User reviews

This was the first of 2 films made in quick succession by Paul Morrissey in Italy in 1973. Blood for Dracula was the other.

Flesh for Frankenstein was obviously made with it's tongue firmly in it's cheek. It's a step beyond anything Hammer attempted in this genre, especially regarding gore and dodgy accents!

Udo Kier and Arno Juerging are possibly the best comic duo to hit the screens since Abbot & Costello as the Baron and faithful sidekick Otto! Whether fooling around in the lab or scouting for suitable organs they never fail to raise a smile. Kier gets all the best lines, letting us know his views on gall bladders and his plans for the new race he is ..ehm.. putting together.

Monique Van Vooren is more sinister as the Baroness, who initially appears relatively normal, in comparison to her "husband" at least. However her eccentricities become apparent as the film goes on.

Joe Dallesandro is on screen a lot but his character doesn't contribute much to the plot. Presumably his name was used to garner publicity for the film in the US.

The Frankenstein kids take after their parents and are crucial to the twist at the end of the film. The young actors playing the kids do a good job.

The actors playing the Baron's works in progress don't have much to do, even when their characters are brought to life.

Certainly the film will not be to everybody's taste. There is plenty of gore and some dodgy sex scene sound effects. The scene showing the Baron's "interest" in the female creation and her innards pushes the boundaries a bit but it is too over the top to be anything more than comical. So sit back and enjoy this piece of 70's schlock horror.

This is clearly the superior of the two films that Paul Morrissey filmed at Cinecitta studios (Rome) during the early 1970s. It's the typical Frankenstein story with the Morrissey's spin on it.

And I suspect that it has a lot to do with Antonio Margheriti being involved since he is famous in Italian horror circles for the gore effects he brings to films. Especially the scene where the male monster (Srdjan Zelenovic) rips open his stomach sutures, exposing his organs in an act of suicide. Very anatomically correct.

Udo Kier is probably the best reason to see this film, however. His hammy acting skills are tops! His version of Frankenstein is so demented, I guess the German accent adds a lot to it. Usually it's an American or English actor who plays Frankenstein so having a real life German (speaking in English, of course) adds to the atmosphere.

And of course Joe Dallesandro's New York accent sounds totally out of place here, just as it did in BLOOD FOR DRACULA. He sounds like a male hustler hanging out in Times Square instead of an Italian stable boy

Also hideous is Monique Van Vooren as Baroness. Good gawd, the Dallesandro character must have been real hard-up in order to sleep with that old hag.

Still, it has decent atmosphere and the Criterion DVD uses a widescreen print that looks crystal along with production stills of the movie, secondary commentary track by Morrissey who has some revealing comments about the film, and some silly, pseudo-intellectual commentary by Maurice Yakowar that a trashy film like this doesn't deserve.

Worth seeing mostly for Kier's presence.

6 out of 10

To begin honestly, FLESH FOR FRANKENSTEIN isn't for all tastes. However, the film and brother, BLOOD FOR Dracula, are great treats to genuine horror movie buffs. Surprisingly, for some reason the latter, as offensive as the former was not listed as a 'Video Nasty'. These two films were made back to back (a la Matrix Reloaded and Revolutions) and by the same cast and crew and exploited Andy Warhol's name for distribution.

If you have a fondness for cheesy, funny and gory decadence, then you'll love this film. Plus Udo Kier is and Arno Juerging are great in their roles. The fabulous line – To know Death Otto, you first have to f**k life in the gall bladder – was a bloomer influenced by Last Tango in Paris, but was so funny, director (Paul Morrisey) left it in.

As a passing note, I remember seeing both Ace Ventura and Blade in the cinema for the first time and loudly saying 'It's UDO!' when he appeared.

Possibly the oddest re-imagining of the Frankenstein story ever made, Paul Morrissey's 1973 semi-avant-garde, satirical spoof is also one of the funniest, and most gruesome. Dr. Von Frankenstein (played by B-movie favourite Udo Kier) is obsessed with creating what he believes will become a master race of Serbians who will bend at his will. He locks himself away with his assistant Otto (Arno Juerging), manufacturing hideous creations from body parts. He creates a male and a female to give birth to the first of his new race, but he is frustrated and unsatisfied with the male's sexual urges. Von Frankenstein's wife/sister, meanwhile, is following her own urges with farmhand Nicholas (Joe Dalessandro), who is coincidentally the best friend of the doctor's latest victim.

One of the strangest pairings in cinema history, director Morrissey and producer Andy Warhol have certainly created an interesting piece of horror. For all it's rather sick moments of debauchery, it is actually quite impressive artistically. Filmed in Cinecitta in Rome (one of Federico Fellini's favourite film studios), the set design for Von Frankenstein's laboratory in vast and impressive. This approach works both for and against the film, as although it gives the film a grand, often operatic feel, the film can sometimes look like it's on stage. That said, Morrissey's ability to frame a shot is often spectacular, especially in the ultra-wide dinner table scene, where Von Frankenstein introduces his wife/sister to his fresh creations.

Yet sometimes the film can feel a bit confused. It works well just a straight B-movie, with plenty of the weird and gruesome on show to satisfy horror fans (given those fans are into watching sex with torso wounds). But the film isn't really funny enough to call itself a comedy, clever enough to call itself a satire, or pretentious enough to be avant-garde. All these different themes seemed to clash together and I never felt settled with what kind of film I was supposed to be watching. If that was the point, then well done, but it still doesn't make the movie into anything special.

Saying that, I did thoroughly enjoy 90 minutes in the minds of two strange characters that had a small, if fascinating, effect on cinema.

www.the-wrath-of-blog.blogspot.com

"Flesh for Frankenstein" is a silly exploitation version of Frankenstein by Mary Shelley. Maybe in the 70´s this trash film could have been funny since the societies were more naive, but in the Twentieth-First Century, it is boring, silly and unfunny. Dalila Di Lazzaro is still a very hot woman in the role of the female creature. My vote is three.

Title (Brazil): "Carne para Frankenstein" ("Flesh for Frankenstein")

"Flesh For Frankenstein" of 1973 is a wonderfully grotesque, bloody, bizarre, creepy, hilarious, artistic and absolutely brilliant slice of European Exploitation Horror that may not be missed by any lover of cult-cinema. The first of two takes on classic Horror tales directed by Paul Morrissey, starring Udo Kier and Joe Dallessandro and (co-)produced by iconic artist Andy Warhol (the other being "Blood For Dracula), "Flesh For Frankenstein" (which is sometimes referred to as "Andy Warhol's Frankenstein") is an Italian/French/American co-production that simply has to be seen to be believed.

A blend of rich Gothic atmosphere, grotesque artsy imagery, unvarnished sleaze and excessive gore and wonderfully black humor, "Flesh For Frankenstein" is both a tribute to- and satire of earlier Horror greats. At the time of its release, the film was highly controversial for its depiction of sex and gore and even received an X-Rating in the US: No wonder, as this unspeakably morbid little gem features all kinds of demented scenes including explicit perversions, such as necrophilia, all containing a very VERY morbid sense of humor.

Udo Kier shines as a very demented Baron Frankenstein (with a thick German accent), who lives with his sister/wife (!) Katrin (Monique Van Vooren), their two children, as well as his equally demented assistant in a castle in Serbia. Frankenstein plans to create female and a male Zombie from body parts; the natural children of his creations are then to become a perfect race of people. In the meanwhile, the super-potent stable-hand Nicholas (Joe Dallesandro) has sex with every female that crosses his way...

Udo Kier fits perfectly in the role of the Baron - extremely demented, perverted and weird, Frankenstein constantly yells at his assistant for being a pervert. This Baron is dedicated to science and obsessed with results as are other Frankenstein versions in cinema (such as those played by Colin Clive or Peter Cushing), but, unlike these predecessors, he is also demented in every other imaginable way. Udo Kier is definitely one of Germany's greatest actors and doubtlessly THE remaining expert for sinister and eccentric characters since Klaus Kinski passed away. He is truly great here. Monique van Vooren is also very good as the Baron's equally malicious sister/wife - van Vooren looks very young for her age (she was 48 when the film was made), but also really weird, since she has no eyebrows. Italian Horror enthusiasts will notice that the Frankenstein couple's daughter is played by Nicoletta Elmi, who was in many other cult-classics such as Dario Argento's "Profondo Rosso" (1975), Mario Bava's "Bay of Blood" (1971) and "Baron Blood" (1972), as well as Aldo Lado's Giallo "Who Saw Her Die?" (1972).

"Flesh For Frankenstein" is a film that is very gory and outrageously morbid for its day. When I first saw it, some scenes even reminded me of Joe D'Amato's 1979 shocker "Buio Omega" (though this film isn't quite AS demented and sick as D'Amato's film). IMDb and some other sources credit Italian Horror deity Antonio Margheriti, who happens to be an idol of mine, as co-director of this film; however, it appears that Margheriti was merely credited to draw Italian viewers into cinemas, and had little to nothing to do with the actual production of the film. Either way, this is a must-see. "Flesh For Frankenstein" is a wonderfully bizarre, atmospheric, gory, demented, morbid, incredibly (and VERY darkly) funny film, that MUST be seen by all cult-cinema fans, and, personally, I cannot understand how anyone could not love it. My rating: 10/10

It's very hard to recommend this film, but it is also hard to dismiss it as Criterion saw fit to issue it in their collection.

Udo Kier (Halloween 2007, Grindhouse, All the Queen's Men, and all of Lars von Trier's movies) is the strangest Baron Frankenstin I have ever seen. He gets a certain glee out of playing with internal organs. He is into incest and necrophilia, and has plans to create a Master race obedient to him - sound familiar. Of course, his plans go awry when he selects the wrong head for his Frankenstein.

His sister/wife (Monique Van Vooren) is more concerned with the stable-boy (Joe Dallesandro).

Funny and strange, Paul Morrissey has written and directed a decidedly different version of Mary Shell's story.

Well. we can only speculate what Mary Shelley would have made of this! By the time it came to the early 1970's there was a peculiar trend in European genre cinema for erotic/sleazy Frankenstein films. Amongst others there was The Erotic Rites of Frankenstein and Frankenstein '80 – both from 1972 – so it can be not too much of a surprise that a year later came the king of this very specific sub-genre, the one and only Flesh For Frankenstein. It was famously produced by New York Pop artist Andy Warhol, along with the similar Blood For Dracula. But it's a far cry from Warhol's other art films and unsurprisingly his creative input was pretty negligible. It was filmed in Cinecittà studios in Rome and directed by Warhol acolyte, Paul Morrissey. But irrespective of who did what and why, the main thing about this one is that it's a bona fide trash classic of the very best kind.

Its blood and guts galore and transgressive sex all the way. But it's all presented in a camp manner that simply has to be seen to be believed. The acting ranges from insanely over-the-top (Udo Kier) to hilariously under-the-top (Joe Dallesandro). What makes it so very funny is that despite the sheer ridiculousness of proceedings everybody plays it deadpan straight. We have Kier fully committed and out of control as the Nazi-like Baron who dreams of making a new master race; Dallesandro is a local shepherd stud with a hilariously out of place New York accent – he seems more like a Times Square street hustler than a character from the early 19th century; then there is Arno Juering in a bewildering performance as the eye-popping Otto, assistant to the Baron; Monique Van Vooren makes an impression too as the Baron's over-sexed wife/sister; even the couples incestual offspring are memorably creepy, the little girl being the one and only Nicoletta Elmi who appeared in dozens of Italian horror and giallo flicks in the early 70's.

Flesh For Frankenstein was also noteworthy for being one of the members of the infamous video nasty list, which of course was a selection of movies deemed criminally obscene by the British authorities back in the early 80's. It's an example of an entry from this list where you sort of understand why it caused offence in the first place. Not only does it have a healthy dose of explicit gore – including a hilariously over-the-top finale – but it is wilfully transgressive in other outrageous ways with the brother/sister-husband/wife incest plot strand and the baron's necrophiliac behaviour with his zombie creations. Of course, all of this excessive content, funny performances and insane dialogue adds up to a must-see movie for anyone with a passing interest in Euro horror from the schlockier end of the scale. On top of all of this, it's actually a quite handsome looking film, which is perhaps unsurprising given its Cinecittà origins. Suffice to say that all of this adds up to a cult film, truly worthy of the tag. Its additionally well worth seeking out its sister film Blood For Dracula, which is slightly less psychotronic but equally indispensable.

This messy little splatter-fest was heavily censored in most markets back in the 70s and fully restored its wildly lurid visuals can still shock. The movie is all about the visuals and the splatter, and is so over the top that it gets a bit silly. The exploitation elements of the Frankenstein story - the grave-robbing, the obsessive experiments in mad science - have never been this wildly exploited and manage to straddle spoofery and shock cinema about equally well. This is not to say that this is in any way a good movie. It's almost a joke on the audience. The script is complete trash, straight out of a bad Gothic novel and probably meant to be laughed at, but played straight-faced by the film's 'actors'. The 'acting' is pretty horrible. Udo Keir is his usual creepy Eurotrash self and even moderately effective in a one-note performance, but he's the only cast member who has any business being in a period piece. Everybody else, especially Warhol protégé and gay icon Joe Dallesandro, is just too urban-contemporary (not to mention inexperienced) to pull off a 19th century look or 19th century speech. The women look decorative and shed their tops fairly often, but don't look for a romantic subplot or a strong female character because there aren't any. As straight-forward drama, this movie would get about 1/2 a star.

My rating is based on its effectiveness as an exercise in subverting audience expectations and slamming the Gothic horror genre which, after 15 straight years of Hammer and Roger Corman, had become a bit ripe.

Also known as ANDY WARHOL'S FRANKENSTEIN or ANDY WARHOL PRESENTS FRANKENSTEIN, this early 1970s film is associated with Warhol only in the sense that the pop artist put up the money for the project and because it featured several actors--particularly Joe Dallesandro--who had appeared in various Warhol "factory" films. The film is a calculated effort to create a cult film, even down to deliberate courting of the X rating it received at the time of its release.

The Baron Frankenstein (Udo Kier) is married to Baroness Katrin (Monique van Vooren); they have two children and reside in the obligatory isolated castle complete with secret laboratory, where Frankenstein and his assistant (Arno Juerging) conduct their work. In this particular case, they seek to create both a male and female "monster" for breeding purposes. Unfortunately, when Frankenstein collects a shepherd's head for his male monster, he runs afoul of the shepherd's friend Nicholas (Joe Dallesandro.) The film gives every character a far-out sexual spin. The Baron and Baroness are actually brother and sister and their children are not only the result of their incestuous relationship, they themselves give every appearance of following in the family tradition. The Baron's sex life consists of unfastening the stitches of his female monster and... ahem... shall we say enjoying the pleasures of her internal organs; sexually abandoned by her husband-brother, the Baroness takes lovers (and they are spied upon by the children)--and then decides she wants to fool around the male monster. The lab assistant wants to imitate the Baron's explorations of the female monster; Nicholas rolls around naked with every woman in the village. And so on.

The film is obviously intended to be a bloody, grotesque, and erotic black comedy--but while it's certainly bloody enough and quite grotesque, it isn't greatly erotic and it's not particularly funny. It is also very sloppily made, and worse still it is as slow as molasses in January. The absolute best thing that can be said for FLESH FOR FRANKENSTEIN is that Joe Dallesandro, who can only be described as a rough-trade dream, has a scene where a lizard runs across his naked butt. One star for Joe and one star for the lizard. Recommendation: rent it before you buy it, because for most people one viewing will be more than enough.

Gary F. Taylor, aka GFT, Amazon Reviewer

Paul Morrissey´s film is probably the most unusual adaptation of the well-known Frankenstein-stuff I´ve ever seen! The story is about the mad scientist (likewise to his "Blood for Dracula"-role Udo Kier´s giving another outstanding performance, what makes him being the most culty German actor next to the inimitable Klaus Kinski!), who wants to create two artificial creatures to father some children. However, the experiment runs out of control, his sister/mother of his son and daughter starts having an affair with her servant and finally the whole plot ends in a big disaster... In comparison to James Whale´s "Frankenstein" from 1931 starring horror-icon Boris Karloff there´s nothing left from the romantic charm of the original. Director Paul Morrissey´s movie has created a bizarre and creepy scenario that contains a plenty of blood and guts, grotesque humor, hinted incest and love to dead bodies. Some calm and tender moments are in a gross contrast to the rest of the film. The end is bloody and pretty macabre. After all a very provoking, but nevertheless a really recommended mixture between splatter and art !

Paul Morrissey, best known for his association with notorious pop artist Andy Warhol, writes and directs this adaption of Mary Shelley's famous monster yarn. Arguably, the monster in this version is the driven Baron Von Frankenstein, played by the excellent Udo Kier. He wants to create an artificial couple to mate and produce an army that will obey his commands. Nothing understated there then, and that includes Kier's performance which is rich, wide-eyed and convincingly insane. In an interview, Kier admitted his command of English was shaky at the time; he wasn't aware of what a gall bladder was - the most famous line in the film 'to know life, you first have to **** death in the gall bladder' no longer quite has the same impact!

Meant to shock as a priority, the film's release was originally released in 3D, hence much is made of bloody body parts appearing to pour out of the screen. Some moments are revolting, and the mix of sex, death, dissection and necrophilia is heady. The open-ended finale is frustrating - especially for Srdjan Zelenovic!

Acting is variable. Monique van Vooren is effective as Baroness Katrin Frankenstein, as is writer, model and actress Dalila Di Lazzaro as the nameless silent female 'monster'. The Baron's two children witness much of the gore, especially in the latter stages of the story; I'm sure that such a thing wouldn't happen nowadays. Surely someone somewhere would be offended on behalf of the juveniles. It didn't do young Nicoletta Elmi (Monica) any harm. Elmi appeared in many Mario Bava and Dario Argentino thrillers throughout the '70s and '80s and was a familiar face even here, at the age of 9.

Frequently grotesque and surprisingly dull in places, but featuring a musical score (by Claudio Gizzi) that is often breathtakingly gorgeous, Flesh for Frankenstein is nevertheless a must-see if you are a horror film fan. My score is 7 out of 10.

Director, Producer, and intentions aside, movies age however they age. This is the plight of the creative team behind any work of art, and films are no exception. Watching this movie nearly 40 years after it was made, without knowing much about Andy Warhol or anything about Paul Morissey, the best I can do is review this film on what I see:

It's hilarious! I hope that was the intent. The dialog is campy and ridiculous, the acting is over the top, the subject matter is disturbing, the gore is pretty extreme, and the story is pretty far from the touching, haunting tale that Shelley originally penned.

It is a macabre comedy of power gone unchecked (as well as inbreeding, necrophilia, organs fetishes, just for starters!) with pretty great bloody special effects and super creepy children. So, you know, a family film.

Rating: 26/40

I cannot recall a movie I hated as much as this one. The sex is not sexy. The shocks are not shocking. He's trying to be disturbing for the sheer sake of being disturbing. And strangely enough, it's boring. Bored! Me! Out! Of! My! Mind! The characters lack depth. They're creepy for no reason. The image of the two little kids at the end about to torture, dissect, or whatever they're about to do to the good doctor was disturbing but for no good reason. Warhol was trying to be weird for the sake of being weird. Yes, he accomplished that, but no, he did not make a movie worth watching. I hated hated hated this movie. Two decades after I first saw, the only reason I would ever consider watching it would be to reconfirm that it is the worst piece of junk I ever saw!

I first saw Paul Morrissey's "Blood for Dracula" (1974), which was filmed after this, "Flesh for Frankenstein," and made with much of the same cast and crew, as well as also being advertised as produced by pop-art celebrity Andy Warhol. I'm kind of glad I did. Blood and sex is routine in Dracula movies, so Morrissey's gory excess may not be as shocking as it is here. Besides that, "Blood for Dracula," while far from a straightforward adaptation, reworked the invasion threat of Bram Stoker's story in a humorous way and added political and sexual intrigue to it. "Flesh for Frankenstein" does much the same thing with Mary Shelley's novel. It's surprisingly well made and cleverly conceived for an exploitation film.

Sex is largely absent from Shelley's book and the gore mostly implied, but not so here. Shelley's Frankenstein married his adopted "cousin;" here, he married his sister, and they have two children, who spend most of the film spying on the disturbing practices of their parents. It's an amusing burlesque on such nobility who married their relatives to protect their wealth from the "other" and preserve whatever supposed bloodline purity. This also plays into the film's new rationale for Frankenstein to play God: he wants to create a master race of zombies that he controls. He believes Serbians are superior because, as he claims, they're direct descendants of Ancient Greece. That the Baron's home is filled with old works of art and that even this film, in its less gory moments, sometimes has the look of a fine painting also gets at the theme in Shelley's novel of Frankenstein's preference for alchemy over the advances of the Scientific Revolution of his time. The book's subtitle of "The Modern Prometheus" also recalls Ancient Greek mythology.

For his purposes, this film's Frankenstein creates a man and a woman, so as to procreate. His laboratory has a pile of corpses and body parts in a corner, from which he has selected the best bits. Although he still uses some kind of electricity to bring them to life, there's no lightning bolt this time. Seeking the head of a man with enough sexual appetite to multiply his master race, Frankenstein and his assistant Otto mistake an asexual wannabe monk for his sex-crazed friend and fellow lower-class worker. Frankenstein personally cuts the head off the monk with what looks like a hedge trimmer in one of the film's many gruesome scenes.

Meanwhile, Baroness Frankenstein discovers the sex-crazed friend and employs him to satisfy her own perversities. Perhaps because of the campy excess of it, I wasn't as disgusted by the body mutilation as I was merely by the sucking sound from the Baroness as she slurps her servant's armpit. Otherwise, "Flesh for Frankenstein," besides the implied incest, contains nudity and sex scenes of adultery, piquerism, rape and necrophilia. In one scene, the Baron is aroused when cutting the stitches of a female cadaver and, then, proceeds to intercourse while fondling the organs inside her body--hence the "gallbladder" remark quoted in censored form in other reviews here. Later, Otto repeatedly fails to imitate his master. And a Grand Guignol finale tops it off.

I'd heard a lot about this movie, most of which was good.

However having seen it I can only describe it as a waste of time.

The acting is just horrible, the local amateur group could have done better. The cast all seem to be in a mad staring eyes competition.

The script if there was one, is lacking in any real desire to tell the story and stuffed too breaking point with padding. The film is at least 20 minutes too long.

And whatever directorial talent Paul Morrisey possesses or possessed is not evident.

The only time the film is interesting is when it gets gory and that is at best, sub-Hammer and laughable.

Come Back Hammer - all is forgiven

I'm surprised that so few people have mentioned the beautiful cinematography of "Flesh for Frankenstein." Director Paul Morrisey went to great extents to model his film after the works of Luchino Visconti and other prolific Italian directors of the time. Of course to appreciate it, you must see it in it's original widescreen picture ratio. Featuring a lush, dreamlike feel that is helped along by a gorgeous and haunting music score, and top notch costumes. The gore, although extreme, possesses a kind of poetry, and i can imagine such sexually eroticized violence must have caused quite a controversy in the UK, at the time of release. Udo Kier is superb in his maniacal portrayal of Dr. Frankenstein, and the changes and additions to the Mary Shelley novel are for once, very smart and a welcome addition to an already great tale. Aside from the 1933 film "Bride of Frankenstein," this is my absolute favorite screen version of the Frankenstein monster. Excellent film!

Oh, my God! This movie is magnificent in its badness. A true masterpiece of awfulness. This is the epitome and the complete definition of a bad movie. This is the type of movie you can enjoy even though it's far from perfect.

For example, there's a scene where Udo Kier, Baron Frankenstein, is telling his servant Otto, played by starey-eyed Arno Juerging (does he even blink(?)) about his days as an assistant, "I had to clean out all the toilets before I could stick my nose into the laboratory!" Except, due to Kier's accent, "laboratory" sounds live "lavatory". Brilliant.

Another positive is that this is a cross between the old lavish Hammer Horror movies and the visceral Italian gorefest and it works really well. There is not one scene where you cannot see everything, though there are times you wish you weren't seeing it. Especially when the Baron likes playing with the female Zombies innards too much and poor Otto has to keep wiping his brow. Even though you think this is wrong it only gets worse.

Even when you think the only one who is remotely sane is the Baron's wife, brilliantly portrayed by Monique Van Vooren, even she tips her toes into the darker side of sexual kinkiness. I can fully understand why this one got the BANNED stamp, though they are done so gloriously you see it as funny or erotic.

The story is a pretty decent one though. The Baron is looking to reincarnate humans into Zombies and with the sole purpose of procreating and building a super-race of Serbians. Through his strict guidelines, he procures his body parts for looks and sexual prowess. These Zombies will give him the perfect children he always wanted and he will have control over them all. This allows the writer to create some good individual characters, though writing, acting, and direction aren't perfect because each personality is different it helps to keep the viewer watching the screen. I especially loved the male Zombies attitude and logic at the end of the story.

The special effects are up to the usual Italian standards. Even though the decapitation isn't too realistic, you have to give the FX crew big respect because the eyes blink and move, which they will do because a head can remain conscious for a minute after being removed. There are lots of guts and oodles of bright red blood (much too bright to be real).

All of this mixed in with some nudity and you have a marvellous exploitation movie.

This is a MUST WATCH for all who love bad b-movie horror flicks. I cannot believe it's taken me so long to find this one, though now I have I will be watching it again and again with a smile on my face and a chortle in my throat. Good on ya' Mister Warhol,,,

Another piece of low grade splatter and gore all in the order to do, what? I don't know. This entry into the Frankenstein saga is negligible to say the least. Andy Warhol's Frankenstein? I'm not surprised. It's as if Ed Wood, the grade "Z" director from the 1950's had obtained a larger budget but still ended up making nothing of merit. The story, in spots, is almost actually comical and sophomoric, much like a skit on SNL. The dialog, if you can call it that, is juvenile and totally silly. The "acting" far below the junior high school level. Care to take some time out of your life and watch this? Go ahead but don't say that I didn't warn you. I'll take no responsibility.

I re-watched 'Flesh For Frankenstein' last week for the first time in years, and I enjoyed it even more this time than I did the last. This movie just gets better and better as the years go by. A sensational mixture of gore, humour, horror, sex and subversion. They really DON'T make them like this anymore! Udo Kier had several movies under his belt before this including the hugely underrated 'Mark Of The Devil', but his unforgettable role here, and in Paul Morrissey's companion piece 'Blood For Dracula', sealed his fate forever as one of the living legends of trash and exploitation movies. This is absolutely essential viewing for cult/horror/black comedy fans. A true classic!