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Frankenstein and the Monster from Hell (1974)

 
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Bud Brewster
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PostPosted: Fri Apr 10, 2015 8:17 pm    Post subject: Frankenstein and the Monster from Hell (1974) Reply with quote

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The last and the least (number six) of the Peter Cushing/Hammer studios Frankenstein series from director Terence Fisher.

It teams Cushing with another future "Star Wars" star, David Prowse, the man who wore the Darth Vader outfit. Prowse is the monster created by mad scientist Cushing and fellow doctor Shane Briant, with assistance from Madeline Smith. Prowse's monster makeup resembles a caveman, complete with an abundance of hair.

The story is set at a mental hospital being supervised by Cushing. The limp script's only saving grace is the inclusion of some amusing dark comedy.

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Last edited by Bud Brewster on Tue Dec 19, 2017 6:15 pm; edited 1 time in total
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Bud Brewster
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PostPosted: Fri Feb 17, 2017 12:08 pm    Post subject: Reply with quote

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The trailer gives us a good look at the unusual monster, a cross between the Frankenstein monster and Big Foot!
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_Frankenstein and the Monster From Hell - trailer


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Bogmeister
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PostPosted: Sat Sep 14, 2019 11:11 am    Post subject: Reply with quote

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________ Frankenstein and the Monster from Hell


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The final Hammer Frankenstein film (after the attempted restart of Horror of Frankenstein in 1970), this was filmed in '72 but not released until a couple of years later.

The first sequence focuses on the newest young disciple of Frankenstein's work (Shane Briant), who is nabbed by the coppers for fiddling with the parts of corpses. Instead of incarcerating him, the judge orders him taken to the local asylum. As it happens, Dr. Frankenstein (Peter Cushing) is ensconced in this asylum under his latest alias and basically runs the place by controlling the warden.

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It's not long before the two mad doctors are engaged in the questionable practice of brain transplant surgery. In this case, the subject is some strange apelike individual (David Prowse, hidden under extensive make-up and a body suit) who is one of the many inmates there. Maybe he is some kind of missing link — it's never really explained.

Frankenstein and his new apprentice end up transplanting the brain of a genius inmate who just died into the apelike creature. But, as to be expected, things do not go well with the "new man."

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What sets this entry of the Hammer Frankenstein series apart is the setting of the insane asylum. We are introduced to various inmates (including Bernard Lee, 'M' in the James Bond series, in a cameo), and the entire scenario has a definitely bent appeal. Frankenstein once again is a sociopath, amoral, and disposes of select inmates for his own needs — unknown to his young, naive assistant.

The new creature in this one is too grotesque and, since its appearance is unexplained, almost arbitrary. The film's climax is very open ended, suggesting more to come, but this was the finale.

BoG's Score: 6.5 out of 10


________ Frankenstein and the Monster fron Hell


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Frank Trivia: Prowse also played the monster in the previous film, Horror of Frankenstein, but looked completely different in that one (i.e. you could tell that it was Prowse in the previous film...)


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johnnybear
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PostPosted: Sat Sep 28, 2019 7:59 am    Post subject: Reply with quote

The previous film was like you say a restart or attempted restart as it did nothing for the franchise! Also it is considered a black comedy of sorts and fits in nowhere in the Hammer Frankenstein legend!
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The Spike
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PostPosted: Wed Oct 16, 2019 6:41 pm    Post subject: Neolithic Lobotomy Gone Astray. Reply with quote

Frankenstein and the Monster from Hell is directed by Terence Fisher and written by John Elder (AKA: Anthony Hinds). It stars Peter Cushing, David Prowse, Shane Briant, Madeline Smith and John Stratton. Music is by James Bernard and cinematography by Brian Probyn.

Working under the name of Doctor Victor, Baron Victor Frankenstein (Cushing) is head physician at an asylum for the criminally insane. When Simon Helder (Briant), a gifted doctor himself and a follower of Frankenstein’s work, is committed to the asylum on sentence of sorcery, the pair quickly form a partnership that will unleash Frankenstein’s latest project…

Actually made in 1972 but released two years later, Frankenstein and the Monster from Hell came out as Hammer Horror was limping along on its last legs. It was to be the last in the Frankenstein series and the last film directed by the brilliant Fisher. The reputation of the film is a very mixed one, certainly the box office returns and critical notices at the time point it out as a misfire. But what I have come to find is that staunch Hammer Horror fans have a kind regard towards the film, and I think that is fair given that it pretty much goes back to past glories, if not in scope, but in narrative and atmospheric toning.

Yes it is viable to say that it’s pretty much a rejig of the earlier Revenge of Frankenstein, so in that it’s a bit lazy, but I like to think that the return of Cushing, Fisher and Hinds suggests they were making one for the fans here, and it’s not without merits in spite of familiarity and budgetary restrictions. It’s great to have Cushing back as Victor, his personal life woes giving him a gaunt look that suits Frankenstein’s character arc no end, this in spite of the daft wig he dons and a moment of Superman type heroics that doesn’t quite sit right. Briant is ebullient and good foil in the mixed up surgeon stakes, and Smith adds the Hammer Glamour without having to strip naked.

Why? Why? Why?

But it’s with the setting, the asylum and its characters, and the monster itself where it hits heights not acknowledged by the critics. Prowse’s monster is a return to tragicreature territory, with the brain of a genius who wanted out of life, the hands of a skilled craftsman and a Neolithic monstrosity of a body, once the creature knows what he has become his sadness pours out in droves. Prowse doing a great job of conveying such tragedy with visual reactions and bodily movements. The mask unfortunately means when it speaks the lips don’t move, but it’s a fine Hammer creation regardless.

The asylum inmates are in terms quirky and troubling, and with most of the shoot restricted to a couple of interior sets, the sense of being incarcerated is evident. Props are minimal, with a few of the good doctors odd looking tools and machines dotted around the place. The gore is used sparingly, but the impact is in the grand traditions of Hammer, while the back stories to Smith’s mute and Asylum Director Adolf Klauss (Stratton) are edgy strands waiting to be pulled at in the name of Guignol entertainment. It’s not a great send off for Doc Frank in Hammer world, not least because the finale lacks punch, but for loyal fans of the studio’s creature features there is love and honest respect shown by the makers. 6.5/10
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Gord Green
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PostPosted: Thu Oct 17, 2019 1:38 am    Post subject: Reply with quote

This did feel very much like a rehash of the past couple of films. Unfortunately it seemed at this point Hammer was running out of new ideas. I have to agree with Bog that this was an evident example of the dying of the genre.

Too bad they couldn't have just gone back and retold the story in a total re-start...Back to the original and the gothic, norish fantasy of the Shelly novel!

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The Spike
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PostPosted: Thu Oct 17, 2019 3:01 pm    Post subject: Reply with quote

Gord Green wrote:
This did feel very much like a rehash of the past couple of films. Unfortunately it seemed at this point Hammer was running out of new ideas. I have to agree with Bog that this was an evident example of the dying of the genre.

Yep, the genre did have a good run but all good things come to an end, but this was a great run and the legacy is water tight forever.

Cheers Gord

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johnnybear
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PostPosted: Sat Oct 19, 2019 8:29 am    Post subject: Reply with quote

This film is very much almost a remake of Revenge of Frankenstein! Except the quite effeminate man Peter Cushing created in that one is realized here as an aggressive, glass wielding anthropoid whose body takes over the brain it possesses! Similar as in how the 'man' in Revenge assumes the hunchback appearance of his brain's former body when injured by George Woodbridge's brutal landlord!
JB
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