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professor liebstrum wrote:

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Thanks for the pics, it was a photo but the expression was similar to your poster. The pic I'm thinking of was well lit and atmospheric *, DP was holding the axe up near his face.
I'm probably remembering it too kindly but it was a long time ago, early 70s and I've never seen it printed any where else.

*unlike the film.

Russ

Here ya go, Prof!





Is it the least of the Frankensteins? Nahhh, I do like "Woman" but I still think that one of
the weakest of the set, weaker than this.

I think Hammer's point with this flick was to get back to monster films. In "Destroyed",
the Baron is front and center with less a monster flick than depraved ambition as character
study. In "Woman" we get a twist on the old revenge routine, but I don't see much else than
taking the monster model and making it female.

In "Horror", Hammer has less money to burn and is itching to turn its fortunes. From what I've
read here and elsewhere, late '60s franchises were not returning with the money, so the brass
had to rebrand the name to attract paying audiences. For the first time since The '50s, Hammer
was no longer the breakout revisionist, but churning product that was looking very tired in the
wake of such films as "Night of the Living Dead" and "Rosemary's Baby". What to do? Sex and
Gore it up a notch, and they will come. Nope. The problem wasn't that, Hammer already had
enough of that without offending polite vanities. The problem was The Hammer Formula.
By The Late '60s, most folks had seen enough of this stuff to predict the outcome. If you wanna
wave your FAiL banner on "Horror of Frankenstein", you can for that reason, but not much else.

I admit Bates' work is over the top compared to Cushing's, but he does reinvent the role with a
cunning aggression that equals whatever force he thinks he's about to control. Hence, he's the
ultimate control freak, and the script bangs us over the head with that message. How Cushing
would have handled the role is anyone's guess, but he did have the chops, as evidenced in the
unnecessary rape scene in "Destroyed". My guess is he would've entered the film at about the
halfway point, giving Bates a much needed rest from his dance with arrogance.

The sets suffer for the probable lack of funds. I suppose this is what studios do when they're
fresh out of ideas and money to spend on more bankable names. But didn't we see this with
"Son of Frankenstein"? I'm a fan of Frank Lloyd Wright, but does over-imaginative architecture
have a place in a set design of a Frankenstein film? I'd argue the problem had less to do with
the sets and how they're lit than how they're photographed. Much of the time the camera
captures a scene at eye level, and that's tiresome in of itself.

Down to the Creature: Hmmm. Troublesome because he's not disfigured enough, or is it because
he has nothing to do but be a pawn in the Baron's serial killing career? A little of both I suppose.
But watch Prowse move with his head cocked back as he lumbers about the sound stage. There's
a strong parallel to this brute of body and the Baron's brute of mind. Both are blunt in their disdain
for foreign bodies, for they'll be dispatched if they don't serve purpose.

I've not seen "Hell", dunno if I'll ever get to it, but I've seen the stills and read op pieces on it. It seems
that Hammer noted people's reactions to Prowse's appearance in "Horror" and goes to the opposite
extreme to create a monster that is less man and more animal. Whether or not that was the correct
response to save a series on life support is unclear, but one thing is clear: that was the last Hammer
Frankenstein produced. It is worth recalling that another British production released "Frankenstein:
The True Story" for US television the previous year with success. Based on stills alone, it seems that
to be truly successful, a Frank film requires more than just imaginative makeup.

For me, "Horror" is an entertaining misfire that moves quickly without ever being rich. If you want rich
Hammer that satisfies sublimely, pull out "Destroyed". If you want chills from a studio on top of its game,
grab "Curse". If you wanna see the same thing again but with ribald sensibilities, reach for "Horror".
Really, the performances are great, there's no wasted sidesteps and Prowse makes a good brute.
Pass the popcorn.