The Evil of Frankenstein
The Evil of Frankenstein is a 1964 film directed by Freddie Francis. It stars New Zealand wrestler Kiwi Kingston; the film's version of the Monster is noted for resembling the one in Universal Pictures' original Frankenstein series of the 1930s and 1940s, including the distinctive laboratory sets as well as the flat-headed look of Jack Pierce's monster make-up, designed for Boris Karloff. Earlier Frankenstein films by Hammer had studiously avoided such similarities for copyright reasons. However, a new film distribution deal had been made between Universal; as a result, Hammer had free rein to duplicate set elements. A child witnesses an intruder steal the corpse of one of her dead relatives. Terrified, the child flees from the cabin. Running through the forest, a hand reaches out to her; the girl runs away. The figure is revealed to be Baron Victor Frankenstein; the body-snatcher takes the corpse to Frankenstein's secret laboratory. The Baron tells Hans, to pay the man; when the body-snatcher asks what he will do with the body, Frankenstein says he intends to cut out the deceased man's heart, remarking.
Meanwhile, a local priest is outraged. The young child who witnessed the theft identifies both his employer; the priest angrily confronts each in turn, interrupts Frankenstein's attempt to restore life to the heart, smashing vital equipment in the lab. Forced to leave town because of their experiments and Hans return to the Baron's hometown of Karlstaad, where they plan to sell valuables from the abandoned Frankenstein chateau to fund new work. Nearing the village, the pair nearly run over a wild-haired, deaf-mute young woman, being accosted by a couple of thugs. Hans tries to help her; the men find a festival are able to pass through the village unquestioned. Upon their arrival, the chateau is found to have been looted by the locals and the laboratory is in ruins; as Hans pours the Baron a drink, Frankenstein recounts to Hans the events that led to his exile: Ten years prior, he had brought a being to life. While reasonably functional in most aspects, the creature would eat nothing but fresh, raw meat and wantonly killed local livestock, eating their entrails.
A police constable and some farmers encountered the creature with Frankenstein in the woods, shot at both of them. Frankenstein suffered the creature a non-lethal head wound. Baron Frankenstein was arrested. Frankenstein was imprisoned, charged with assault of a police officer and having committed acts of heresy, he was exiled, since up to that point the creature had not caused any human harm. The flashback sequence ends with the Baron lamenting the destruction of things humanity does not understand; the following day, the Baron and Hans enter Karlstaad for a meal, donning festival masks as a precaution. They place an order. While waiting, Frankenstein spies the corrupt Burgomeister wearing one of his rings and is outraged, causing a scene which forces a hasty departure; the authorities have now recognised him, so the Baron flees with Hans through the village festival hiding at the hypnotist, Zoltan's, exhibit. The arrogant Zoltan clashes with the police and is arrested, covering the escape of Frankenstein and Hans.
That evening, Frankenstein bursts into the Burgomeister's apartments, again outraged at finding the corrupt official has stolen for himself Frankenstein's "confiscated" valuables. During his tirade, the police breaks in to arrest the Baron. Frankenstein manages to escape, he and Hans retreat to the mountains. She leads them to her makeshift shelter in a cave to avoid an impending storm and soon, all go to sleep. Sometime the waif skulks off, awakening Frankenstein. Curious, he finds his original creation frozen inside a glacier, he and Hans build a fire, thaw the creature out, carry it down the mountainside to the chateau, restore it to life. However, the creature's brain, while functioning, is unresponsive. Frankenstein, desperate to restore active consciousness to his creation, comes up with the idea of obtaining the services of Zoltan, the hypnotist, to reanimate the creature's mind. Zoltan has been banished from Karlstaad for not having a license to perform. After clever psychological manipulation by the Baron, he agrees to the task.
Zoltan has less than scientific interests at heart. With the creature responding only to his commands, Zoltan uses it to rob and take revenge upon the town's authorities. Frankenstein evicts Zoltan, who instructs the creature to attack Frankenstein, he wards off the creature's attack with an oil lamp. The creature in turn brutally kills Zoltan, blocking its path; the creature goes into a fit of violent rage. The Baron orders Hans to get the girl out of the room. In the middle of its rampage, the creature rips apart the electrical components, used to resurrect it, causing a fire to break out in the laboratory. Frankenstein tries to give the creature a dose of chloroform to subdue it. Disgusted and poisoned, the creature stumbles, knocking over bottles of flammable liquids and causing a switch to short-circuit and explode into flames. Hans asks the Baron if he can hear him, but Frankenste
Frankenstein Must Be Destroyed
Frankenstein Must Be Destroyed is a 1969 British horror film directed by Terence Fisher for Hammer Film Productions, starring Peter Cushing, Freddie Jones, Veronica Carlson and Simon Ward. The film is the fifth in a series of Hammer films focusing on Baron Frankenstein, who, in this entry, terrorises those around him in a bid to uncover the secrets of a former associate confined to a lunatic asylum. While illegally procuring a brain for his next experiment, Baron Victor Frankenstein is surprised by a thief when he returns to his lab; the Baron moves on, with a haughty police inspector on his trail. He obtains a room at a boarding house run by Anna, whose fiance Karl is a doctor at the local insane asylum where a former scientific collaborator of the Baron's, who has lost his mind, now resides. After discovering that Anna's fiance has been stealing narcotics in order to support her ailing mother, Frankenstein blackmails them into helping him kidnap the now insane Dr. Brandt so he can operate on his brain and cure him, thereby allowing the Baron to obtain his knowledge of brain transplantation.
Dr. Brandt suffers a heart attack during the escape, necessitating a transfer of his brain into another body; the Baron and Karl kidnap the asylum's director Professor Richter and transplants Brandt's brain into the Professor's body. They bury Brandt's now worthless body in the garden, but a water main break gives up the game; the police start searching every house in the area as well. Brandt's wife recognises the Baron on the street, but he is able to convince her to give him time to heal her husband completely. After she leaves, Frankenstein forces Karl and Anna to help him escape with the Brandt/Richter "creature." While the creature recovers and the lovers relocate to a deserted manor house as the police begin to close in. The creature is horrified by his appearance, he scares Anna who stabs him with a scalpel, he escapes. Finding the creature gone, Frankenstein kills Anna in a rage; the creature makes it to his former home. Wanting revenge on Frankenstein, knowing the Baron will track him there, he allows his wife to go free and pours paraffin around the house.
Frankenstein soon arrives, followed by Karl, they fight while the creature sets the house alight, at one point stating: "You must choose between the flames and the police, Frankenstein." The fight between Karl and Frankenstein continues, until the creature knocks out Karl and carries a screaming Frankenstein into the burning house, which explodes into a raging inferno. Peter Cushing as Baron Frankenstein Veronica Carlson as Anna Spengler George Pravda as Dr. Frederick Brandt Freddie Jones as Professor Richter Simon Ward as Dr. Karl Holst Thorley Walters as Inspector Frisch Windsor Davies as Police Sergeant Allan Surtees as Police Sergeant Maxine Audley as Ella Brandt Geoffrey Bayldon as Police Doctor Colette O'Neil as Madwoman Frank Middlemass as Guest - Plumber Norman Shelley as Guest - Smoking pipe Michael Gover as Guest - Reading newspaper Peter Copley as Principal The scene where Frankenstein rapes Anna was filmed over the objections of both Peter Cushing and Veronica Carlson, director Terence Fisher, who halted it when he felt enough was enough.
It was not in the original script but the scene was added at the insistence of Hammer executive James Carreras, under pressure to keep American distributors happy. This explains why there is no mention of the rape subsequently by Frankenstein; the scenes featuring Thorley Walters as Inspector Frisch were late additions to the original script. In 1978, the Welsh television station HTV Cymru/Wales broadcast a version dubbed into the Welsh language called Rhaid Dinistrio Frankenstein, a more-or-less literal translation of the English title; this was one of three films that were dubbed into another being Shane, with Alan Ladd. Both these were rebroadcast on the new Welsh language channel S4C on its launch in 1982. Variety called the film "a good-enough example of its low-key type, with artwork rather better than usual a minimum of artless dialogue, good lensing by Arthur Grant and a solid all round cast." The Monthly Film Bulletin called it "the most spirited Hammer horror in some time. The crudities still remain, of course, but the talk of transplants and drugs seem to have injected new life into the continuing story of Baron Frankenstein."Frankenstein Must Be Destroyed holds an average 50% on Rotten Tomatoes.
Frankenstein in popular culture List of films featuring Frankenstein's monster Frankenstein Must Be Destroyed on IMDb Frankenstein Must Be Destroyed at AllMovie Frankenstein Must Be Destroyed at the TCM Movie Database
The cat is a small carnivorous mammal. It is the only domesticated species in the family Felidae and referred to as the domestic cat to distinguish it from wild members of the family; the cat is either a house cat, kept as a pet, or a feral cat ranging and avoiding human contact. A house cat is valued for its ability to hunt rodents. About 60 cat breeds are recognized by various cat registries. Cats are similar in anatomy to the other felid species, with a strong flexible body, quick reflexes, sharp teeth and retractable claws adapted to killing small prey, they are predators who are most active at dusk. Cats can hear sounds too faint or too high in frequency for human ears, such as those made by mice and other small animals. Compared to humans, they see better in the dark and have a better sense of smell, but poorer color vision. Cats, despite being solitary hunters, are a social species. Cat communication includes the use of vocalizations including mewing, trilling, hissing and grunting as well as cat-specific body language.
Cats communicate by secreting and perceiving pheromones. Female domestic cats can have kittens from spring to late autumn, with litter sizes ranging from two to five kittens. Domestic cats can be shown as registered pedigreed cats, a hobby known as cat fancy. Failure to control the breeding of pet cats by spaying and neutering, as well as abandonment of pets, has resulted in large numbers of feral cats worldwide, contributing to the extinction of entire bird species, evoking population control, it was long thought that cat domestication was initiated in Egypt, because cats in ancient Egypt were venerated since around 3100 BC. However, the earliest indication for the taming of an African wildcat was found in Cyprus, where a cat skeleton was excavated close by a human Neolithic grave dating to around 7500 BC. African wildcats were first domesticated in the Near East; the leopard cat was tamed independently in China around 5500 BC, though this line of domesticated cats leaves no trace in the domestic cat populations of today.
As of 2017, the domestic cat was the second-most popular pet in the U. S. by number of pets owned, with 95 million cats owned. As of 2017, it was ranked the third-most popular pet in the UK, after fish and dogs, with around 8 million being owned; the number of cats in the UK has nearly doubled since 1965. The origin of the English word cat and its counterparts in other Germanic languages, descended from Proto-Germanic *kattōn-, is controversial, it has traditionally thought to be a borrowing from Late Latin cattus,'domestic cat', from catta, compare Byzantine Greek κάττα, Portuguese and Spanish gato, French chat, Maltese qattus, Lithuanian katė, Old Church Slavonic kotъ, among others. The Late Latin word is thought to originate from an Afro-Asiatic language, but every proposed source word has presented problems. Many references refer to "Berber" kaddîska,'wildcat', Nubian kadīs as possible sources or cognates, but M. Lionel Bender suggests the Nubian term is a loan from Arabic قِطَّة qiṭṭa. Jean-Paul Savignac suggests the Latin word is from an Ancient Egyptian precursor of Coptic ϣⲁⲩ šau,'tomcat', or its feminine form suffixed with -t, but John Huehnergard says "the source was not Egyptian itself, where no analogous form is attested."
Huehnergard opines it is "equally that the forms might derive from an ancient Germanic word, imported into Latin and thence to Greek and to Syriac and Arabic". Guus Kroonen considers the word to be native to Germanic and Northern Europe, suggests that it might be borrowed from Uralic, cf. Northern Sami gáđfi,'female stoat', Hungarian hölgy,'stoat'. In any case, cat is a classic example of a word that has spread as a loanword among numerous languages and cultures: a Wanderwort. An alternative word is English puss. Attested only from the 16th century, it may have been introduced from Dutch poes or from Low German puuskatte, related to Swedish kattepus, or Norwegian pus, pusekatt. Similar forms exist in Irish puisín or puiscín; the etymology of this word is unknown, but it may have arisen from a sound used to attract a cat. A group of cats can be referred to a glaring. A male cat is called a tom or tomcat An unspayed female is called a queen in a cat-breeding context. A juvenile cat is referred to as a kitten.
In Early Modern English, the word kitten was interchangeable with the now-obsolete word catling. The male progenitor of a cat a pedigreed cat, is its sire and its mother is its dam. A pedigreed cat is one. A purebred cat is one. Many pedigreed and purebred cats are exhibited as show cats. Cats of unrecorded, mixed ancestry are referred to as domestic short-haired or domestic long-haired cats, or as random-bred, moggies, or mongrels or mutt-cats; the semi-feral cat, a outdoor cat, is not owned by any one individual, but is friendly to people and may be fed by several households. Feral cats are associated with human habitation areas, foraging for food and sometimes intermittently fed by people, but are wary of human interaction. Domesti
A picture book combines visual and verbal narratives in a book format, most aimed at young children. The images in picture books use a range of media such as oil paints, acrylics and pencil, among others. Two of the earliest books with something like the format picture books still retain now were Heinrich Hoffmann's Struwwelpeter from 1845 and Beatrix Potter's The Tale of Peter Rabbit from 1902; some of the best-known picture books are Robert McCloskey's Make Way for Ducklings, Dr. Seuss' The Cat In The Hat, Maurice Sendak's Where the Wild Things Are; the Caldecott Medal and Kate Greenaway Medal are awarded annually for illustrations in children's literature. From the mid-1960s several children's literature awards include a category for picture books. Picture books are most aimed at young children, while some may have basic language designed to help children develop their reading skills, most are written with vocabulary a child can understand but not read. For this reason, picture books tend to have two functions in the lives of children: they are first read to young children by adults, children read them themselves once they begin learning to read.
Some picture books are published with content aimed at older children or adults. Tibet: Through the Red Box, by Peter Sis, is one example of a picture book aimed at an adult audience. There are several subgenres among picture books, including alphabet books, concept books, counting books, early readers, calendar books, nursery rhymes, toy books. Board books - picture books published on a hard cardboard - are intended for small children to use and play with. Another category is movable books, such as pop-up books, which employ paper engineering to make parts of the page pop up or stand up when pages are opened; the Wheels on the Bus, by Paul O. Zelinsky, is one example of a bestseller pop-up picture book. Orbis Pictus from 1658 by John Amos Comenius was the earliest illustrated book for children, it is illustrated by woodcuts. A Little Pretty Pocket-Book from 1744 by John Newbery was the earliest illustrated storybook marketed as pleasure reading in English. In Japan, kibyoshi were picture books from the 18th century, are seen as a precursor to manga.
Examples of 18th-century Japanese picture books include works such as Santō Kyōden's Shiji no yukikai. The German children's books Struwwelpeter from 1845 by Heinrich Hoffmann, Max and Moritz from 1865 by Wilhelm Busch, were among the earliest examples of modern picturebook design. Collections of Fairy tales from early nineteenth century, like those by the Brothers Grimm or Hans Christian Andersen were sparsely illustrated, but beginning in the middle of the century, collections were published with images by illustrators like Gustave Doré, Fedor Flinzer, George Cruikshank, Vilhelm Pedersen, Ivan Bilibin and John Bauer. Andrew Lang's twelve Fairy Books published between 1889 and 1910 were illustrated by among others Henry J. Ford and Lancelot Speed. Lewis Carroll's Alice's Adventures in Wonderland, illustrated by John Tenniel in 1866 was one of the first successful entertainment books for children. Toy books were introduced in the latter half of the 19th century, small paper bound books with art dominating the text.
These had a larger proportion of pictures to words than earlier books, many of their pictures were in color. The best of these were illustrated by the triumvirate of English illustrators Randolph Caldecott, Walter Crane, Kate Greenaway whose association with colour printer and wood engraver Edmund Evans produced books of great quality. In the late 19th and early 20th century a small number of American and British artists made their living illustrating children's books, like Rose O'Neill, Arthur Rackham, Cicely Mary Barker, Willy Pogany, Edmund Dulac, W. Heath Robinson, Howard Pyle, or Charles Robinson; these illustrated books had eight to twelve pages of illustrated pictures or plates accompanying a classic children's storybook. Beatrix Potter's The Tale of Peter Rabbit was published in 1902 to immediate success. Peter Rabbit was Potter's first of many The Tale of... including The Tale of Squirrel Nutkin, The Tale of Benjamin Bunny, The Tale of Tom Kitten, The Tale of Jemima Puddle-Duck, to name but a few which were published in the years leading up to 1910.
Swedish author Elsa Beskow wrote and illustrated some forty children's stories and picture books between 1897–1952. Andrew Lang's twelve Fairy Books published between 1889 and 1910 were illustrated by among others Henry J. Ford and Lancelot Speed. In the US, illustrated stories for children appeared in magazines like Ladies Home Journal, Good Housekeeping and Woman's Home Companion, intended for mothers to read to their children; some cheap periodicals appealing to the juvenile reader started to appear in the early twentieth century with uncredited illustrations. Helen Bannerman's Little Black Sambo was published in 1899, went through numerous printings and versions during the first decade of the twentieth century, it was part of a series of small-format books called The Dumpy Books for Children, published by British publisher Grant Richards between 1897 and 1904. L. Frank Baum's The Wonderful Wizard of Oz was published in 1900, Baum created a number of other successful Oz-oriented books in the period from 1904 to 1920.
Frank Baum wanted to create a modern-day fairy tale. In 1910, American illustrator and author Rose O'Neill's first children's book was published, The Kewpies and Dottie Darling. More books in the Kewpie series follo
The Horror of Frankenstein
The Horror of Frankenstein is a 1970 British horror film by Hammer Film Productions, both a semi-parody and remake of the 1957 film The Curse of Frankenstein. It was produced and directed by Jimmy Sangster, starring Ralph Bates, Kate O'Mara, Veronica Carlson and David Prowse as the monster; the original music score was composed by Malcolm Williamson. Victor Frankenstein, a cold and womanizing genius, is angry when his father forbids him to continue his anatomy experiments, he ruthlessly murders his father by sabotaging the old man's shotgun inheriting the title of Baron von Frankenstein and the family fortune. He uses the money to enter medical school in Vienna, but is forced to return home when he impregnates the daughter of the Dean. Returning to his own castle, he sets up a laboratory and starts a series of experiments involving the revival of the dead, he builds a composite body from human parts, which he brings to life. The creature goes on a homicidal rampage until it is accidentally destroyed when a vat where it has been hidden is flooded with acid.
Ralph Bates as Baron Victor Frankenstein Kate O'Mara as Alys Veronica Carlson as Elizabeth Heiss Dennis Price as The Graverobber Jon Finch as Lieutenant Henry Becker Bernard Archard as Professor Heiss Graham James as Wilhelm Kassner James Hayter as Bailiff Joan Rice as Graverobber's wife Stephen Turner as Stephan Neil Wilson as Schoolmaster James Cossins as Dean Glenys O'Brien as Maggie Geoffrey Lumsden as Instructor Chris Lethbridge-Baker as Priest Terry Duggan as First Bandit George Belbin as Baron Frankenstein Hal Jeayes as Woodsman Carol Jeayes as Woodsman's Daughter Michael Goldie as Workman David Prowse as The Monster The film was financed by EMI. Produced and directed by Jimmy Sangster Screenplay by Jeremy Burnham and Jimmy Sangster, based on the characters created by Mary Shelley Production manager: Tom Sachs Music by Malcolm Williamson Photography by Moray Grant Art direction: Scott MacGregor Edited by Chris Barnes Make-up by Tom Smith Ralph Bates was cast as Victor Frankenstein, the role having, five times been played by Peter Cushing.
Soon afterwards, he did a take on Dr. Jekyll in the Hammer film Dr. Jekyll and Sister Hyde, which co-starred Martine Beswick. In the mid-1960s, David Prowse famous for his portrayal of Darth Vader in the first Star Wars trilogy, had gone into the Hammer offices to express his desire to portray one of their movie monsters, but was rather abruptly dismissed; as several years passed by and he went about building a larger body of work through various film roles, he was approached by Jimmy Sangster about being cast as this revisionist Baron Frankenstein's laboratory creation. Prowse has the distinction of being the only actor to have portrayed Frankenstein's monster in more than one Hammer film: this production marked his first such appearance, he appeared in the traditional Frankenstein's monster make-up and costume in a gag appearance in Casino Royale. Howard Thompson of The New York Times enjoyed the first hour as "not only painless but fun," comparing it favorably to Kind Hearts and Coronets.
He disliked the final act when the monster emerged, "with awkward horror pitted against rather bland sheepishness. But it was good fun. Hammer had something special." Variety wrote that the film "has an occasional lighthearted touch which adds much to its enjoyment," praising Bates for a "nicely suave and sardonic performance as the ingenious, self-assured son of Count Frankenstein." Kevin Thomas of the Los Angeles Times called it "a talky affair" and lamented that the new Frankenstein was a less sympathetic character than the one Peter Cushing played, as well as the monster being "simply a robot killer." The Monthly Film Bulletin declared: "This awkward and inordinately tedious attempt by Hammer to ring changes on the Frankenstein motif is liable to have those who disliked the old formula wishing it had not been messed about. Jimmy Sangster may have supposed that in turning the Baron into a sexually voracious anti-hero with a macabre sense of humour he was bringing him into line with the Seventies, but in fact he only succeeds in annihilating all the power of the original myth and putting nothing in its place."The film has a rating of 56% on Rotten Tomatoes based on 9 reviews, with an average score of 5.4 out of 10.
Frankenstein in popular culture List of films featuring Frankenstein's monster ^ In 1986, Turner purchased pre-May 1986 MGM films, including The Horror of Frankenstein for UK release, now owned by Warner Bros. through Turner Entertainment only in UK. The Horror of Frankenstein on IMDb The Horror of Frankenstein at AllMovie The Horror of Frankenstein at the TCM Movie Database Brian Trenchard-Smith at The Horror of Frankenstein at Trailers from Hell
House of Dracula
House of Dracula is a 1945 American monster crossover horror film released by Universal Pictures. It was a direct sequel to House of Frankenstein, continued the theme of combining Universal's three most popular monsters: Frankenstein's monster, Count Dracula, the Wolf Man; the film, the seventh Universal film to feature Frankenstein's monster, as well as the fourth with Count Dracula and the Wolf Man, was a commercial success, but was one of the last Universal movies featuring Frankenstein's monster and werewolves, with the exception of the comedy Abbott and Costello Meet Frankenstein, in which all three appear. Count Dracula arrives at the castle home of Dr. Franz Edlemann; the Count, who introduces himself as "Baron Latos", explains that he has come to Visaria to find a cure for his vampirism. Dr. Edlemann agrees to help. Together with his assistants and the hunchbacked Nina, he has been working on a mysterious plant, the clavaria formosa, whose spores have the ability to reshape bone. Edlemann explains.
Dracula agrees to this, Edlemann uses his own blood for the transfusions. Dracula has his coffin placed in the castle basement; that night, Lawrence Talbot arrives at the castle. He demands to see Dr. Edlemann about a cure for his lycanthropy. Talbot is asked to wait. Knowing that the moon is rising, Talbot has himself incarcerated by the police. A crowd of curious villagers gathers outside the police station, led by the suspicious Steinmuhl. Inspector Holtz asks Edlemann to see Talbot, as the full moon rises, they both witness his transformation into the Wolf Man. Edlemann and Milizia have him transferred to the castle the next morning. Edlemann tells him that he believes that Talbot's transformations are not triggered by the moonlight, but by pressure on the brain, he believes he can relieve the pressure, but Talbot must wait for him to gather more mold from his spores. Despondent by the thought of becoming the Wolf Man again, Talbot says he wants to kill himself and jumps into the ocean, he ends up in a cave below the castle.
Edlemann finds that he survived the fall, but has turned into the Wolf Man. The Wolf Man attacks, but returns to his human form as the moon goes behind the clouds. In the cave, they find the catatonic Frankenstein monster, still clutching the skeleton of Dr. Niemann. Humidity in the cave is perfect for propagating the clavaria formosa, a natural tunnel in the cave connects to a basement of the castle. Dr. Edlemann considers it too dangerous to revive him. Dracula tries to seduce Milizia and make her a vampire. Edlemann interrupts to explain that he has found strange antibodies in the Count's blood, requiring another transfusion. Nina begins shadowing Milizia, weakened by Dracula's presence, she warns Edlemann of the vampire's danger to Milizia. Edlemann prepares a transfusion. During the procedure, Dracula uses his hypnotic powers to put Nina to sleep; when they awake, Dracula is carrying Milizia away. They force Dracula away with a cross. Dracula returns to his coffin. Edlemann drags the open coffin into the sunlight, destroying Dracula.
Edlemann begins to react to Dracula's blood, becomes evil. He no longer casts a reflection in a mirror. Falling unconscious, he sees strange visions of himself performing unspeakable acts; when he awakens, his face has changed to reflect his evil nature just like in his vision he returns to his normal self. Edlemann performs the operation on Talbot. Afterwards, he brutally murders his gardener; when the townspeople discover the body, they chase Edlemann. They follow him to the castle, where Steinmuhl interrogate Talbot and Edlemann. Steinmuhl is convinced that Edlemann is the murderer, assembles a mob to execute him. Talbot is cured by the operation, he revives the Frankenstein monster, but the monster is weak. Nina is horrified by Edlemann's transformation, Edlemann breaks her neck and tosses her body into the cave. Holtz and Steinmuhl lead the townspeople to the castle; the police attack the Frankenstein monster. Edlemann kills Holtz by accidental electrocution. Talbot shoots Edlemann dead. Talbot traps the Frankenstein monster under fallen shelving.
A fire breaks out, the townspeople flee the burning castle. The burning roof collapses on the Frankenstein monster. Lon Chaney Jr. as Lawrence "Larry" Talbot / The Wolf Man Onslow Stevens as Dr. Franz Edlemann John Carradine as Count Dracula Martha O'Driscoll as Milizia Morelle Jane "Poni" Adams as Nina, the hunchback Lionel Atwill as Police Inspector Holtz Ludwig Stössel as Ziegfried Glenn Strange as the Frankenstein Monster Skelton Knaggs as Steinmuhl Ted Billings as villager Source: Cast notes: Lon Chaney Jr. had played the Wolf Man in all three of Universal's previous films about the character, Glenn Strange had played the Monster once before, in House of Frankenstein. John Carradine had played Count Dracula once before in House of Frankenstein, went on to play the part three more times, in Billy the Kid Versus Dracula, Las vampiras, Nocturna: Granddaughter of Dracula
Frankenstein and the Monster from Hell
Frankenstein and the Monster From Hell is a 1974 British horror film, directed by Terence Fisher and produced by Hammer Film Productions. It stars Shane Briant and David Prowse. Filmed at Elstree Studios in 1972 but not released until 1974, it was the final chapter in the Hammer Frankenstein saga of films as well as director Fisher's last film; the film was released on UK DVD+Blu-ray on 28 April 2014, with all censored scenes restored. Baron Victor Frankenstein is housed at an insane asylum where he has been made a surgeon, has a number of privileges, as he holds secret information on Adolf Klauss, the asylum's corrupt and perverted director; the Baron, under the alias of Dr. Carl Victor, uses his position to continue his experiments in the creation of man; when Simon Helder, a young doctor and an admirer of the Baron's work, arrives as an inmate for bodysnatching, the Baron is impressed by Helder's talents and takes him under his wing as an apprentice. Together they work on the design for a new creature.
Unknown to Simon, Frankenstein is acquiring body parts by murdering his patients. The Baron's new experiment is the hulking, ape-like Herr Schneider, a homicidal inmate whom he has kept alive after a violent suicide attempt and on whom he has grafted the hands of a deceased sculptor. Since Frankenstein's hands were badly burned in the name of science, the shabby stitch-work was done by Sarah, a beautiful mute girl who assists the surgeon, and, nicknamed "Angel". Simon tells the Baron that he is a surgeon and the problem is solved; the Baron reveals that Sarah is the daughter of the director and has been mute since he tried to rape her. Soon new eyes and a new brain are given to the creature; when the creature – lumbering and dumb – is complete, it becomes bitter and intent on revenge. It runs mad on a killing spree in the asylum, killing several individuals, including Klauss, it is overpowered and destroyed by a mob of inmates. Simon is devastated by the loss of life and reports to Frankenstein.
The three start tidying up the laboratory whilst Frankenstein ponders who should be first to "donate"... This was the sixth and last time that Peter Cushing portrayed the role of the obsessively driven Baron Frankenstein, a part he originated in 1957's The Curse of Frankenstein. Cushing had long been known throughout his career for his meticulous attention to detail in the planned handling and usage of props. For this film, he helped to design the wig that he wore, but years afterward regretted the outcome, quipped that it made him look like the American stage and screen star Helen Hayes, but Cushing's dedication to his role was never dampened, at age 59, looking somewhat gaunt and fragile, he still insisted upon performing a daring stunt which required him to leap from a tabletop onto the hulking creature's back, spinning wildly in circles to subdue the monster gone amok with a sedative. David Prowse makes his second appearance as a Frankenstein laboratory creation in this film, his first having been in The Horror of Frankenstein.
He is the only actor to have played a Hammer Frankenstein's monster more than once. During the DVD commentary session for this movie, Prowse said that his daily transformation into "The Monster From Hell" went quickly, being able to suit up and pull on the mask in only about 30 minutes – whereas his time in the make-up chair for his previous Hammer monster role required several tedious hours. Frankenstein and the Monster from Hell has received a mixed reception from critics. Of the film, The Hammer Story: The Authorised History of Hammer Films wrote: "Terence Fisher's haunting, melancholy swansong would be an epitaph for Hammer horror itself." Time Out wrote, "Fisher's last film is a disappointment."The film itself performed poorly at the box office. But despite this, the film holds an average three star rating on IMDb and has fared better with modern critics, it was released in certain markets with Captain Kronos -- Vampire Hunter. Frankenstein in popular culture List of films featuring Frankenstein's monster Hallenbeck, Bruce G.
The Hammer Frankenstein: British Cult Cinema, Midnight Marquee Press, ISBN 978-1936168330 Hearn, Marcus. Columbia Pictures Horror, Science Fiction and Fantasy Films, 1928-1982, McFarland & Company, ISBN 9780786457663 Frankenstein and the Monster from Hell on IMDb Frankenstein and the Monster from Hell at the TCM Movie Database Frankenstein and the Monster from Hell at Rotten Tomatoes