Review: Revenge of Frankenstein

The Revenge of Frankenstein, 1958, color, Hammer, 90 minutes (U.S. version). Directed by Terence Fisher. Starring Peter Cushing as Dr. "Stein" (Frankenstein). Francis Matthews as Dr. Hans Kleve, Eunice Gayson as Margaret Conrad, Michael Gwynn as Karl as a synthetic man and Oscar Quitak as Karl (before). Schlock-meter rating: 9 stars out of 10.

Hammer films can be somewhat of an acquired taste. Often it will seem that the cast of Mansfield Park has suddenly appeared in a conventional horror film. But I confess to being a big fan of this British horror genre. I love the raw horror of Dracula being confronted by English gentlemen warriors. The Revenge of Frankenstein, a sequel to the Curse of Frankenstein. is an efficient, compact tale with beautiful sets and scenes and marvelous restrained performances by Cushing as Dr. Frankenstein and Gwynne as the suffering synthetic man.

The plot: Dr. Frankenstein avoids death in one portion of Eastern Europe and sets up shop far way under the name of Dr. Stein. He quickly becomes the most popular doctor in town, much to the chagrin of his colleagues. A former student (Matthews) recognizes Frankenstein, but rather than turn him in, works with him to create a synthetic man (Gwynne). Of course, plans go awry and several murders occur by the monster before Stein's true identity is revealed. There is a twist ending that is a little hard to swallow, but it sets everything up nicely for a sequel.

Matthews as Cushing's confederate Dr. Hans Kleve is just window dressing, as is a nurse (Gayson) who inadvertenly sets the monster free. This is Cushing's show, and he is marvelous. He portrays a truly evil, amoral man, but his charisma, energy and controlled emotional performance makes the audience cheer for him. Fisher's direction is as economical as a Don Siegel film. He keeps the film moving at a fast pace and virtually no scenes are wasted.

Even Dr. Frankenstein's motive for creating a synthetic man appears pure at first. It's to place the brain of a dwarf (Quitak) in a "perfect body." However, when the brain and body don't mix and the suffering creation (Gwynne) goes mad with pain and fury, the doctor is curiously cold, revealing his icy interior. As mentioned, Gwynne is great in conveying the suffering of the monster and its agony that it cannot control his pain or actions. The Revenge of Frankenstein is a winner, and deserves a spot in any cult film collection. Notes: British version runs 94 minutes. Film was originally banned in Sweden.

-- Doug Gibson

Review: Dracula: Prince of Darkness

Dracula: Prince of Darkness, 1966, 80 minutes, Hammer, Color. Directed by Terence Fisher. Starring Christopher Lee as Dracula, Barbara Shelley as Helen Kent, Andrew Keir as Father Sandor, Francis Matthews as Charles Kent, Suzan Farmer as Diana Kent, Charles ÿBudÿ Tingwell as Alan Kent, Thorley Waters as Ludwig, Philip Latham as Klove and John Maxim as the coach driver. Schlock-Meter rating: 9 stars out of 10.

This is a magnificent horror film. Two English couples are vacationing in Eastern Europe. They are warned by a priest (Keir, who is great) to stay away from Carlsbad, and above all, an unmarked castle. Of course, they ignore the priest's advice and enter the castle. There, with the help of an evil assistant (Latham), Count Dracula (Lee) is resurrected from dust and the night turns to terror for the couples.

The acting is superb, and director Fisher's economical pacing prevents the film from dragging and maintains suspense. Keir, as Father Sandor, is a great vampire hunter, and carries much of the film with his commanding presence. Barbara Shelley as the ill-fated Helen Kent, undergoes an effective transition within the film. The first half of the film she's a repressed, shrewish early-middle-aged wife. However, after falling prey to Dracula's curse, Shelley becomes a beautiful, passionate woman with full cleavage. She literally looks 15 years younger and deserves credit for pulling off the transformation. Waters as Ludwig, an imbecile who helps Dracula, is a capable Renfield clone, and Latham is sinister and eerie as Dracula's living servant Klove.

The film opens with a final shot from Hammer's classic The Horror of Dracula, where Peter Cushing destroys Lee's Dracula. It was the third Hammer Dracula film, but Lee's second playing the man with a cape. Lee produces scares, despite never uttering a word in the film. He is sinister, yet commanding. Not human, he prefers to communicate with snarls and shrieks of rage or triumph. I won't give away the entire ending, but Dracula meets his fate in a rather unusual manner.

One minor quibble: I wish the Hammer films were shot in black and white rather than color. I understand that it worked well in the 1960s, but today the Hammer films are a bit dated because of the color. They would appear fresher if black and white. The forest settings appear realistic and the castle is suitably creepy. It's a must-rent cult film. Better yet, buy it for your collection.

-- Doug Gibson