(1969)
Dir - Terence Fisher
Overall: GOOD
Five films in and Hammer's Frankenstein series got a fiendish boost with Frankenstein Must Be Destroyed. Director Terence Fisher and star Peter Cushing were still effortlessly in fine form with the studio's latest scream queen Veronica Carlson joining the fold as well. While it is true that the rape scene between Cushing and Carlson is both out of character for Frankenstein and in rather poor taste, it was only added because of Hammer executive James Carreras, with all other parties involved, (including Fisher and Cushing), objecting to it. That unfortunate moment aside, the story still involves the transplanting of human organs and Cushing's doctor is as unrepentant in his stubborn quest as ever, but his specific scheme is tweaked a bit as he blackmails an engaged couple into doing his bidding. Fisher stages quite a number of Hitchcock-worthy suspense sequences and the continued lack of a conventional Karloff-styled creature is actually still a welcome change. Bert Batt's screenplay is fairly tight and less monotonous than usual for Hammer's seemingly endless horror sequel machine and the usual, reliable elements of blood, ghastliness, Fisher's cruising direction, and committed performances is quite on par.
(1970)
Dir - Jimmy Sangster
Overall: MEH
Frequent Hammer writer Jimmy Sangster got his first crack behind the lens with the company's quasi-parody reboot The Horror of Frankenstein. The only entry in the series to not feature Peter Cushing in the lead, Ralph Bates steps in as a noticeably different Baron. Womanizing, sly, and more wise-cracking in his arrogance, Bates' portrayal is less diabolically stubborn than Cushing's though it is certainly fun in its own right. Sadly the script, (which was rewritten by Sangster after it was initially developed as a straight-ahead remake of The Curse of Frankenstein), is both monotonous and underwhelming. Both Frankenstein and his hulking Monster, (David Prowse in his first of two portrayals as the creature), do away with a number of victims in quite the foreseeable fashion and it takes about an hour in the running time to even get there. Though Bates' charm carries things along to a point, the film's humdrum nature is too much for his shoulders alone to bare, plus the ending is unintentionally laughable in its complete abruptness. Even though it tries to update the well-worn source material, it still ends up simply being a variation of the same old thing.
(1974)
Dir - Terence Fisher
Overall: GOOD
Overall: GOOD
Hammer finally wrapped everything up with Frankenstein and the Monster from Hell, the seventh entry in the series. Filmed in 1972 yet released two years later on a double bill in some markets along with Captain Kronos - Vampire Hunter, this was the last time that Peter Cushing ever appeared as the Baron and the final directorial effort from Terence Fisher. It was also the second instance where David Prowse played the creature and said monster design is probably the most over the top in the series, coming off as a cross between a werewolf and a hunchback for whatever reason. The change in locale to an insane asylum is a welcome tweak, while the colorful gore remains as steadfast as ever. Cushing's much more weathered take on the doctor is rather interesting in that he seems to have exhausted his outwardly fiendish tendencies, instead becoming more pathetically insane than anything. For the first time, Frankenstein is depicted as being humbled, crediting his temporary success to not just himself but both of his assistants as well. Plus when it all inevitably ends in tragedy, he immediately and cheerfully starts planning his next experiment. This sends the franchise off on a funny yet pitiful note, signifying that the Baron has undeniably lost his marbles. With so many such films following a near identical framework, this was a fitting, tongue in cheek way to close it out.
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