When it comes to the fantastic output of Hammer Studios, it’s safe in almost every conceivable way to conclude: “this is most definitely not your father’s average Horror outing.”
While the great monsters of Universal Pictures first came to life on the silver screen in the 1930’s, Hammer Studios opted to give these vintage chillers their own makeover in the 1950’s. With bigger budgets and a greater emphasis on the true gothic template in which all of these creatures and critters inhabit, Hammer presented audiences with some darker, mysterious, and even somewhat miserable interpretations of these tortured lives and their attempts to pursue happiness, sometimes in even the most carnal ways. Though critics were sometimes caught in print ‘clutching their pearls’ over such nasty visions, viewers rather enthusiastically embraced this wicked aesthetic turn, happily plunging into Horror’s grimmer yarns at a time when Science Fiction and Fantasy had grown a bit too pedestrian, a bit too unfocused. Indeed, the studio’s growing success smacked entirely of irony because only a mere two decades earlier merry old England had pretty much banned American Horror imports on the grounds that they had grown too violent and frightening. Now, everything British censors hated was back; and a path to theatrical success showed brightly in the dark.
1957’s The Curse Of Frankenstein wasn’t Hammer’s first Horror film, but it was their first in color. Over time, some have suggested that it was this one simple choice that initially paved the way for what would become an impressive output of Gothic chillers with some growing even more gruesome as the time changed. Directed by Terence Fisher and scripted by Jimmy Sangster (though based obviously on the Mary Shelley novel), the film was also revered for giving Peter Cushing – one of Hammer’s biggest stars – his first big break in the genre. Certainly, the actor made his interpretation of Victor Frankenstein something to watch in true theatrical fashion, a role he inhabited five more times for the studio in sequels to this original. Also aboard this new incarnation were Hazel Court, Robert Urquhart, Christopher Lee, Valerine Gaunt, and others.
Paralleling Victor’s idea of creating bold, new life, this Curse did just that, not only for the Shelley tale but also the entire Horror genre. It was back in style … this time in color!
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
While the great monsters of Universal Pictures first came to life on the silver screen in the 1930’s, Hammer Studios opted to give these vintage chillers their own makeover in the 1950’s. With bigger budgets and a greater emphasis on the true gothic template in which all of these creatures and critters inhabit, Hammer presented audiences with some darker, mysterious, and even somewhat miserable interpretations of these tortured lives and their attempts to pursue happiness, sometimes in even the most carnal ways. Though critics were sometimes caught in print ‘clutching their pearls’ over such nasty visions, viewers rather enthusiastically embraced this wicked aesthetic turn, happily plunging into Horror’s grimmer yarns at a time when Science Fiction and Fantasy had grown a bit too pedestrian, a bit too unfocused. Indeed, the studio’s growing success smacked entirely of irony because only a mere two decades earlier merry old England had pretty much banned American Horror imports on the grounds that they had grown too violent and frightening. Now, everything British censors hated was back; and a path to theatrical success showed brightly in the dark.
1957’s The Curse Of Frankenstein wasn’t Hammer’s first Horror film, but it was their first in color. Over time, some have suggested that it was this one simple choice that initially paved the way for what would become an impressive output of Gothic chillers with some growing even more gruesome as the time changed. Directed by Terence Fisher and scripted by Jimmy Sangster (though based obviously on the Mary Shelley novel), the film was also revered for giving Peter Cushing – one of Hammer’s biggest stars – his first big break in the genre. Certainly, the actor made his interpretation of Victor Frankenstein something to watch in true theatrical fashion, a role he inhabited five more times for the studio in sequels to this original. Also aboard this new incarnation were Hazel Court, Robert Urquhart, Christopher Lee, Valerine Gaunt, and others.
Paralleling Victor’s idea of creating bold, new life, this Curse did just that, not only for the Shelley tale but also the entire Horror genre. It was back in style … this time in color!
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“While awaiting execution for murder, Baron Victor Frankenstein tells the story of a creature he built and brought to life - only for it to behave not as he intended.”
At a time when Hollywood and many other studios around the world were still relegating Horror stories to second tier entries, Hammer Studios did the unthinkable: they decided to produce their latest effort – The Curse Of Frankenstein – in vivid color.
Lo and behold, one relatively simple creative choice put Hammer on the cultural map … a place they remain even to this day.
My first exposure to the studio’s unique output – believe it or not – was back in my junior high school days, and I remember it vividly though which particular film honestly escapes my old mind. Living in the United States, I wasn’t all that familiar with this uniquely British take on Horror; but at the height of the Halloween season my middle school decided to pull the student body to the gymnasium for a feature film event. The school principal introduced the production, warning the student body that if anyone felt ill at any time during the screening they’d be free to leave. Naturally, we assumed he was joking; but then the lights dimmed, and – while I can’t be exactly certain – I believe the first reel of Dracula: Prince Of Darkness (1966) unspooled. As it did, the boys cheered … and the young ladies squealed. Young fans were made that day, but not a lot of them were of the fairer sex.
But back to Curse …
With the death of his mother, a young Victor inherits the Frankenstein estate. His first executive decision – as it were – is to bring aboard a tutor, one who can teach him the ways of science. Paul Krempe (played by Robert Urquhart) is hired; and over several years (via montage) the two are shown establishing the clinical foundation which the emerging young scientist (Peter Cushing) will enact his agenda to seize destiny on controlling life itself from nature. Indeed, the two are successful at reanimating a young dog – no mention on how the thing passed in the first place, and that should be a cause for concern – and this benchmark rather quickly turns to Frankenstein desirous of more. Once he announces his plans to bring back a human being, it is Krempe who begins to regret the ‘young monster’ he's inadvertently created.
Of course, there’s more to the story than just the growing moral divide between the two men; and – for what it’s worth – the time spent with the seminal monster (Christopher Lee) is reasonably brief in here. (This is not to suggest in any way that it’s insufficient: rather, it’s a bit more supportive of the overall narrative than it is the central focus.) As it turns out, the younger Victor didn’t always have his attentions fixed on his studies; and we learn that he engaged in a highly sensual affair with the castle maid Justine (Valerie Gaunt), a relationship that turns out very poorly for the lady. Also, the mature Victor eventually brings his lovely cousin under the roof: Elizabeth (Hazel Court) proves to be a temptation that some suggest introduces a chasm between our two scientists though nothing regarding a possible love triangle is ever authentically introduced (so far as I could tell) in the script. But as all roads here lead to a climactic confrontation between these players, it’s legitimate to say that these alliances are always shifting; and rarely does that work out to Victor’s benefit.
“While awaiting execution for murder, Baron Victor Frankenstein tells the story of a creature he built and brought to life - only for it to behave not as he intended.”
At a time when Hollywood and many other studios around the world were still relegating Horror stories to second tier entries, Hammer Studios did the unthinkable: they decided to produce their latest effort – The Curse Of Frankenstein – in vivid color.
Lo and behold, one relatively simple creative choice put Hammer on the cultural map … a place they remain even to this day.
My first exposure to the studio’s unique output – believe it or not – was back in my junior high school days, and I remember it vividly though which particular film honestly escapes my old mind. Living in the United States, I wasn’t all that familiar with this uniquely British take on Horror; but at the height of the Halloween season my middle school decided to pull the student body to the gymnasium for a feature film event. The school principal introduced the production, warning the student body that if anyone felt ill at any time during the screening they’d be free to leave. Naturally, we assumed he was joking; but then the lights dimmed, and – while I can’t be exactly certain – I believe the first reel of Dracula: Prince Of Darkness (1966) unspooled. As it did, the boys cheered … and the young ladies squealed. Young fans were made that day, but not a lot of them were of the fairer sex.
But back to Curse …
With the death of his mother, a young Victor inherits the Frankenstein estate. His first executive decision – as it were – is to bring aboard a tutor, one who can teach him the ways of science. Paul Krempe (played by Robert Urquhart) is hired; and over several years (via montage) the two are shown establishing the clinical foundation which the emerging young scientist (Peter Cushing) will enact his agenda to seize destiny on controlling life itself from nature. Indeed, the two are successful at reanimating a young dog – no mention on how the thing passed in the first place, and that should be a cause for concern – and this benchmark rather quickly turns to Frankenstein desirous of more. Once he announces his plans to bring back a human being, it is Krempe who begins to regret the ‘young monster’ he's inadvertently created.
Of course, there’s more to the story than just the growing moral divide between the two men; and – for what it’s worth – the time spent with the seminal monster (Christopher Lee) is reasonably brief in here. (This is not to suggest in any way that it’s insufficient: rather, it’s a bit more supportive of the overall narrative than it is the central focus.) As it turns out, the younger Victor didn’t always have his attentions fixed on his studies; and we learn that he engaged in a highly sensual affair with the castle maid Justine (Valerie Gaunt), a relationship that turns out very poorly for the lady. Also, the mature Victor eventually brings his lovely cousin under the roof: Elizabeth (Hazel Court) proves to be a temptation that some suggest introduces a chasm between our two scientists though nothing regarding a possible love triangle is ever authentically introduced (so far as I could tell) in the script. But as all roads here lead to a climactic confrontation between these players, it’s legitimate to say that these alliances are always shifting; and rarely does that work out to Victor’s benefit.
Thankfully, the melodrama never gets too deeply centered to mire down the story. Screenwriter Jimmy Sangster – an accomplished contributor to the Hammer library – keeps most of the focus on the moral triangle between the men here – Frankenstein, Krempe, and the Monster – leaving a good degree of what could’ve happened between Paul and Elizabeth in the realm of speculation. The scripter also keeps the cast reasonably small as Curse unfolds with a surprisingly intimate story more so about desire gone bad as opposed to science running awry. In this incarnation, it’s Victor’s unchecked ambitions that lead to some monstrous results – both personally and professionally – and the man’s inability to see his descent into ethically dubious territory proves to be what inevitably leads to his own personal doom.
The Curse Of Frankenstein (1957) was produced by Hammer Films. DVD distribution (for this particular release) has been coordinated by the fine folks at Warner Archive. As for the technical specifications? Wow. While I’m no trained video expert, I can still assure readers that this 4K restoration both looks and sounds impressive. There are a few sequences wherein colors don’t quite pop – nothing in here is unusually bright, and the template is obviously pretty somber – and I would guess that any deficiency is owed to issues with the source material. Lastly, if you’re looking for special features? Well … it’s alive! It’s alive! This 3-disc collection has an astonishing collection of just about everything (I honestly haven’t made it through all of them at this point), along with four different audio commentaries (two new, two which appear archival) … so true fans will be spending an incredible amount of time with this one.
Strongly Recommended.
Even though I’ll admit to not being as big a fan of The Curse Of Frankenstein as are so many, it’s easy to see how this singular effort arguably set the standard upon which others could build with Hammer’s distinctive style in the years ahead. Instead of portraying Frankenstein as only a scientist possessed by his visions of Godhood, Victor in this tale turns his struggle outward, terrorizing those around him – sometimes unintentionally – as the stakes are raised, always mounting against his success to accomplish the unthinkable. In Curse, he’s far more the monster than The Monster ever truly was; and maybe that’s because of professional jealousy? You see, ultimately, it was god who made his creature’s life possible – with a symbolic strike of thunder – and not Frankenstein’s science. That fact alone likely didn’t sit well with Victor; and he suffered The Curse as a result.
In the interests of fairness, I’m pleased to disclose that the fine folks at Warner Archive provided me with a complimentary 4K UltraHD Blu-ray of The Curse Of Frankenstein (1957) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
The Curse Of Frankenstein (1957) was produced by Hammer Films. DVD distribution (for this particular release) has been coordinated by the fine folks at Warner Archive. As for the technical specifications? Wow. While I’m no trained video expert, I can still assure readers that this 4K restoration both looks and sounds impressive. There are a few sequences wherein colors don’t quite pop – nothing in here is unusually bright, and the template is obviously pretty somber – and I would guess that any deficiency is owed to issues with the source material. Lastly, if you’re looking for special features? Well … it’s alive! It’s alive! This 3-disc collection has an astonishing collection of just about everything (I honestly haven’t made it through all of them at this point), along with four different audio commentaries (two new, two which appear archival) … so true fans will be spending an incredible amount of time with this one.
Strongly Recommended.
Even though I’ll admit to not being as big a fan of The Curse Of Frankenstein as are so many, it’s easy to see how this singular effort arguably set the standard upon which others could build with Hammer’s distinctive style in the years ahead. Instead of portraying Frankenstein as only a scientist possessed by his visions of Godhood, Victor in this tale turns his struggle outward, terrorizing those around him – sometimes unintentionally – as the stakes are raised, always mounting against his success to accomplish the unthinkable. In Curse, he’s far more the monster than The Monster ever truly was; and maybe that’s because of professional jealousy? You see, ultimately, it was god who made his creature’s life possible – with a symbolic strike of thunder – and not Frankenstein’s science. That fact alone likely didn’t sit well with Victor; and he suffered The Curse as a result.
In the interests of fairness, I’m pleased to disclose that the fine folks at Warner Archive provided me with a complimentary 4K UltraHD Blu-ray of The Curse Of Frankenstein (1957) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
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