Frankenstein Created Woman Reviews

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rubystevens
Super Reviewer
½ May 10, 2010
the imperious baron imprisons the soul of a condemned man in the body of his suicidal lover, creating a vengeful swedish supermodel! it's no bride of frankenstein but it's very entertaining and seems almost quaint when u consider this came out only one year before rosemary's baby and night of the living dead. still my favorite hammer series and cushing rules as the mad doctor
cancercapricorn2002
Super Reviewer
July 4, 2007
My favorite of the series, Hammer's fourth Frankenstein entry is an offbeat, fascinating gothic masterpiece.

The film ingeniously opens up with the guillotine execution of a drunken murderer (played with hardy relish by Hammer vet Duncan Lamont), unintentionally witnessed by his young boy, Hans. Years later, Hans (Robert Morris) is employed by the half-witted Dr. Hertz (Thorley Walters) who has taken in the ardent Baron Frankenstein ( Peter Cushing). Forgetting Freddie Francis' Evil Of Frankenstein, a so-so homage to Universal, Fisher picks up the series where he left off and firmly relates that the Baron is really the monster (the character is here introduced as being brought back to life through his own body-freezing experiment).

At the local tavern, Hans gets into a fierce brawl with a trio of spoiled, arrogant aristocrats (Peter Blythe, Barry Warren, Derek Fowlds) after they insult the twisted and deformed Christina (Susan Denberg). Later that night after Hans consummates his love for Christina, the three delinquents break into the tavern and kill Christina's father, the landlord. Since he refuses to tell where he was during the murderous event, Hans is brought to trial, accused of murder and guillotined like his dad. Christina witnesses this and immediately commits suicide by drowning herself.

In the meantime, the brilliant Baron has contrived a way to capture the human soul ("Bodies are easy to come by, souls are not," proclaims Frankenstein). He gets a hold of Hans' body, captures his soul, and transfers it into the wretchedly salvaged corpse of Christina. Luckily, the Baron is also a pioneer in cosmetic surgery, and under the faithful hands of Dr. Hertz (the Baron's hands are burned) is able to transform Christina into a beautiful blond bombshell. As she now harbors the vengeful soul of Hans, Christina is able to use her seductive charm to kill the ones responsible for her father's and Hans' deaths.

Not for all tastes, I personally love this movie think it gets better with repeated viewings. It's totally unconventional as far as "Frankenstein" films go, and it takes a director like Fisher, an actor like Cushing and a screenwriter like Anthony Hinds to make it succeed on every level. Hind's script wastes no opportunity at overlapping a number of morbid sequences (two executions, a murder, a suicide, and the Baron's unworldly experiments) to lead up to the third act, which involves Christina's revenge on the three antagonists. Add other bizarre circumstances such as Christina carting around Hans' severed head as inspiration for vengeance, and later conversing to herself in his voice, and you have a satisfying horror tale to say the least.

Fisher was always quoted as saying that Frankenstein Must Be Destroyed was his favorite film because of the "love story" aspect of it, but Frankenstein Created Woman is arguably his most romance-driven effort. The relationship between Hans and Christina is what brings the story to the predicament that it's in, and Christina's unexpected discovery of her lover's beheading, followed by her own suicide, is one of the director's most powerful scenes.

Although he's given less to do here then in the other Frankenstein films, Cushing is awesome to watch in every motion and every shred of dialogue. He's kinder than usual this time, even displaying moments of concern for the young leads when their lives are at stake, but Cushing plays him cold, chauvinistic and determined, giving the impression that any warmth he expresses is only to boost his personal goals (such as in the closing moments of the film). His refusal to accommodate the newly revived, confused Christina's request for a mirror is a brilliantly subdued example of his true character.

Although Polish-born Susan Denberg only had several other acting assignments (including the "I Mudd" episode of Star Trek and the Stuart Whitman vehicle, An American Dream) and got the job because of her spread in Playboy (often the only requirement to star in a Hammer Horror), she excels in the role. Even though another actress dubbed her voice, she convincingly changes from innocent, suicidal ugly duckling to confused, suicidal and possessed beauty. But the performances are great all around; from Robert Morris' gentle yet easily enraged Hans to Thorley Walter's intoxicated, bumbling Dr. Hertz, whose fatherly kinship with Christina presents some of the film's most touching moments.
A great film and worth checking out for first time viewers and well worth another look for those who have seen it
Super Reviewer
October 28, 2008
If one of the great ironies of Hammer is that their best 'Dracula' movie doesn't even feature Dracula (Brides of Dracula), yet another is that their best 'Frankenstein' movie is the one with the female monster! Colourful, atmospheric, well acted and boasting an ingenious revenge plot involving the transference of souls (which I'm trying hard not to spoil here), what makes Frankenstein Created Woman particularly memorable is the surprisingly poignant love story between Frankenstein's servant, Hans (Robert Morris), and the deformed daughter of the local innkeeper, Christina (Susan Denberg). Denberg's excellent performance in this movie is a notable exception to the rule that Hammer were generally at their dullest when attempting to showcase some European starlet or other, though a good portion of the credit must go to whoever dubbed her voice. Unnecessary or bad dubbing in movies is one of my pet peeves, but this is perhaps the only example I can think of where the dubbing process unquestionably enhances a performance, lending a disembodied, otherworldly strangeness to Denberg entirely appropriate to her character, both before and after Frankenstein gets his hands on her.
thefog1331
Super Reviewer
September 14, 2008
Without a doubt the weakest and most boring of Hammer's Frankenstein franchise.
March 17, 2012
This is barely a Frankenstein movie, other than the fact that it is one of Cushing's best performances. From the moment he awakens with a bit of frost on his nose to the very end where he watches his lovely creature meet her fate, the good Baron plays his arrogant genius to the hilt. "I am a very busy man," is his clipped mantra even at his good assistant's murder trial. Seeing only the possibility to have a fresh corpse, the Baron embodies the calculating humor of the gallows. Susan Denberg is considerably more attractive as a deformed lover than the icy vessel of steely revenge. In the end, Thorley Walters and the three drunkards twist this monster movie into a revenge comedy of the grand English tradition. In that regard, good stuff. As a Frankenstein movie, not so good.
½ April 8, 2007
The best Hammer Frankenstein? If not, it's at least the most effective evocation of the dark fairy tale spirit you'll see in a Hammer film.
March 18, 2007
Not the best Hammer Frankenstein, but not the worst either. Peter Cushing is so good at acting superior. He's a genius, and he'll let you know it -- an evil opportunist, but somehow we still like him.
½ May 15, 2015
It's not like the typical Frankenstein film, but it manages to have some nice surprises and interesting executions. There are some nice scenery, great props, and believable performances. It's essentially a fresh direction with nice concepts and fun suspense.
½ December 6, 2013
(45%)
Hardly a Frankenstein movie as he's only a small cog in the story and he's gone from making monsters to beauty queens. Really just a pretty standard revenge movie that lacks bite and is only for Hammer fans. The three upper class villains are real scum and make very good baddies, but Fisher made better.
February 14, 2014
Certainly not as salacious as the title (and some advertising) suggests (e.g., no nudity), this is an OK entry from Hammer that sees Peter Cushing return as the Baron, continuing his experiments in Switzerland. His major achievement in this film is to transplant the soul of his poor assistant (guillotined after being wrongly accused of murder) into the body of the innkeeper's daughter (who commits suicide due to her lost love). She then goes on to wreak her revenge on the real killers, a trio of annoying rich boys. A little tiresome when we are stuck with unpleasant characters onscreen but with enough weird plot elements and Hammer's usual excellent production values.
½ February 2, 2013
Using his brave new techniques, the Baron Frankenstein manages to migrate the souls of two young lovers into the same body, transforming the disfigured Christina into a beautiful woman. The two use Christina's voracious good looks as an instrument for revenge against the men that crossed them! Terence Fisher returns to direct the fourth in Hammer's FRANKENSTEIN series after Freddie Francis's slight misstep in the last. FRANKENSTEIN CREATED WOMAN is built on a tragic love story that unfolds around Hans and Christina, with Peter Cushing taking a step back behind his fellow cast members. Fisher takes long, artful strides as always in the development of his moving characters. The timely build leads up to the pair's perfectly-executed plot for revenge, which draws greatly from classic fairy tales and traditional storytelling techniques. The philosophical implications involving the existence of the soul and one's ability to transcend death also weigh heavier than in Frankenstein's other outings. Along with the fantastic performances by Thorley Walters, Robert Morris, and the ravishing Susan Denberg, FRANKENSTEIN CREATED WOMAN not only becomes one of the series' strongest sequels, but also one of Hammer's finest films!

-Carl Manes
I Like Horror Movies
July 20, 2011
I was ready to turn this off pretty quickly, but gave it another chance. I've always been fascinated by genre hybrids, especially genres that shouldn't work together. Not only does this have a great Vadim-inspired title, but the first hour blends takes the concept of "sins of the father" and blends them with a Romeo and Juliet story. Eventually, when the Frankenstein ideas come into play, we get a twisted spin on Pygmalion (which I've always thought could be pilfered brilliantly for horror).
½ July 3, 2011
A superior entry in Hammer's Frankenstein series. One of the few of the more brutal Hammers that actually has heart.
July 27, 2009
Superb slice of Hammer from the great Terence Fisher.
½ July 2, 2005
Although entertaining, this film contradicts some of the other films. This time the baron is obsessed with souls. His big experiment is to capture a soul and place it in a new body, resulting in the usual kind of disaster. The problem is that most of the other films show that the brain can be removed and placed in a new body much easier and with somewhat better results.
Enjoy it, but don't take it too seriously.
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