A strange addition to the Frankenstein cycle, and indeed the Hammer output, this film slotted neatly between 1964's THE EVIL OF FRANKENSTEIN and 1969's FRANKENSTEIN MUST BE DESTROYED. The film is uncharacteristic of Hammer's other work in that it does not have the same Gothic atmosphere we are so used to seeing; instead, melodrama and romance take centre stage even to the Baron's antics. Even Terence Fisher's colour palette seems brighter than usual for his filmography.
However, although the film is not one of Hammer's best, there are still numerous reasons one might find it enjoyable. Peter Cushing stars in one of his best roles ever, and is indeed great as the scientist obsessed with discovering the secrets of life...and death. His ruthlessness is to the fore here, only superceded by his turn in the sequel. Unfortunately he does not appear that much in this film, and when he does it is as a father figure to Susan Denberg, with his intentions and personality not being clearly studied.
Cushing is unusually on the side of good in this film - at least as 'good' as a film this dark gets - and displays little of the cold violence we are used to seeing in his Frankenstein character. Thorley Walter is always good value and brings a touch of comic relief to the story. Susan Denberg and Robert Morris are successfully tragic as the doomed lovers, but kudos also goes to the trio of actors playing the bounders and cads who are the cause of all the violence in the first place. These fellows are totally obnoxious and yet believable. If you look closely you'll see a young Derek Fowlds in an early role.
The film's main disappoint is the lack of Frankenstein, but the story about the lovers holds the attention. Other disappointments are the way in which the main characters are murdered, all deaths are routinely staged and the censors are more to blame for this than anyone else. Also the main creation scene is also sadly missing from the finished print, let's face it we all love the bits where electricity sparks and lightning strikes and the monster comes to life, and it feels strangely left out here. The ending of the film is also anti-climatic in that it feels more than a little rushed. Still, all of the actors and actresses come out of this film looking good and it comes off as a nicely polished, well-rounded story which ties up neatly at the end and even achieves a kind of 'fairytale' ambiance.
However, although the film is not one of Hammer's best, there are still numerous reasons one might find it enjoyable. Peter Cushing stars in one of his best roles ever, and is indeed great as the scientist obsessed with discovering the secrets of life...and death. His ruthlessness is to the fore here, only superceded by his turn in the sequel. Unfortunately he does not appear that much in this film, and when he does it is as a father figure to Susan Denberg, with his intentions and personality not being clearly studied.
Cushing is unusually on the side of good in this film - at least as 'good' as a film this dark gets - and displays little of the cold violence we are used to seeing in his Frankenstein character. Thorley Walter is always good value and brings a touch of comic relief to the story. Susan Denberg and Robert Morris are successfully tragic as the doomed lovers, but kudos also goes to the trio of actors playing the bounders and cads who are the cause of all the violence in the first place. These fellows are totally obnoxious and yet believable. If you look closely you'll see a young Derek Fowlds in an early role.
The film's main disappoint is the lack of Frankenstein, but the story about the lovers holds the attention. Other disappointments are the way in which the main characters are murdered, all deaths are routinely staged and the censors are more to blame for this than anyone else. Also the main creation scene is also sadly missing from the finished print, let's face it we all love the bits where electricity sparks and lightning strikes and the monster comes to life, and it feels strangely left out here. The ending of the film is also anti-climatic in that it feels more than a little rushed. Still, all of the actors and actresses come out of this film looking good and it comes off as a nicely polished, well-rounded story which ties up neatly at the end and even achieves a kind of 'fairytale' ambiance.