The Evil of Frankenstein

1964

Action / Horror / Sci-Fi

49
Rotten Tomatoes Critics - Rotten 50%
Rotten Tomatoes Audience - Spilled 37%
IMDb Rating 6.1 10 2960

Synopsis


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Cast

Peter Cushing as Frankenstein
Katy Wild as Beggar Girl
720p.BLU
700.82 MB
1280*720
English
NR
23.976 fps
1hr 24 min
P/S 0 / 5

Movie Reviews

Reviewed by ma-cortes 6 / 10

Passable and acceptable entry in Frankenstein-Hammer saga with an excellent Peter Cushing

The third of the Hammer Frankenstein films , it revolves around with the mad doctor Baron Frankenstein : Peter Cushing who along with his helper: Sandor Eles arrive at his family castle near the small town Karlstaad , where once again undergo the fantastic experiments in the creation of life. Fortuitously finding his monster from time ago preserved in ice and thawing him out .But the Baron requires the services of a mean illusionist called Zoltan : Peter Woodthorpe who subsequently sends the creature to rob gold to the townspeople. Meanwhile , the chief of police : Duncan Lamont investigates the weird deeds .

Decent Frankenstein entry has thrills , fights , action , terror and chills .Preceded by The revenge of Frankenstein and followed by Frankenstein created woman. At the end happens the ordinary as well as violent confrontation between Baron Frankenstein and the townspeople with the unexpected consequences . Enjoyable interpretations all around .Exceptional , as usual, the great Peter Cushing as the famous Baron who finds once again the ugly monster and he brings it back to life .Peter Woodthorpe plays magnificently the vengeful and greedy mesmerist Zoltan who seeks vendetta and punishment against the chief of police and the burgomaster using secretly the hunk monster .Duncan Lamont plays a chief of police with whom Zoltan seeks vengeance and he finds out the strange events . While Sandor Eles plays the Frankenstein's eager assistant, Eles also acted in another successful Hammer film : Countess Dracula. Finally, Kathy Wild plays a beautiful mute beggar. The picture displays a colorful cinematography by John Wilcox and an evocative as well as atmospheric musical score by Don Banks .

The motion picture was professionally directed by Freddie Francis who usually worked with Peter Cushing . He was a good director and a prestigious cameraman . Freddie made a lot of terror films (many of them starred by Cushing) such as : The creeping flesh, Craze , The skull, Witness madness, The ghoul, Son of Dracula , Legend of the Werewolf, Trog, Dracula has risen from the grave , Torture garden, Hysteria, Doctor Terror , Nightmare , The brain, They came from beyond space, Doctor and the devils , 1972 Tales from the crypt ,1996 Crypt tales . Freddy was also an important cameraman with notorious titles as The straight story , Rainbow , Princess Caraboo, Fear Cape, Glory , Brenda Starr, The man in the moon, Her alibi , Suspense, Elephant man , Night must fall and Room at the top.

Reviewed by GL84 7 / 10

Decent enough, if only for a few reasons

Trying to get his experiments started again, Baron Frankenstein and his assistant find his earlier creature frozen in ice and still alive, where a local magician uses it to exact revenge on the townspeople who race to stop it before the creature starts another rampage.

This here wasn't that bad and actually had some good stuff going for it. The best parts to this one here was whenever it had the creature either as the main focus of the scene or featured it on-screen. The first scene with it, the flashback to the past where it shows the creature's first rampage through the forest and its' confrontations with the townsfolk results in some fun as the chases are nice, the stunts aren't too bad and it has a fun atmosphere that makes it really enjoyable. The fact that there's also some rather fun and enjoyable scenes later on inside the lab where the creature is being brought back to life through the hypnosis makes it quite fun, and when the creature goes out and gets his rampage going, the murder scenes are all nicely done. The final confrontation, where the monster gets out of control and starts a massive fire in the lab which soon turns into an inferno and takes out pretty much everything it can, manages to have much more fun from it when the hero gets stuck down there for the explosive final confrontation. The discovery of the creature takes place in a novel setting with the gloomy atmospherics of the cave-setting, the actual excavation is handled realistically and manages to feel completely plausible the whole way through, which is an unusual for these sorts of things. These here are enough to hold this off against its' bad parts, though there isn't a whole lot of flaws to this one. One of the main issues with the film is that there's an incredibly lame monster design chosen that doesn't do much of anything to instill fear in the viewer, as the expressionless green face looks like a block of flesh put atop the body, it's general shape is baggy and inconsistent, and on the whole there's hardly a whole lot of inference given it's pedigree to the past. The other flaw to this one, and the one that does the most damage is the film's utter dullness when it isn't focused on the monster. The monster is brought out in full detail quite late in the film, making it a real stretch in the beginning to get some good parts out of it. It's slow, dull and beyond the fun flashback has nothing all that exciting to make it interesting by focusing on such extreme lengths as it does on the carnival troupe and their reaction around town who in turn are yet again up-in-arms over the activities being conducted at Frankenstein manor which doesn't really allow much action, and it takes a while before something fun happens. These are the film's weak points.

Today's Rating/PG-Violence.

Reviewed by Ali Catterall 7 / 10

A grisly homage to Universal

Having been exiled from Karlstaad, and with their creature gunned down on a mountaintop, The Evil Of Frankenstein opens with a now skint Baron (Cushing) and his apprentice Hans (Elès) moping around the forests like a Gothic Steptoe and Son, half-heartedly yanking the odd corpse out of huts, before being sent packing by another set of disgusted locals. The Baron has no choice but to creep back into town and retrieve his equipment to flog it off. To add insult, Castle Frankenstein has been looted and defaced with noosed effigies. "Why can't they leave me alone?" sighs Victor. It's all a bit much.

To cheer themselves up, the pair attend a travelling carnival disguised in facemasks like Batman and Robin. Victor spots a familiar face in the crowd: "Well, well, well, my old friend the Burgomaster. Now he's chief of police. Easy to see how he got his promotion!" And he's wearing the Baron's ring. Not only that, he's now in possession of Victor's clothes, his chairs, his desk - "Even my bed!" Frankly, the pair need a positive: as luck has it, a deaf and dumb Björk look-alike leads them to a cave, where they discover the perfectly preserved body of the creature in a glacier.

Like Vernon Kay, "he's alive, but his brain is dormant," the result of being shot in the head in the previous film. The Baron hires the carnival's dodgy mesmerist Zoltán (Woodthorpe) to try to bring it out of its coma. Like some faithless pet cat who decides it's getting tastier treats from the old lady next door, the creature ignores the Baron, and will now only take orders from Zoltán. However, the bequiffed ageing wideboy has his own plans for the screeching lunk. "There are people in this village I want punished," he huffs. Not being up to speed with the finer points of semantics, the monster stomps off in its corrective boots to rip the Burgomaster a new one. Job done, it returns home, gets drunk, screeches a bit more, and goes for a lie down. Yet despite giving him life, the monster in no way considers the Baron his besht fuggin' mate. Then, as if suddenly collapsing under the weight of its own misery, the film ends very abruptly.

Directed by cameraman Freddie Francis, after Hammer's Terence Fisher bailed out following a car accident, The Evil Of Frankenstein is generally regarded by horror buffs to be the series' nadir, in part owing to the monster's laughable visage, which resembles a man wearing a rotting box of cornflakes on his head. (Ironic, given that this incarnation's appearance was made possible by the film's distributor Universal relaxing their copyright on Jack Pierce's flat-headed design for Boris Karloff.) But mostly, because it treats the continuity laid down by the previous movie with the same kind of respect the Baron has for dead people.

In The Revenge Of Frankenstein, the Baron had succeeded in creating a reasonably human-looking monster, before it was shot; was himself beaten to death by an angry mob for his groundbreaking contribution to genetics; and was then privately resurrected by his apprentice Hans. Here, there's no mention of the Baron's life-and-death experience; the creature (the delightfully named Kiwi Kingston) looks nothing like its forebear; and Hans appears to have downsized his IQ in the interim. The locals have also apparently forgotten they've actually killed him and instead merely run him out of Karlstaad on a rail. It's the Sliding Doors of horror threequels.

Despite this wild shift in text and focus (a consequence of Hammer producer Tony Hinds replacing the usual Frankenstein writer Jimmy Sangster), The Evil Of Frankenstein is quite fun in its doggedly depressing way, and for a film made in 1964, surprisingly modern; this is practically a punk movie, with its nihilistic tone, a monster that elicits not the slightest shred of sympathy, and tombstone humour at odds with the melodramatic origins. "Cut out his heart?" gasps the Baron's hired grave robber. "Why not?" comes the reply. "He has no further use for it." For a relatively bloodless series, the violence (check out the scene where the foul creature attacks and kills the Burgomaster in his own bedroom) is certainly more than you'd expect from this era of Hammer, and indeed certain scenes were replaced or re-shot for its 1968 television showing. And as you'd imagine, with the award-winning Freddie Francis directing proceedings, the cinematography is first rate. Really, it's a one-off, standing quite apart from the cycle, and none the worse for it.

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