Victor, Baron by blood and Doctor by career choice, is certainly not a sympathetic character here. Perhaps even less so than his original incarnation in the source material. He shows very little compassion when it comes to furthering his projects. The same can be said when it comes to the housekeeper he's having an affair with. Despite an introduction where the young Victor meets with his tutor, showing them growing older together, this friendship is secondary to his desire for knowledge and advancement. Cushing does a good job at being callous and charming in equal measures where the plot demands it, and overall it's an entertaining if uninspiring take on the story.
The sets are bursting with colour as the lab equipment generates power and pumps sinister red liquids through glass instruments, but generally the atmosphere is negligible and it doesn't have the kind of dramatic lighting you might expect. It's often a bit flat despite the obvious attempts to make everything a bit more lurid and a bit more sexy. The same kind of approach would work better in the more supernatural and more Gothic world of Dracula, in which Lee and Cushing would often share similar on screen rivalry. It would also provide a more appropriate back-drop for those sensual aspects of a story like this. Frankenstein may be a source of power, and creative urges, but the vampires are always far more more alluring.
It's said that Lee got the role over a matter of minor wages against the
another casting option; how different things could have been if they'd
been more generous. As the creature he's interesting enough, although his make-up leaves a lot to be desired and looks overly waxy. Still, the cuts and scars provide some texture and one dead eye provides a creepy look. His performance is more appealing though it's intentionally stiff and mannequin like. This lends the creation an air of sadness... but most of the time he just grabs people and strangles them. Its nature is violent rather than child-like, meaning the results are always overshadowed by the 1930s rendition.
Frankenstein even uses it as a murder weapon, sapping any sense of pathos from both characters. The old 'perfect brain in a perfect body' plot is still here, with the same outcome despite different starting points. In terms of the general storytelling it's clear to see why Terence Fisher was associated with the genre. His direction adds a few memorable touches such as the reveal of the creation; where a bandaged figure reveals a disfigured face and there's a great under-cranked zoom effect towards the creature. The old style Hammer Glamour is present and correct in terms of scenery and costume, but it's nothing special. Both of this film's stars would go on to feature in better productions as things became more creative.
3/5
If the added sex and violence in Hammer's first version wasn't to some people's liking, then they'd certainly have a problem with The Horror of Frankenstein. Personally I'd say it makes for a fun double feature with it's original release partner Scars of Dracula. The Baron this time around is younger, more calculating, and more oversexed than before, with Ralph Bates taking the lead. It's a far sillier take on the story as young Victor kills his father instead of just inheriting his title, and then proceeds to sleep with everyone possible instead of just his housekeeper. The affair plot and some of the other elements remain from their first rendition, but with alterations along the way. His friend is now a fellow University student, but they have the same reservations about what's going on.
The brain damaged by glass still causes the problem with the creature, rather than it being misunderstood. It's still a monster instead of an outcast being forced into living; damaged by poor parenting and a cruel world. Which is a missed opportunity once again. However, this time it gets coerced into committing more than one sinister deed. It's often a farcical series of events as Bates sneers at those getting in the way of his work, and his bedroom antics; rolling his eyes when the creature runs amok. It's this overall tone that makes it entertaining. When everything comes together the script is often pithy and dry, and the horror is darkly comedic. There are some good moments including Victor noting the brain he needs on a chart, and later visualising it on the donor's face.
Rather than seeking out the 'finest' parts for his experiment, like Cushing's version, here Frankenstein hires a grave digging couple to simply get him the 'freshest' bodies. This pair get several amusing scenes and there are plenty of other side characters along the way. Instead of resurrecting a puppy, he now steals a pet tortoise from Elizabeth's father during a social visit. However, he has no interest in marrying her this time. The whole thing is ridiculous, but at times it's better for it. The creature (Dave Prowse) is now all muscle and just has an enlarged cranium rather than any real post-mortem disfigurement. The effect is... not eerie in the slightest. There's some good lighting and the sets are still a lot of fun, so it's a shame the make-up wasn't given any attention. But it doesn't take itself seriously and neither should anyone else.
3/5
(Continued in Part Two)
