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The List Thus Far (Certified Weird Movies)

3 Women (1977)

8 1/2 (1963)

The 5,000 Fingers of Dr. T (1953)

The Adventures of Buckaroo Banzai Across the Eighth Dimension (1984)

Akira (1988)

Alice [Neco Z Alenky] (1988)

Alice in Wonderland (1966)

Allegro non Troppo (1976)

Altered States (1980)

The American Astronaut (2001)

Antichrist (2009)

Archangel (1990)

Bad Boy Bubby (1993)

Barbarella (1968)

Barton Fink (1991)

The Beast of Yucca Flats (1961)

Beasts of the Southern Wild (2012)

Begotten (1991)

Being John Malkovich (1999)

Belle de Jour (1967)

Black Swan (2010)

Blood Diner (1987)

Blood Tea and Red String (2006)

A Boy and His Dog (1975)

Branded to Kill (1967)

Brazil (1985)

Bronson (2008)

Careful (1992)

Carnival of Souls (1962)

Cemetery Man [Dellamorte Dellamore] (1994)

Un Chien Andalou (1929)

The City of Lost Children [La cité des enfants perdus] (1995)

Clean, Shaven (1993)

A Clockwork Orange (1971)

Cowards Bend the Knee, or, the Blue Hands (2003)

Daisies [Sedmikrásky] (1966)

The Dark Backward (1991)

Dead Man (1995)

Dead Ringers (1988)

Delicatessen (1991)

Dillinger is Dead (1969)

Doggiewogiez! Poochiewoochiez! (2012)

Dogtooth [Kynodontas] (2009)

Dogville (2003)

Donnie Darko (2001)

Don't Look Now (1973)

Elevator Movie (2004)

Enemy (2013)

Enter the Void (2009)

Eraserhead (1977)

Escape from Tomorrow (2013)

Eternal Sunshine of the Spotless Mind (2004)

Even Dwarfs Started Small (1970)

Evil Dead II (1987)

Eyes Without a Face [Les Yeux sans Visage] (1965)

Fantastic Planet [La Planète Sauvage] (1973)

Fear and Loathing in Las Vegas (1998)

Fellini Satyricon (1969)

Final Flesh (2009)

Forbidden Zone (1982)

Funky Forest: The First Contact (2005)

Glen or Glenda (1953)

Gothic (1986)

Gozu (2003)

La Grande Bouffe (1973)

Greaser's Palace (1972)

Gummo (1997)

Häxan [Witchcraft Through the Ages] (1922)

Hedwig and the Angry Inch (2001)

Help! Help! The Globolinks [Hilfe! Hilfe! Die Globolinks] (1969)

Holy Motors (2012)

The Holy Mountain (1973)

The Horrors of Spider Island [Ein Toter hing im Netz] (1960)

House [Hausu] (1977)

Howl's Moving Castle (2004)

I Can See You (2008)

Idiots and Angels (2008)

I'm A Cyborg, But That's OK [Saibogujiman Kwenchana] (2006)

The Immaculate Conception of Little Dizzle (2009)

L'Immortelle (1963)

Ink (2009)

INLAND EMPIRE (2006)

Institute Benjamenta, or This Dream People Call Human Life (1995)

Jacob's Ladder (1990)

John Dies at the End (2012)

Johnny Got His Gun (1971)

Keyhole (2011)

Kontroll (2003)

Kung Fu Hustle (2004)

Kwaidan (1964)

The Lair of the White Worm (1988)

The Legend of Suram Fortress [Ambavi Suramis Tsikhitsa] (1984)

Lisztomania (1975)

Little Otik [Otesánek] (2000)

Lost Highway (1997)

Love Exposure (2008)

Lucifer Rising (1981)

Maelstrom (2000)

Malpertuis (1972)

Maniac (1934)

Marquis (1989)

Meshes of the Afternoon (1943)

The Milky Way [La Voie Lactee] (1969)

Mr. Nobody (2009)

Mulholland Drive (2001)

Naked Lunch (1991)

Night of the Hunter (1955)

Night Train to Terror (1985)

Nosferatu (1922)

Nostalghia (1983)

O Lucky Man! (1973)

Pan's Labyrinth (2006)

Paprika (2006)

Performance (1968/1970)

Persona (1966)

Phantasm (1979)

Pi (1998)

The Pillow Book (1996)

Pink Flamingos (1972)

Pink Floyd the Wall (1982)

Prospero's Books (1991)

The Red Squirrel [La Ardilla Roja] (1993)

The Reflecting Skin (1990)

Repo Man (1984)

A Report on the Party and Guests (1966)

Repulsion (1965)

Robot Monster (1953)

The Rocky Horror Picture Show (1975)

Rubber (2010)

Run Lola Run (1998)

The Saddest Music in the World (2003)

Sans Soleil (1983)

Santa Sangre (1989)

The Science of Sleep (2006)

A Serious Man (2009)

Shanks (1974)

Shock Corridor (1963)

Silent Hill (2006)

Sin City (2005)

The Singing Ringing Tree (1957)

Skidoo (1968)

Solaris [Solyaris] (1972) -

Songs from the Second Floor (2000)

Stalker (1979)

Steppenwolf (1974)

Strange Frame: Love & Sax (2012)

Suspiria (1977)

Sweet Movie (1974)

Synecdoche, New York (2008)

Tales from the Quadead Zone (1987)

Taxidermia (2006)

Tetsuo: The Iron Man (1989)

Tideland (2005)

Time Bandits (1981)

The Tin Drum (1979)

Tokyo Gore Police (2008)

El Topo (1970)

Toto the Hero [Toto le Heros] (1991)

Trash Humpers (2009)

The Tree of Life (2011)

The Trial (1962)

The Triplets of Belleville (2003)

Tromeo & Juliet (1996)

Uncle Boonmee Who Can Recall His Past Lives (2010)

Upstream Color (2013)

Valerie and Her Week of Wonders (1970)

Vertigo (1958)

Videodrome (1983)

Visitor Q (2001)

Waking Life (2001)

Weekend (1967)

The Wicker Man (1973)

Willy Wonka and the Chocolate Factory (1971)

Yellow Submarine (1968)

You, the Living [Du Levande] (2007)

Zardoz (1974)

FRANKENSTEIN AND THE MONSTER FROM HELL (1974)

This is the last of an ongoing series on Hammer horror director Terence Fisher.

Frankenstein and the Monster from Hell was the last of the Hammer Frankenstein series, as well as Terence Fisher’s final film. It is generally regarded as a weak swansong.  At first glance, it seems a remake of The Revenge of Frankenstein (1958), but with a noticeably reduced budget.

Peter Cushing, in his final portrayal of Baron Frankenstein, inexplicably sports a curly blond wig which makes him look a bit like a deranged Shirley Temple, and he looks alarmingly emaciated. Off-screen, the actor’s wife had died, after a long illness, only the previous year, in 1971 (Monster from Hell was filmed in 1972 and remained on the shelf for two years).  Cushing was openly despondent and in intense mourning.  He later admitted to having had suicidal tendencies during this period.   Cushing never remarried, nor did he ever fully recover from the loss.  The toll of that recent personal tragedy is clearly visible on him in this film and, despite all of the atrocities committed by his character, that off-screen blow adds a layer of wearied pathos revealed in the actor’s eyes.

Despite the many elements working against this film, its bad reputation is mostly hyperbole.  Like nearly all of Fisher’s films, Frankenstein and the Monster From Hell is stamped with the director’s assured composition and electric editing. The opening sequence, with a grave robber (Patrick Troughton, from Doctor Who and Scars of Dracula) being pursued by a constable,  is nearly as kinetically paced  as the tense opening of Frankenstein Must be Destroyed. Later in the film, the Baron, momentarily young again, springs to his old self  in a leap atop the creature’s back.  The creature’s eventual fate is gruesome and frenzied.   These are diversions from a prevailing, fatigued bleakness.  Indeed, a desolate milieu permeates this culmination of Fisher and Cushing’s Baron Frankenstein saga.

Still from Frankenstein and the Monster from Hell (1974)David (Darth Vader) Prowse plays the monster, and he is as encased in his rubbery, hairy ape-like latex as he was in black armor.  Prowse attempts to inject sympathy into his monster, much the same way that Freddie Jone’s monster did in the superb Frankenstein Must Be Destroyed.   Prowse, however, was at the mercy of an immobile costume which defeats his efforts.

The Baron himself is a complicated mix of ruthlessness and an occasional “weak”, but not wholly sincere, moment of pity.  While Frankenstein always had assistants since the introductory film, they normally aided him under coercion (Curse of Frankenstein, 1957), worshiped him without sharing his ruthless traits (Revenge of Frankenstein, 1958 & Frankenstein Created Woman, 1967 ) or did outright battle with him (the previously mentioned Curse & Frankenstein Must Be Destroyed).  This time, the Baron, working under another alias in an asylum, has a dedicated, recently convicted disciple in Dr. Simon Helder (dependable character actor Shane Briant), who is as amoral as his master and, at times, seems on the verge of surpassing the Baron in sheer lack of human empathy.

Both Frankenstein and Simon echo their inmate patients.  Their egos and delusions of godhood are clearly in intense competition.  A heavily symbolic scene  has the two scientists engaged in self-congratulatory songs of praise for having transplanted a musician’s brain into the hulking monster.  All while the monster, upon awakening and seeing his new state, pathetically pleads “why? why?”  The two doctors are totally oblivious.  Yet, Simon is not as completely barren as the Baron.  The apprentice comes to disagree with some of Frankenstein’s methods, even if both of them succumb to an “end justifies the means” mentality.  In the right hands, the Simon character could have been an interesting and exploratory development.  Of course, it was not to be.

The poetry of math, the beauty of music and art are spirits which eludes Frankenstein. Yet, Frankenstein is relentlessly driven to succeed, consequences and casualties be damned.  The inevitability of his hollow, abject failure is forever denied and it is here that the Baron, despite being irredeemable, strangely evokes a degree of pity.

Anthony Hinds wrote the script (under his usual pseudonym, John Elder) to which Fisher responded with enthusiasm, knowing it to be his last film.  Frankenstein and the Monster From Hell parallels its main character.  It projects a tired spirit,one that is weighed down with a Bunyanesque burden, but moments of youthful charisma rise to the surface, in revolt against the final outcome of the process. 

1 comment to FRANKENSTEIN AND THE MONSTER FROM HELL (1974)

  • Venkatesan Iyengar

    “David (Darth Vader) Prowse plays the monster, and he is as encased in his rubbery, hairy ape-like latex as he was in black armor. Prowse attempts to inject sympathy into his monster . . . . Prowse, however, was at the mercy of an immobile costume which defeats his efforts.”

    Quite agree. Costume can only assure a grand entrance and perhaps complement a performance. However, if not done discerningly, it can mar and deflect the viewers’ attention from a fine performance.

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