1957 horror, dir. Terence Fisher, Peter Cushing, Robert Urquhart:
IMDb /
allmovie. The Baron is
awaiting execution for a murder he claims he didn't commit. Surely
someone will listen?
This is the first of the three films that established Hammer as a
major player in the horror genre; and they had that effect for reasons
that are almost entirely lost on me as a modern viewer. Yes, all
right, this film actually shows you the eyeball that the Baron is
planning to install in his creature, rather than just giving you
reaction shots as other characters look into a box, and in 1957 that
was shocking; but by the time I came along, the canon of horror
included Blood Feast (1963!) and other gorefests, so from where I'm
standing this comes over as restrained and mannered — and much more
effective for being so.
A lot of that, of course, is the result of Peter Cushing's acting. His
Frankenstein is an out-and-out bad guy, interested in his own schemes
and comfort to the exclusion of nearly all else; but he is amoral
rater than evil, and a polite villain, perhaps driven by megalomania
but always reasonably-spoken and well-mannered (even while he's
sending someone to their death).
The original script was by Milton Subotsky and Max J. Rosenberg, but
they ended up with a flat fee rather than a percentage, and went on to
found Amicus as an act of spite. Jimmy Sangster rewrote it from
scratch, and his experience in production meant that he planned hard
round the resources available for filming on a very tight budget.
Could it be filmed in Bray Studios or at Oakley Court, with just the
principal actors? Then it was in. (For example, a potential scene with
torch-wielding villagers was one of the first things to be cut. Extras
are expensive!)
There was also a legal consideration: Universal's lawyers were keeping
a close eye on the production and were ready to sue if they saw
anything that could be claimed to be copied from their 1930s films.
(See also the 1938 Adventures of Robin Hood, which similarly had to
avoid anything that might provoke legal action.)
This is most manifest in the makeup and prosthetics for the Creature:
it's not at all like the Universal version made famous by Karloff, but
it's still very effective. Christopher Lee was mostly known for being
very tall, but he does a splendid job of physical acting here; what's
more, the only part of him visible past the latex is his left eye, but
the first time the Creature appeared I was struck by how utterly
recognisable that eye was.
(Meanwhile, there are not enough Wimshurst machines in film.)
Within the first few minutes Frankenstein has achieved the
resurrection of dead tissue, which as Krempe points out would already
give him scientific immortality; but for him that's only a necessary
step on the way to the real goal. Where did this obsession come from?
It's never mentioned, and I do find that something of a weak point;
but it's not needed. Similarly, why I can understand his lack of
interest in Elizabeth if he's obsessed with his work, but he's happy
to screw with Justine the maid; I think it's just that he doesn't see
anyone else as people whose opinions might matter.
But while there are plenty of impressive effects, this film is resting
on its characters and their interactions (cheap to write and cheap to
film). For example, one could read Frankenstein's later relationship
with Krempe as a rivalry for Elizabeth; certainly he seems much more
interested in talking with her than Frankenstein, supposedly her
fiancé, does. Though Krempe comes over as weak too; he keeps saying
that this, this is the uncrossable line and he won't be a part of it
any more, only to be lured into helping just one more time.
I'd seen this before, many years ago, and it didn't leave much
impression. This time, particularly after a few films watched for
Ribbon of Memes that I didn't much enjoy, I loved it.
I talk about this film further on
Ribbon of Memes.