-woman becomes dedicated to killing the men who raped her and set him up to be framed. Again, this is rather racy stuff for the material, and there's an unfortunate lack of monster makeup (except for part of the film, in which Denberg has a facial deformity), but I quite enjoy it.

Frankenstein Created Woman is a Hammer Films production that is directed by Terence Fisher. Written by Anthony Hinds under the alias of John Elder, it stars Peter Cushing, Susan Denberg, Thorley Walters, Robert Morris & Derek Fowlds. Cinematography is by Arthur Grant and the music score by James Bernard.

Baron Frankenstein (Cushing) is dabbling with transference of the soul, when Christina (Denberg), a disfigured local who girl commits suicide after her lover Hans (Morris) is wrongfully executed, comes his way for revival, it sets the wheels in motion for violent and bloody revenge.

Bonkers plot and bonkers movie, but one that's well regarded in critical circles and by fans of Hammer Horror in general, and even one Martin Scorsese has it on his favourite movies list. Reworking Bride Of Frankenstein into a metaphysical based tale is close to being a genius idea, even if at times it's difficult to know if it's meant to be funny or not. The thematics most certainly are intelligent and well played out, not just the notion of transferring a peasant boy's soul into that of a former cripple who now looks like (and is) a playboy model, but also class snobbery, corrupt justice system, bullying and of course revenge. All crammed into a 90 minute movie.

However, some scenes are just too daft to take seriously if they were meant to be so in the first place? After crafting bona fide horror classics like Curse Of Frankenstein, Dracula and The Mummy, Terence Fisher owes Hammer Horror fans absolutely nothing. But gauging his efforts here is tough to do, for the blend isn't quite right. Moody and almost dreamlike in tone, it's also low on production values and, Cushing excepted, performed all very hammy by the overacting cast. But again, that may well have been the remit when shooting began?

It's a safe recommend to Hammer fans because it's entertaining on either front, as a comedy or a dark little chiller. But personally I wouldn't be surprised to see it rated from anything between 1/10 to 10/10 across internet sites because it's really an odd piece of Brit cinema. So I'll sit on the fence and go 7/10 for it.