Simon Helder (Shane Briant) is arrested on charges of sorcery when it is
discovered that he is following in the foosteps of the infamous Baron
Frankenstein. Upon being confined to a lunatic asylum,
Helder is shocked to find that the doctor in charge is none other than
Frankenstein (Peter Cushing) himself…
Although The Curse of Frankenstein was the film that put Hammer Studios
and actors Peter Cushing and Christopher Lee “on the map,” as it were,
as a series it never quite matched their Dracula franchise in terms of
popularity. Hindsight has demonstrated, however, that the Frankenstein series was far more consistent in quality. Even
so, while Warner Brothers reportedly balked at backing a Christopher
Lee-less Dracula (Taste the Blood of Dracula, 1969, had been designed to
showcase Ralph Bates as a possible replacement for the vocally
dissatisfied veteran), Hammer faced no such opposition when they decided
to reboot the Frankenstein series with a younger Baron. As such, Peter Cushing sat out on Horror of Frankenstein (1970), with none other than Bates taking over the role. The film was was a flop, and Hammer decided to go back to basics with their next entry. The film was a flop, and Hammer decided to go back to basics with their entry.
Frankenstein and the Monster from Hell would
mark Hammer’s last true Gothic of the era, their last Frankenstein film
to date, and Terence Fisher’s swansong as a director. It is, in many respects, the end of an era.
The screenplay by Anthony Hinds (written under his usual nom de plume of
John Elder) would also mark his final feature length script produced by
the company, and it has been remarked upon that it bears some
similarities to Jimmy Sangster’s screenplay for The Revenge of
Frankenstein (1958). A definite air of déjà vu does hang
over the proceedings, but the film never seems stale or half hearted; if
anything, it’s something of an elegy for a period of filmmaking that
was inevitably drawing to a close. Hinds and Fisher bring
the film up to date by indulging in a number of memorably gory set
pieces, but in every other respect it’s very much apiece with the
classical style of Hammer horror. The film doesn’t aim for
the experimental, elliptical style of storytelling one will find in the
films Christopher Wicking was writing for Hammer during this period,
for
example (including Demons of the Mind and Blood from the Mummy’s Tomb,
1971), not does it seek to amp up the “sleaze” quotient by tossing in
some gratuitous nudity or lesbian lovemaking.
Some critics have attempted to argue that there is a specific continuity
from entry to entry in the series, but close examination of the films
doesn’t lend much credence to this. Despite my admitted
belief in the auteur theory, which places tremendous emphasis on the
role of the director in the filmmaking process, the auteur of this
particular series is not so much Terence Fisher as it is the various
screenwriters. Jimmy Sangster wrote both Curse and Revenge, and the two films link together clearly and coherently. When
Anthony Hinds took over screenwriting duties with Evil of Frankenstein
and Frankenstein Created Woman, he essentially ignored everything that
had come before and offered a kinder, gentler slant to the character. Frankenstein Must Be Destroyed, written by Bert Batt, most certainly was not consistent with
Hinds’ conception – but it did link into the ruthless character devised by Sangster.
With
Monster from Hell, Hinds resumed screenwriting chores – and sure
enough, the story links into his earlier efforts far more comfortably
than it does to the film that immediately preceded it. (I
am divorcing Horror of Frankenstein from this equation, as it was
ultimately a tongue in cheek retread of Curse, and it remains an anomaly
in the franchise.) Thus, Evil of Frankenstein ends with the Baron fighting for his life in a fiery conflagration. Created Woman establishes that his hands are burned. And
Monster from Hell refers back to the character having burned his hands
in a fire, thus rendering him useless when it comes to performing
intricate surgery. The Baron’s disposition is also far
more mellow and cheerful than the black hearted sadist and
black mailer of Must Be Destroyed, though by this stage in the saga
it’s quite apparent that Frankenstein is as insane as the patients he is
treating at the asylum.
It's unlikely that anybody associated with the film knew that it
represented "the end of the line," so to speak. Chances are, if the
film had been a big hit at the box office, Hammer would have put more
Frankenstein films in the pipeline. Indeed, around this time, Italian
writer/director Dario Argento even approached the studio with a
pre-packaged Frankenstein film of his own - albeit one quite
disconnected from their saga, detailing the Baron's attempts to create a
super human being in Nazi Germany, with Timothy Dalton attached to play
the lead. This failed to come to fruition, however, as Monster from
Hell demonstrated yet again that what Hammer was offering the public
simply wasn't in step with the times. The film's attempts to appease
current audience trends towards more graphic violence and gore put off
some of the more traditional (ie., genteel) fans, while simultaneously
failing to reel in new converts. Even so, there is a definite sense of
finality and melancholy that runs throughout the film. Whether this
was evident when the film was first released, or if it merely seems to
be the case in hindsight is open to speculation. Regardless, if
Frankenstein Must Be Destroyed is the "angry" nihilistic entry in the
franchise, then Monster from Hell is very much its elegy.
For his final directorial outing, Fisher was blessed with a superb
ensemble. Cushing is immaculate as usual as the Baron, tossing off
lines in a distracted manner befitting the character's descent into
madness. Shane Briant is a fine addition to the franchise, evolving
from wide eyed pupil to appalled antagonist. Madeline Smith isn't given
much to do as the mute assistant, Sarah, but she brings a delicate,
doll like quality to the role. David Prowse, previously cast as the
monster in Horror of Frankenstein, does a nice job under the
circumstances - he evokes ample sympathy, but the overdone makeup design
is much too over the top to be taken seriously (I understand that the
unwitting "donor" of the body was something of a "Neolithic throwback,"
but really?).
John Stratton steals many scenes as the lecherous
director of the asylum, and familiar character faces like Patrick
Troughton, Peter Madden and Bernard Lee (who must have really needed
the cash - he has but one scene, with no dialogue) add flavor
throughout. Fisher handles the film with his customary economy and
skill, adopting an almost detached, documentary-like quality to the
various surgery setpieces. James Bernard is also on hand to contribute a
good score, one of his last ever for the studio.
Ultimately, Frankenstein and the Monster from Hell deserves much more
respect than it typically receives. Many a film franchise has been
known to go out on a sour note (Castle of Fu Manchu, anyone?), but
Monster from Hell proves to be a happy exception. It is in many
respects one of the best films in the series; if you haven't seen it
lately, do yourself a favor and take another look. It's worth it.
