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Better than its reputation. This is a very worthy ending for Cushings run as the Baron. The gore factor is kicked up for this one considerably. The Monster is menacing and pitiable all at once, while Frankenstein is as morally bankrupt as ever.
Upon being imprisoned for bodysnatching and sorcery, a young surgeon learns that his esteemed mentor, the great Victor Frankenstein, is alive and well, and has been practicing his dark arts from within the prison walls as Dr. Carl Victor. Together, the pair manage to successfully transplant the brilliant mind of a scholar into the body of a murderous brute, but the body of the beast begins to take over its mind as it strikes off on a bloody rampage! Peter Cushing returns to the role of Baron Frankenstein in Hammer's sixth and final entry into the famed Horror series. Here, the character has taken a surprisingly modest turn that lacks the snide sense of superiority that defined Cushing's earlier performances. Cushing is in fine form, as always, and makes a grand entrance as he comes to the aid of young Simon. The plot, at this point, is quite derivative of the earlier films, but that makes it no less entertaining. Despite the shabbiness of the costume and an immovable facial apparatus, David Prowse manages to act through the make-up with his emotive gesturing and body language. FRANKENSTEIN AND THE MONSTER FROM HELL does bear the mark of Hammer's later films unfortunately, which attempted to exploit sex and gore in order to appeal to the changing tastes of the time. This film features the most graphic scenes in the series as a result, including a particularly nasty brain transplant and several bloody murders. As his last Horror film, however, Terence Fisher still retains many of the traditional Gothic trappings that gave him such success throughout the years. A lesser accomplishment in the series, to be sure, FRANKENSTEIN AND THE MONSTER FROM HELL is still a worthwhile entry for any fan of Gothic Horror.
The series comes full circle with Frankenstein and the Monster From Hell and Cushing's swansong performance as the single-minded and amoral baron and doctor. Perhaps taken inspiration from the events of the last film, Frankenstein is working as the doctor in residence at an asylum for the criminally insane. Having faked his death (again) he is operating as Doctor Karl Victor perfecting his work on a neolithic man(!), once again returning an actual monster to the series. The addition of the Simon character to the cast allows Cushing to deliver a performance that echoes his original in Curse as both characters are as in sync as Victor and Paul were in the original film, only this time with the roles reversed. With the mute Sarah added to the cast, the film sports a bizarre 'family' that again mirrors the first film's cast. Frankenstein even has an opportunity to laugh, the first time in the series since the first film. The production value is excellent and being one of the later Hammer films, does benefit from not looking like its rehashing the old Bray Studio sets that one can point out so easily in early Hammer films. The monster on the other hand does disappoint, looking a bit like they overreached what they thought they could accomplish. In fact none of the films ever matched Curse with the make-up job they had on Christopher Lee and it stands as the only critical deficiency of these films. Ironically this last film is the only one to end without a cliffhanger but ends on a strange casual note, with a promise of starting again. Of course this was not to be. This ending does lend the film a haunting finality to Cushing's Frankenstein; forever defeated in his scientific ambition but always ready to begin again. Its somehow comforting that the last we see of him is not trapped in flames or on his way to the guillotine, but sweeping the floors of his lab, planning some mad new scheme. Worth noting is Patrick Troughton, The 2nd Doctor himself appearing in the film's opening. Sadly he shares no scenes with Cushing, thus far the only big-screen Doctor to date. Also the original 'M', Bernard Lee in one of his last roles; its odd to see him playing such a bit part so late in his career.
Probably more famous for the edited scene!
Le dernier effort de Terence Fisher Ã la Hammer, en fait lâun des tout derniers films de la fameuse maison de production avant quâelle ne ferme ses portes, est un film qui laisse mi-figue mi-raisin. Ce nâest pas un film Ã©nergique et dÃ©licieusement Â« evil Â» comme lâont Ã©tÃ© des chef-dâÅuvre tels que Horror of Dracula ou Frankenstein must be destroy (tout deux signÃ©s Fisher). Ã lâÃ©poque (en 1958 dans le cas de Dracula), Fisher, avec la Hammer, crÃ©ait ni plus ni moins ce qui allait devenir le vocabulaire cinÃ©matographique de lâhorreur moderne (et qui a encore sa pertinence 40 ans plus tard). En 1973, Ã premiÃ¨re vue, Fisher semble essouflÃ©.
Et pourtantâ¦ sâil y a trÃ¨s peu dâaction dans cet opus, il y a un je ne sais quoi qui maintient lâintÃ©rÃªt du spectateur (ce qui, rendu au sixiÃ¨me film dâune franchise, nâest pas une mince affaire!), comme si, malgrÃ© tout, la maison de production avait encore quelques cartes dans sa manche.
Car pour lâamateur dâhorreur grotesque et lugubre, il y a plusieurs choses Ã considÃ©rer pour son plaisir (et oui : nous prenons plaisir aux choses les plus Ã©tranges qui soient!). Dâabord le lieu principal de lâaction, un asile psychiatrique oÃ¹ le cÃ©lÃ¨bre baron a rÃ©ussi Ã sâinfiltrer en jouant de sa proverbiale intelligence manipulatrice. Ces Ã©lÃ©ments du scÃ©nario plante le film dans un univers dâune morbiditÃ© exÃ©crable qui, Ã elle seule, devrait faire saliver lâamateur du genre.
Mais il y a plus. Peter Cushing est toujours aussi exceptionnel (le rÃ´le lui appartient Ã tout jamais par rapport Ã tous les autres barons!) et il apporte, 6 films plus tard, quelques nuances supplÃ©mentaires Ã un rÃ´le quâil campe depuis 1957. Sa prestation vaut largement le dÃ©tour. Il est entourÃ©, pour notre plus grand bonheur, de personnages intÃ©ressants, Ã la rigueur suffisamment intrigants, faisant de ce petit film un des plus fascinants Ã ce niveau de la Hammer (le jeune acolyte de Frankenstein, le Dr Simon Heller, est un personnage tout Ã fait savoureux, le directeur de lâasile qui pourrait Ãªtre son propre client, une jeune fille muette qui est toujours prÃ¨s du baron, et jâen passe). La qualitÃ© des dÃ©cors est, quant Ã elle, toujours sublime (les dÃ©cors ont toujours Ã©tÃ© un des points forts de la Hammer).
Frankenstein and the monster from hell prÃ©sente la crÃ©ature la plus affreuse de la sÃ©rie. JouÃ©e par David Â« Darth Vader Â» Prowse, elle Ã©veille autant le dÃ©goÃ»t (plusieurs scÃ¨nes, malgrÃ© le cÃ´tÃ© datÃ© des maquillages et effets spÃ©ciaux, ont encore un effet rÃ©pulsif) que la sympathie, tant son destin (et ses origines!) est tragique. Il faut souligner lâapport constant de scÃ©naristes de talent dans cette sÃ©rie qui ont su apporter, Ã chaque film, des Ã©lÃ©ments nouveaux dans le cÃ©lÃ¨bre mythe populaire de Mary Shelley.
Bref, la principale faiblesse de ce film par rapport aux autres films de la sÃ©rie (et surtout au prÃ©cÃ©dent, le dÃ©licieux Frankenstein must be destroy) câest son manque dâaction, sa lenteur dâexÃ©cutionâ¦ Cependant, lâensemble des personnages, lâintrigue du rÃ©cit et le talent de tout le monde Ã lâÅuvre, tout ces Ã©lÃ©ments viennent clore, sur une note justement macabre et bien exÃ©cutÃ©e, une des sÃ©ries les plus efficaces que nous a livrÃ© le monde de lâÃpouvante cinÃ©matographique (Ã dÃ©faut dâÃªtre la plus rÃ©ussie au niveau artistique!).
In their last few years, Hammer produced some of their greatest works and this is a wonderful coda to their Frankenstein series, an intelligent, inventive, stylized reworking of the themes that had sustained the series for almost two decades . The film however belongs to Cushing and is a perfect swansong for his greatest creation.
6th in the series and an improvement on the last installment,Dave Prowse plays a good sympathetic monster and Cushing in his last appearance as baron frankenstein gives the performance his all,Funny in places too
Underrated late Hammer film, one of the best of the Frankenstein cycle.
The denizens of the asylum might well have crawled from the pages of Goya's Caprichos.
Enjoyable final Cushing Frankenstein film from hammer Studios. Set in an insanse asylum, Dr. Frankenstein of course resumes work upon building a new human from pieces. A worthy final entry in the series.