Frankenstein and the Monster from Hell (1974) User Reviews (78)

The Last Frankenstein Movie by Hammer and Last Terence Fisher's Film

[claudio_carvalho · 6/10 · 3 September 2014]

A body snatcher (Patrick Troughton) is caught by a police sergeant (Norman Mitchell) and he snitches the name and address of his client, Dr. Simon Helder (Shane Briant). The doctor is arrested and accused of sorcery, and sent to a psychiatric institution. There he meets Dr. Carl Victor, a.k.a. Baron Victor Frankenstein (Peter Cushing), who is presumed dead but actually he is alive and secretly continuing his experiments reanimating the dead. Dr. Helder worships Frankenstein and has studied his works and he becomes his assistant together with the dumb Sarah (Madeline Smith). One day, Dr. Helder discovers Dr. Frankenstein's secret laboratory and accidentally releases a Monster (David Prowse) in the institution, bringing panic to the inmates and staff.

"Frankenstein and the Monster from Hell" is the last Frankenstein movie by Hammer once again with Terence Fisher and Peter Cushing. This movie is also the last movie made by Terence Fisher and more graphic than the usual in a Hammer's film. The atmosphere is dark, with a nasty collection of eye balls and Peter Cushing is thinner and drearier. My vote is six.

Title (Brazil): Not Available

Frankenstein And The Monster From Hell (Terence Fisher, 1974) ***

[Bunuel1976 · 7/10 · 22 October 2006]

Hammer's last Frankenstein outing is one of their best; despite the great sadness that went in its production (inherent in the film's overall effect but thankfully not swamped by it), the film emerges as a pretty solid and well-crafted chiller with a remarkable Gothic flavor (all the more impressive for being made on such shoddy finances - the film allegedly carried one of the companies' lowest-ever budgets!).

Script and direction keep the action of the plot moving, despite the necessarily cramped settings. Peter Cushing and Terence Fisher's own personal state of minds create a poignant, almost elegiac ode to Gothic horror: this was to prove their final collaboration (indeed, it was Fisher's very last film). The camera-work, James Bernard's score and the production design all contribute to make this a true harking-back to the heyday of Hammer horror (in view of the fact that a lot of changes were effected during the early 70s with varying degrees of success); still, along with BLOOD FROM THE MUMMY'S TOMB (1971), DR. JEKYLL AND SISTER HYDE (1971), DEMONS OF THE MIND (1972) and CAPTAIN KRONOS - VAMPIRE HUNTER (1974), this is one of the last great Hammer films.

The Baron had evolved a great deal during his sixteen-year period at Hammer (producing seven films in all, only one of which did not feature Peter Cushing and only two were not helmed by Terence Fisher), reaching its zenith perhaps in FRANKENSTEIN MUST BE DESTROYED (1969) where virtually no trace of humanity could be detected in the character! This final venture finds him more relaxed (or, perhaps, I should say resigned) but certainly no saner or less involved with his obsessive quest to achieve immortality!! The rest of the cast is equally admirable: Shane Briant, one of Hammer's bright young hopefuls, building upon his achievements in both DEMONS OF THE MIND and CAPTAIN KRONOS - VAMPIRE HUNTER; Madeleine Smith graces the screen with her presence, managing to give her character (an abused mute inmate) an inner strength and compassion that would normally be difficult to communicate without words; Dave Prowse's monster is a memorably designed hulk (somewhat overdone in the style of Fredric March's Hyde persona in the 1931 version of DR. JEKYLL AND MR. HYDE) but who unreservedly elicits the audience's sympathy because, saddled with numerous body parts that do not belong to him, he is forced to go on living when his sole desire (possessing an ugly interior as well as exterior) was to end it all!; a few supporting characters are allowed to shine as well, notably Patrick Troughton, John Stratton and Bernard Lee.

The DVD transfer is stunning, especially in widescreen. However, Paramount really dropped the ball by opting to release the edited U.S. version: I have to agree with those who condemned them for it, because the missing footage (the artery clamping scene chief among them - as it stands now, the dialogue follows on too hurriedly, making the cut extremely obvious; the scene was not particularly graphic, but it certainly amplified the Baron's character and his dedication to his work) is certainly important and, if anything, helps keep the film's pace balanced as the 'stitching' together of scenes {sic} is awkwardly handled on more than one occasion (see also Bernard Lee's funeral, where Cushing suddenly appears beside the coffin when it is dropped to the ground); similarly, the climax is marred by the loss of footage where the inmates tear the monster apart (on the DVD it would seem that the monster was entirely made up of bits and pieces of flesh, so easily is he dismembered, when we know full well this isn't so!); interestingly, however, though all these bits of added gore are to be found on my murky full-screen VHS, one shot from the DVD is not in fact present - the slashed throat of the John Stratton character!

The Audio Commentary is an immensely enjoyable and lively talk: though the subject matter wanders alarmingly, the relationship between the three participants is so genuine that one cannot help but be drawn into their reminiscences, opinions and idle chatter; indeed, I'd go so far as to say that it's perhaps the best Commentary on a Hammer DVD I've heard!

This final Hammer Studios' Frankenstein was a delight!!

[ricardosablan · 7/10 · 11 September 2006]

I thoroughly enjoyed this final entry in the Hammer Studios Frankenstein series. The acting and film quality were good, especially Peter Cushing. His presence on screen makes all the difference when it comes to interest and appeal. The stylish Victorian Era costumes add to the imagination. Though the "monster" was not as appealing, it can be overlooked by the direction of Terence Fisher and the commanding lead of Peter Cushing. I have always enjoyed all of the Frankenstein films from Hammer, and this entry is no exception. The ending left me wanting more! I recommend it to all horror enthusiasts who love this style of horror and Peter Cushing!

The final movie in Hammer's Frankenstein series could well be the best of them all.

[Infofreak · 25 February 2004]

'Frankenstein And The Monster From Hell' is an important Hammer movie for two reasons. First it was the last in the series which began back in 1957 with 'The Curse Of Frankenstein'. Secondly, it was the final movie for Terence Fisher, who directed all but two of the Hammer Frankenstein movies as well as other Hammer classics like 'Dracula: Prince Of Darkness' and 'The Devil Rides Out'. The previous entry in the series 'The Horror Of Frankenstein' had been a failed experiment. Fisher didn't direct it, Peter Cushing didn't play Frankenstein (Ralph Bates did), and it jumped the story all the way back to the beginning. So in watching 'Frankenstein And The Monster From Hell' we can just pretend it never happened. Shane Briant plays Simon Helder, a young doctor attempting to duplicate Frankenstein's experiments. He is charged with sorcery and is sentenced to an asylum by a judge who had previously done the same thing to the Baron himself. When Helder arrives at the asylum he is told by the director (John Stratton, who gives a wonderfully slimy performance!) that Frankenstein is dead, but Helder immediately suspects that "Dr Victor" (Peter Cushing) is in fact Frankenstein. Of course he is right and he soon becomes Frankenstein's assistant. Sarah, a beautiful mute girl known to the inmates as "Angel" (Madeline Smith) has been helping the Baron (who has injured hands), but she is just an amateur. Now that he has Helder he can continue with his life's work - creating another monster. Cushing plays an older and slightly nutty Frankenstein in this one, and Stratton is very good as his idealistic assistant. Madeline Smith is as beautiful as ever, but in case you're wondering, keeps her clothes on, so you'll just have to watch 'The Vampire Lovers' again, won't you. The supporting cast also includes Dr Who #2 Patrick Troughton and Bernard Lee (M from the Bond films). David "Darth Vader" Prowse once again plays the Monster, but unlike his silly one in 'Horror Of Frankenstein', this monster is very scary and repellent looking, being closer to a caveman than anything we've seen in the previous movies. It's an inspired touch and very effective. In fact the whole movie is inspired and could well be the best in the series in my opinion. While it's sad that it was Terence Fisher's epitaph at least he went out on a high note. I highly recommend 'Frankenstein And The Monster From Hell'.

Frankenstein

[kairingler · 7/10 · 13 November 2007]

I enjoyed watching this film very much, first off i am a Hammer Films fan of all of the horror creatures, not just Frankenstein, although it is my favorite creature. Peter Cushing was excellent in this one. David Prowse, aka Darth Vader did very well as the monster i thought. i love the idea of the film also,, a sanitarium, what a perfect place for the Baron to practice. Von Helder character was also very good, in fact probably stole the show for me. I also liked the character of Angel, and the Director as well, the film has it's funny moments as well, not to much that i didn't like about the film,, the brain transplant scene, well could have been better, and a few other scenes , but hey that's minor stuff, all in all i thought this was a great film to end the Hammer Films collection of Frankenstein, and i would recommend this to all horror fans,, and Peter Cushing fans also.

Peter Cushing brings a strong portrayal of the scientific attempting to create a human taking parts here and there

[ma-cortes · 6/10 · 17 February 2016]

Acceptable Frankenstein entry with colorful photography ,thrilling as well as chilling musical score by James Bernard and Peter Cushing , as ever , does a top notch performance in the role which made him a terror movie legend , it still stands as one of the great screen acting . Last of the Terence Fisher/Frankenstein films , this one deals with the Baron hiding out in a psychiatric institution and he , then , joins forces with another scientist who becomes his assistant . The latter is a young doctor who helped by a mortuary attendant and Bodysnatcher (Patrick Troughton ) took corpses from graveyards until being detained , accused of sorcery and condemned . In the insane asylum resides hidden the notorious Doctor Victor Frankenstein (Peter Cushing) who along with inmate Dr. Simon Helder (Shane Briant) , being attended by the dumb-mute Sarah (Madeline Smith , this character was first offered to Caroline Munro) carry out creepy experiments . Victor and Simon set about constructing a man using body parts they acquire for the purpose , including the brain of a prestigious scholar . Both of whom create a weird being and bring it to life . As his brain came from a genius and his body came from a killer and his soul came from hell . After successfully re-animating him , things go wrong . Frankenstein whose experimentation with creation of life becomes an obsession , but his creature behaves not as he intended .

The classic actor of horror movies named Peter Cushing is terrific as Frankenstein , giving a portentous performance , as always . Atmospheric , slick terror film , creaky at times but it's still impressive . This exciting film packs thrills , chills , eerie events and lots of gore and guts . In fact , real human blood was used in this film , blood that could no longer be used for transfusions was sourced from the blood bank and used in the film, including in the notorious scene where Victor Frankenstein uses his teeth to clamp the artery of the monster . Intelligent and twisted screenplay has nice plot , including fine production design , enhancing its atmosphere thanks to its brilliant color by expert cameraman Brian Probyn . The script by Anthony Hinds or John Elder was revised several times to avoid repeating any elements from the Universal Frankenstein series , as part of this effort, new monster make-up had to be devised especially for this film . After the successful Universal Pictures as ¨House of Frankestein¨, ¨Bride of Frankestein¨ , ¨Son of Frankestein¨, ¨Frankestein meet the wolf man¨ and ¨ The Zingara and the monsters¨ , Frankestein personage was left until Hammer Productions took him and produced ¨The curse of Frankenstein¨ ; although Universal threatened a lawsuit if Hammer copied any elements from the classic version . Followed by six sequels as ¨Revenge of Frankestein¨ by Fisher , ¨Evil of Frankestein¨ by Freddie Francis , Frankestein created woman¨ by Fisher , ¨Frankestein must be destroyed¨ by Fisher , ¨The horror of Frankestein¨ by Jimmy Sangster and this ¨Frankestein and the monster from hell¨ by Fisher ; all of them starred by Peter Cushing and one by Ralph Bates , besides similar artistic and technician team as the cameraman Jack Asher , Production designer Bernad Robinson , musician James Bernard and make-up by Philip Leaky .

This ¨Frankenstein and the Monster from Hell¨ results to be the last of Hammer's Frankenstein movies , being compellingly directed by Terence Fisher , though inferior to previous installments . This was the final film directed by Terence Fisher before his death on June 18, 1980 at the age of 76 . It was also the 29th and final Hammer film that he directed . The first was ¨The last page¨ (1952), he subsequently shot classic horror films as ¨Dracula¨, ¨Dracula , prince of darkness¨ , ¨The brides of Dracula¨ , ¨The mummy¨ , ¨Phantom of opera¨, ¨The Gorgon¨ , ¨The devil rides out¨ and many others . Rating : Passable terror film , 6/10 ; essential and indispensable watching for Peter Cushing fans .

Hammer House of Horror: The Frankenstein series.

[Captain_Couth · 7/10 · 26 February 2005]

Frankenstein and the Monster from Hell (1974) was made during the waning days of Hammer Films. Peter Cushing once again reprises his role as Baron Frankenstein (under another non de plume)and he's up to his old tricks again. Why can't the Baron learn from his past mistakes? He must be addictive to cutting up corpses and trying to reanimate the dead. Maybe this time he'll learn not to mess with mother nature. Most of the gooey stuff was edited from the U.S. version. British body builder and future Darth Vader David Prowse once again makes an appearance as "The Monster" (In here he looks like a big bulky hairy Neanderthal).

A mild mannered doctor is working in a mad house. He looks very familiar and he has a knack for sutures and plasma. A young doctor is soon taken under his wing and he learns the doctor's true identity. Will the new guy be able to keep the old doctor under wraps or will he be up to his old tricks once again? Terrance Fisher helmed this Hammer film for one of the last times. Fitting how Peter Cushing and himself ended their long run with Hammer Films. The series was clearly running out of gas and ideas. The series was finally put to bed for good. We'll never see a studio like Hammer or their sister company Shaw Brothers ever again. It's a shame as well for fans young and old.

Recommended for Hammer fans.

Formidable monster and nice Gothic ambiance, but too simple and drab

[Wuchakk · 5/10 · 24 March 2014]

Hammer Studios did 7 Frankenstein films in 17 years from the late 50s to early 70s as follows:

1. The Curse of Frankenstein (1957); 2. The Revenge of Frankenstein (1958); 3. The Evil of Frankenstein (1964); 4. Frankenstein Created Woman (1967); 5. Frankenstein Must Be Destroyed (1969); 6. The Horror of Frankenstein (1970); and 7. Frankenstein and the Monster from Hell (1974).

Peter Cushing played Baron Frankenstein in every one of these except "The Horror of Frankenstein." The reason being "Horror" was a remake of the original story and they needed a much younger actor to play the role; they chose Ralph Bates (who superbly plays the love-to-hate satanist in "Taste the Blood of Dracula," released the same year).

"Frankenstein and the Monster from Hell" was the last hurrah for the series. The story involves a young doctor, Simon Helder (Shane Briant), who is fascinated by Frankenstein's works and gets sentenced to an asylum for practicing sorcery. There he meets the thought-to-be-dead Baron Frankenstein, now going by the name Dr. Victor (Cushing), and they team-up to carry on his gruesome work, which results in the titular monster.

This is an unmistakable Hammer film and solid Gothic horror, but it's held back by a simplistic plot and dreary ambiance. The story lacks the fascinating and innovative approach of the two previous films, "Frankenstein Created Woman" and, especially, "Frankenstein Must Be Destroyed," which represent the best of the series IMHO. Furthermore, the setting of the story is too one-dimensional, basically being limited to the asylum, which adds to the dreariness. Speaking of which, the film lacks the bright colors usually associated with Hammer horror. The drab palate does up the ante of the Gothic ambiance, but it'll likely disappoint those expecting the lushness of typical Hammer horror.

On the plus side, the Neolithic creature looks seriously bestial and is formidable, played by David Prowse, aka Darth Vader of the first three Star Wars flicks. From a distance he looks impressive, but close-ups reveal curious blow-up biceps, which hampers the illusion, although it didn't really bother me. Regardless, the monster evokes a good amount of pathos. Another plus is the beautiful Madeline Smith of "Live and Let Die" fame, who plays the Baron's mute assistant, Sarah.

The story is basically a drama with horror trappings and, more specifically, a tragedy; so those expecting the overt horror antics of most slasher flicks will be let down. It focuses on how Baron Frankenstein's obsession with his brilliant-yet-dubious experiments have led to the only place left for him, the asylum, where he's a big fish in a small pond. He maintains his optimistic determination because he's sacrificed everything and there's nothing else left for him in life. Speaking of which, while what happens to one or two characters is tragic, as usual, the climax is surprising (even a couple of the characters look surprised). It's a nice change for the series, not to mention a good way to close it.

At the end of the day "Frankenstein and the Monster from Hell" is a solid Hammer horror film and a fine way to end their series, but it lacks the color and pizzazz of the previous two Cushing installments. As such, it's overall mediocre.

The movie runs 1 hour, 33 minutes, and was shot at EMI Elstree Studios, Borehamwood, Hertfordshire, England, just northwest of London.

GRADE: C.

Cushing Is Obsessed With Artificial Life in Hammer's Goriest Film

[Witchfinder-General-666 · 9/10 · 6 June 2007]

"Frankenstein And The Monster From Hell" of 1974 is the final entry to Hammer's Frankenstein series, director Terence Fisher's last film, and arguably the goriest Hammer production (maybe along with "Scars Of Dracula" from 1971). The last Frankenstein film from Hammer is a vastly underrated, grim, eerie and excellent finale to the fantastic series, and it is fun to see how Baron Viktor Frankenstein (brilliantly played by Peter Cushing) becomes more and more insane and ruthless throughout the series. While he was just a dedicated scientist who had to use some macabre methods to achieve his goals intended for common welfare in the first features, Baron Francenstein is absolutely obsessed with the idea of resurrecting the dead, and has hardly any scruples in the pursuit of his objectives in this final feature of the Frankenstein series. Still, Frankenstein could not be described as a 'villain'. Some of his goals are still noble, he hates unnecessary cruelty, and he is certain to act in common interest of mankind. His obsessions, however have increased and become more extreme...

Doctor Simon Helder (Shane Briant) is an enthusiastic reader of the works of ingenious scientist Baron Victor Frankenstein. When he gets caught with snatched body parts, which he needs for his own attempts to create a human being, he is sentenced to imprisonment in an insane asylum, managed by an incompetent and perverted director and a bunch of sadistic guards. The only kind-hearted person in the asylum seems to be Sarah (Madleine Smith), a young woman who doesn't speak, and who is referred to as 'Angel'. Soon after Simon's arrival, however, the guards' sadistic practices are brought to an end by the mysterious Doctor Victor. And you can take a hard guess what Dr. Victor's real name is...

Peter Cushing once again delivers a wonderful performance as Baron Victor Frankenstein. Beautiful Madleine Smith also fits very well in her role of Sarah, and Shane Briant plays his role of Simon well. Observant Hammer-fans might recognize the man who plays the bodysnatcher, Patrick Throughton, for his role of Christopher Lee's vassal in "Scars Of Dracula".

"Frankenstein And The Monster From Hell" is a great, vastly underrated Horror flick that should not be missed by a Hammer-fan. The setting in the insane asylum, the typical Hammer score, photography and atmosphere and Peter Cushing's great performance make this movie a must-see for a lover of Horror. Highly recommended!

Differences between Paramount DVD and Japanese laser

[Dr_AC-Fool_For_Blood · 7/10 · 26 April 2007]

All right, not that anyone (other than the true-blue HammerHeads) really cares, but here's what we've got. I was comparing the Paramount R1 DVD with a dubbed version of the Japanese laserdisc, so these scenes may not be on the UK VHS either.

Changes or trims: (SPOILERS) 50 min: There is a doozy of a cut here, with Cushing's Dr. Frankenstein assisting Shane Briant with an operation by using his *teeth* to hold the stitching in place (as a result of his hands being burned, presumably from FRANKENSTEIN MUST BE DESTROYED's climax). I've seen this in stills, but never on screen.

52 min: couple of brief trims involving close-ups of an eyeball.

59 min: the skull-sawing sequence is trimmed.

1:28 min: throat slashing has a *tiny* trim.

1:29 min: Sequence with inmates tearing monster to pieces is trimmed, missing a particularly gruesome bit where someone treads upon a gizzard of some sort.

I don't know that it adds up to five minutes or not, but those are all the difference I noted.

Frankenstein and the Monster from Hell

[jboothmillard · 4/10 · 12 March 2017]

The first film in the British Hammer (Horror) Studios series of Frankenstein movies is the best, the second was worth watching, the third was terrible, the fourth was alright, the fifth was good, the sixth entry (more a remake) was rubbish, this seventh and last entry I hoped would be a fitting end, directed by Terence Fisher (Dracula, The Hound of the Baskervilles, The Mummy). Basically a Bodysnatcher (Patrick Troughton) is caught trying to rob a grave and is arrested, he snitches, giving the name and address of his client, Dr. Simon Helder (Shane Briant), the doctor is arrested and sentenced to five years in a psychiatric institution. The mental asylum is run by corrupt and perverted director Adolf Klauss (John Stratton), there Helder is tortured by the orderlies, Helder also discovers the asylum surgeon, under the alias of Dr. Carl Victor, is in fact Baron Victor Frankenstein (Peter Cushing). Helder is an admirer of the Baron's work, and Frankenstein is impressed by Helder's talents, he takes Helder under his wing to become his apprentice in his continued experiments in the creation of man. Together Frankenstein and Helder work on designing a new creature, unknown to Helder, the Baron is using the body parts of his murdered patients, he does discover this and is uneasy. Frankenstein's hands are badly burned, so the shabby stitch-work is done by beautiful young assistant Sarah (Live and Let Die's Madeline Smith), nicknamed the "Angel", she is mute, because Frankenstein attempted to rape her. The hulking ape- like creature Monster (Dave Prowse), formerly homicidal inmate Herr Schneider, is completed, with the hands of recently deceased sculptor (Bernard Lee), it is given new eyes and a brain, but it is lumbering, hairy and dumb. Frankenstein is convinced that they have created something magnificent, Helder foolishly agrees with him, soon enough however the experiment goes wrong when the monster is angered and gets aggressively vicious, until eventually it is overpowered and destroyed by a mob of inmates. In the end, Sarah regains her ability to speak, Helder is disappointed by the failure of the experiment, but Frankenstein it was the best thing to happen for the creature, he already has plans for a new creature, using involuntary donors, the three of them seemingly prepare themselves. Also starring Norman Mitchell as Police Sergeant, Charles Lloyd Pack (Roger's father) as Professor Durendel, Sydney Bromley as Muller, Philip Voss as Ernst, Clifford Mollison as Judge and Janet Hargreaves as Chatter. Cushing just about remains sinister, despite his ridiculous wig, the monster played by Prowse to too absurd looking, I don't know fully why critics consider this a fitting final film for either the series of the career of director Fisher, it is predictable, there is no creepy atmosphere throughout compared to the previous films (the good ones), and I was not that happy with the unresolved ending, they could have just left it at the last one where the mad scientist was meant to have been burned alive, there are moments I liked, overall I found it an average horror. Okay!

A fitting swansong for the Hammer Frankenstein series and Terence Fisher

[TheLittleSongbird · 8/10 · 24 January 2015]

Frankenstein and the Monster From Hell for me is one of the weaker films from the Hammer Frankenstein series- Horror's the weakest with Evil second weakest- but that is not meant to be disparaging, just that I preferred Curse, Revenge, Destroyed and Created Woman.

Unlike the previous films the low-budget unfortunately does show in the production values especially with the Monster and the brains. The costumes are very stylish and while the sets are claustrophobic considering the setting that was actually appropriate and there is still the Gothic touch. However the photography is not quite as tight this time round(it is brilliant though in the scene where the Monster digs up the graves through a lightning storm, which is one of Hammer's most Gothic scenes) and the Monster make-up/costume despite being intentionally hideous and somewhat the most monster-like also looks a little ridiculous. Cushing also inexplicably wears a wig that doesn't suit him, and even he thought so.

However Fisher's direction is as taut as ever, never diluting the atmosphere there is and the music score is appropriately eerie. The script has the odd bit of wit and is very literate, the odd tired spot on just a few occasions but that is all. The story returns to the Gothic roots of Hammer's 50s output, in a nostalgic and affectionate way without being outdated at all. It is compellingly told and while the goriest of the seven Frankenstein films it's not in a gratuitous or over-utilised way; it's also not just suspenseful and at times creepy but it is movingly melancholic too especially with the open ending. It also does a better job showing and exploring the relationship between a mute girl and the monster than in Evil of Frankenstein, there is a rape scene but off-screen and unlike that in Frankenstein Must Be Destroyed it was handled with taste and served more of a point in the storytelling and interplay between Frankenstein and Helder is a delight.

The performances are uniformly great. Shane Briant gives a restrained performance while always engaging and Madeline Smith is really touching communicating with just her face, body language and eyes. John Stratton is wonderfully slimy and David Prowse acquits himself far better than he did in Horror of Frankenstein, here he is very formidable but I did find myself taking pity on the monster as well(none of which were apparent in his performance in Horror). The acting honours do go to Peter Cushing whose performance brims with authority and he's also quite moving, both from his appearance and that it was the last time he played the Doctor/Baron. Look out also for Bernard Lee and Patrick Troughton. All in all, a solid Hammer Frankenstein film and a very fitting end to the series and for Terence Fisher. From the title, you'd think it'd be cheesy and amateurish but it's anything but. 8/10 Bethany Cox

Hammer's most gruesome production?

[Coventry · 6/10 · 17 May 2005]

The last entry in Hammer's legendary Frankenstein cycle by far isn't the best one, but it probably is the most appealing chapter to enthusiast horror buffs due to the excessive use of blood and ugly make-up effects. "Frankenstein and the Monster from Hell" is the direct successor of "Frankenstein must be destroyed", since Jimmy Sangster's "Horror of Frankenstein" introduced a different lead-actor (Ralph Bates) and repeated the initial premise of the infamous baron. Terence Fisher's grand finale is set entirely in a mental asylum where good old Peter Cushing continues his deviant experiments undercover. He changed his name to Dr. Viktor and receives help from a gifted new-arrival who got convicted for committing the exact same sorcery-crimes (although Frankenstein considers it science). In their private asylum-chambers, the doctors create new life using the brains and body parts of unfortunate patients of the asylum. Although good campy fun nonetheless, this film slightly disappoints compared to its predecessors. I feel like Fisher could have used the grim asylum setting much better and even Cushing's characters isn't as 'evil' as it was in the other films. Simon Helder – Frankenstein's partner in crime – is entirely listless and Madeline Smith doesn't do much either, aside from looking really cute. The monster doesn't evoke feelings of fright and he actually looks more like a fugitive cast-member of the "Planet of the Apes"-series. On the other hand, you could say that this installment is one of the better since the scenery is raw and the monster is more repellent looking. There are some really nasty killings in this film and the medical experiments are extremely graphic (a gratuitous brain-transplant, anyone?). Purely talking trivia, this also is an interesting film as it was Terence Fisher's last directing achievement. This great director easily was one of the genre's most important icons, with on his repertoire most films of both the Frankenstein and Dracula franchises as well as some other milestones like "The Devil Rides Out" and "The Mummy". His last film (Fisher passed away in 1980) is great entertainment and nothing more.

Good actors - disappointing story - appropriate wig

[kensai-5 · 5/10 · 25 December 2020]

Engaging characters played by very good actors and an intriguing premise for a story, initially provide solid entertainment. After a while it becomes clearer that the story is not going to progress to anything new or interesting. A very wasted opportunity and certainly one of the reasons why the movie failed to draw audiences. The "monster from hell" doesn't match its description, unless the costume was made by the devil to have a laugh. Its oddly furry and monstrous appearance is never convincingly explained, considering that the man must already have looked like that before baron Frankenstein had stitched new hands onto him.

The film's focus is to unnerve and gross out, in a calm and slow pacing. Nowadays that'll only succeed with inexperienced or extremely sensitive viewers. There's only a minimal amount of action and horror will never occur, due to the lacking quality of the costume, which already failed to convince in the 70s. Still, the characters/actors do their best, provide good dialog and basically carry the movie. The building that the majority of the story takes place in, is a convincing setting. The costumes work well too. That also goes for Cushing's wig that many other reviewers consider ridiculous. It's a hairdo you would have seen a lot at the time.

Cool movie and one of the best monsters ever!!

[icirutrut · 30 December 1999]

In this last movie of Hammer Studios' Frankenstein, Peter Cushing proves once again why he is perfect as the Baron. The plot is sometimes confusing, but works well. It moves fast and smooth like the movie Frankenstein Must Be Destroyed, but unlike The Evil of Frankenstein. In comparison to Destroyed, this movie ranks right up there with it. A good cast and script helps this movie entirely. In comparison to Evil, this movie beats it to a pulp. The Evil of Frankenstein was a disgrace, but Cushing's performence makes up for the plot entirely. All in all, Frankenstein and the Monster from Hell is a good, solid film that might be confusing to some, but is great for a late night movie.

Give the Baron credit: he never gives up!

[Hey_Sweden · 7/10 · 13 October 2013]

Peter Cushing makes all the difference in this final entry in Hammer Studios' cycle of Frankenstein films. Overall, the film isn't overly atmospheric, and is talky, albeit with some effective moments of horror. It also looks like budgetary restrictions may have hampered it a bit, as most of the action is confined to one basic location, an insane asylum. Still, the monster this time is of a different variety - it looks like the missing link - and the acting is as sincere as it's ever been for a Hammer film. It also *looks* pretty good, and there is the kind of gore that horror lovers began to see in this sort of thing. A little sex appeal is provided by the extremely comely co-star Madeline Smith, as the mute Sarah. The inmates are also a fairly colourful bunch.

Shane Briant stars as Simon Helder, a surgeon up to the same kind of thing as Baron Frankenstein was, once upon a time. He's arrested, charged with sorcery, and sent to the aforementioned asylum to serve a five year sentence. Guess who runs the place? Simon finds out that the Baron is once again doing resurrection experiments, and helping himself to the inmates when he needs body parts - like brains and hands. Simon is eager to help out, although he doesn't possess the ruthlessness of the Baron and does have *some* scruples, leading to some friction. Naturally, the experiment is fraught with problems.

Marking the swan song for prolific Hammer director Terence Fisher, "Frankenstein and the Monster from Hell" is good, not great, Hammer horror, that does remain watchable with its new twists on the familiar formula. The cast is excellent: Cushing is solid as a rock, and works well with the young Briant. The Baron actually gets to have a good laugh for once here, which is refreshing to see. The film is also noteworthy for co-starring Cushing and David Prowse, who would of course team up as villains in "Star Wars". Prowse plays the Monster as he did in the previous entry, "The Horror of Frankenstein". John Stratton is deliciously sleazy as the asylum director. There are small roles and cameos for the likes of Clifford Mollison, Patrick Troughton, Charles Lloyd Pack, Bernard Lee, Philip Voss, Christopher Cunningham, and Sydney Bromley. One good thing is that the Monster is as pitiable as he should be, while being intimidating at the same time.

This is reasonably engaging entertainment that ends in a very fitting way. If you're a Hammer fan, it does come recommended.

Seven out of 10.

"Ah, kidneys...delicious!"

[Ali_John_Catterall · 7/10 · 15 November 2009]

Young surgeon and Frankenstein student Simon Helder (James Spader lookalike Briant) spends carefree days grave-robbing with his body-snatching assistant (Troughton), until he is arrested for 'sorcery' and bundled off to a lunatic asylum. Luckily, he soon discovers a fellow inmate just happens to be Victor Frankenstein.

Presumed dead, and working as the asylum's doctor under an assumed name, the Baron - Marquis de Sade-style - has been given virtual run of the institute and its patients, having blackmailed boozy, lecherous director Klauss (Stratton) to secrecy.

Together with the Baron's mute, beautiful assistant, Sarah 'The Angel' (Smith), Helder becomes Frankenstein's collaborator in necromancy, filching body parts from dead inmates. A suitable brain is found in Hannibal Lector-like Professor Durendel (Lloyd-Pack), who the unhinged Frankenstein has driven to suicide, and whose brilliant mind and virtuoso violin playing belied a temper "as savage as a wild cat".

A truly hideous body is borrowed from one Herr Schneider, a virtual Neanderthal who apparently favoured "stabbing people in the face with broken glass". Promising. A sadly underrated little shocker, Frankenstein And The Monster From Hell proved to be a swan song for both Hammer (it was the studio's last Frankenstein excursion), and director Terence Fisher, who would never make another film (he died in 1980).

Cushing, meanwhile, had suffered a recent tragedy with the death of his wife, possibly accounting for his gaunt, melancholy demeanour. And, accordingly, the film seems suffused with sadness, echoed in the claustrophobic sets (actually a result of budgetary restrictions), and enlivened only with occasional flashes of graveyard humour - disembodied eyeballs swivelling round to stare out from a jar; a brain kicked across a floor; Cushing's post-prandial sigh of "Ah, kidneys... delicious!"

Grisly, even by Hammer's increasingly unrestrained standards (a desperate concession, probably, to the New Wave of graphic horrors), and featuring a sickening finale akin to George A Romero's Day Of The Dead, the film would nevertheless suffer from the unluckiest of release schedules - crumbling before the hype surrounding The Exorcist and the opulent Pinewood-produced TV movie 'Frankenstein: The True Story'.

Despite these setbacks and brickbats, Frankenstein And The Monster From Hell is evocative, funny and rather moving. It remains a testament to Fisher's surgical skills in patching-up a tired saga for a studio in its death throes.

Hammer, Pure and Simple

[gavin6942 · 7/10 · 25 October 2013]

Last of the Hammer Frankenstein films, this one deals with the Baron (Peter Cushing) hiding out in an insane asylum, so that he may continue his experiments with reanimating the dead, along with inmate Simon Helder (Shane Briant), who has been institutionalized for conducting such experiments.

This was directed by Terence Fisher and produced by Hammer Film Productions, so you know it is good. This was also Fisher's final film (not just of the Frankenstein series but overall). Reviews tend to be rather negative, but it is still better than average and should be seen as such. (Actress Madeline Smith actually thinks this film is better than many Hammer films because it is actually focused on acting and not buxom ladies.)

I love Cushing in everything he does. I guess this was not a big hit and has only in recent years been re-evaluated. I love it. Cushing is as great a baron as ever, and David Prowse (Darth Vader) makes an excellent "monster from hell" -- a hairy beast with the mind of a professor and violinist.

Prowse, interestingly, went in cold to Hammer Studios hoping to play a monster and was initially turned down. Within a few years, he would get a call and go on to be the only one to play a Frankenstein creation more than once. He ended up getting to know Cushing rather well.

Frankenstein and the Monster from Hell

[CinemaSerf · 5/10 · 27 May 2023]

Certainly the most colourfully gory of the Hammer "Frankenstein" films and I think therein lies the problem. This is simply a rehash of so many earlier iterations; but there is nothing at all left to your imagination. The ruthless Peter Cushing ("Baron Frankenstein") has some more scientifically accurate dialogue but Shane Brent as his able, deviously ambitious, assistant seems to offer little more than eye-candy, as does Madeleine Smith as "Sarah". Notable for me is that the anthropoid monster is played by David Prowse long before he found his fame in a black cape. Having been given the brain of a professor, the monster looks in the mirror and sees his reflection and not surprisingly, gets a tiny bit cross. It's well made, this - the last feature from Terence Fisher - but offers little more than a rainy day time-killer nowadays.

Eyeballs, hands, etc.

[JasparLamarCrabb · 8/10 · 30 June 2008]

A really creepy twist on the Frankenstein legend. Peter Cushing is priceless as the good doctor. He looks like a fop, but is in fact quite possibly the most callous of all Dr. Frankensteins. He's ruthless, cold and completely amoral. In other words, he's perfect. Victor Frankenstein, committed to an asylum for the criminally insane, has taken the place over and is up to no good. Terence Fisher's smooth direction and one of the most hideous monsters make this late Hammer entry a real classic. The creature is a grotesque collection of body parts, stitched together in the worst ways imaginable. David Prowse is ideal as the monster and Madeline Smith (as Cushing's mute assistant) is quite a stunner. Fisher sprinkles the film with a lot of great touches: the nervous as hell asylum director; two over-zealous orderlies; Cushing not only dropping a discarded brain, but stepping on it too. One complaint - the obvious miniature used for the asylum exterior...it's needless given the number of real castles all over Europe. Nevertheless, a great movie!

Fantastic finale to Hammer's fantastic Frankenstein series!

[The_Void · 7/10 · 2 March 2005]

The sixth and final film in Hammer's Frankenstein series is yet another treat from the studio! The Frankenstein series is massively better than Hammer's more popular Dracula series, and easily deserves the much higher praise that the latter receives. Sporting the ultra-camp title, 'Frankenstein and the Monster From Hell', this film is important for reasons other than the fact that it's a lovely slice of camp horror, as it also marks Terence Fisher's last film for the great Hammer studios. In spite of that, Hammer's favourite director still directs with all the competency that he instilled on his earlier pictures and manages to do something that Hammer films of the seventies so often failed to do - namely, capture the innocence that earlier Hammer films wore so proudly. As we entered the seventies, Hammer films tended to lean more towards the gritty euro-style that made a success of other horror films, and it was a huge shame as the colour scheme and the way that the films carry on regardless of how silly the plot lines were was one of the things that made Hammer so wonderful in the late fifties and sixties. It was maybe even the change in style that caused Hammer's downfall - but at least this film didn't suffer from it.

This time round we find everyone's favourite Baron in a mental hospital, after being arrested for sorcery. However, you cant keep a good mad scientist down, and before long Frankenstein has found himself a new apprentice and is on his way to creating an all new monster! Peter Cushing returns to the role that he so obviously loves playing, and once again epitomises the character of Baron Frankenstein to a standard that most actors could only dream of. It's amazing how well Cushing becomes the character, so amazing that it's hard to believe that Cushing isn't like this man in real life. The vigour and cold heartedness on display really is scintillating, and Cushing's performance makes the film a pleasure to view, just as it did in the previous films. The monster this time round isn't as ingeniously pronounced as it was in the earlier 'Frankenstein Created Woman' and 'Frankenstein Must be Destroyed', but it still represents a great central fiend. The monster suit is hokey, no doubt about it, but the monster almost succeeds in being frightening because of this and I would even go as far as to say that it's ridiculous looks helps the film! ...it certainly shows that Fisher isn't afraid to do camp horror in a time when more serious films were the order of the day anyway.

The Final Chapter

[AaronCapenBanner · 3/10 · 24 November 2013]

Terence Fisher directs(for the last time) this sixth and last entry in the Hammer studios Frankenstein series starring Peter Cushing as Dr. Frankenstein, now hiding out in an insane asylum conducting more experiments in life and death. He is now helped by fellow inmate Dr. Helder(played by Shane Briant) and a mute girl(played by Madeline Smith) The Baron is building a new monster from the bodies of dead inmates, but of course it will all end tragically as it always does... Peter Cushing is fine, despite his frail health, but film is awfully tired and overly lurid. Still, the ending is quite fitting when you think about it...

very good cushing/frankenstein movie with SOLID acting

[r-c-s · 8/10 · 13 September 2005]

well, of course we aren't dealing with Sherlock Holmes...yet this movie shows even B movies CAN have solid acting, if the screenplay is even just passable, yet actors are good: this is the case. No script could convey really new ideas about baron Frankenstein & his...err...dedication to probing the secrets of life & death. Sure, "the young Frankenstein", the one with de Niro etc etc add some twist here, some there; many are big budget; many indulge in popcorn psychology...yet none virtually tells us anything new: Frankenstein ought to be the main focus, not some hippie revision of his states of mind, or the creature's: who cares, i say. Here i challenge anybody to have a disinterested look at Cushing's performance...his motion...his facial mimic...all. Then i challenge them to compare with many big budget/big name incompetents unable to act unless in step-stop animation ( Russel Crowe anybody? ). Those skills would be awesome no matter the screenplay...

The special effects are fair...not gory for the sake of it but just trying to show you the "real thing"...and let's admit that's part of the Frankenstein franchise, isn't it?

The young assistant also delivers an extremely solid performance. Again, compare with many big budget/name clowns.

I said the script is virtually modest (besides the "nutty house" spin ), and that makes the acting even more impressive. 8/10 praising the acting...otherwise it would be no more than "King Kong versus Godzilla".

Hammer's final entry in their Frankenstein series another triumph for Peter Cushing

[kevinolzak · 7/10 · 25 October 2020]

1973's "Frankenstein and the Monster from Hell" doesn't quite overcome its torturous title, but effectively brings to a close Hammer's entire series, reuniting director Terence Fisher (his final film) and star Peter Cushing, teamed again for the 5th time since inaugurating the Gothic revival with 1957's "The Curse of Frankenstein" (Cushing's third performance in 1964's "The Evil of Frankenstein" was his sole entry for director Freddie Francis). Considering this the 6th time out for the esteemed actor (1970's "The Horror of Frankenstein" offering Ralph Bates as a new, younger Baron), there is no trace of fatigue in his still spry activities, here firmly established as resident physician at a lunatic asylum, successfully orchestrating the Baron's 'demise' through his knowledge of the director's indiscretions. As he had done at the free hospital in 1958's "The Revenge of Frankenstein," the Baron callously sees his patients as potential subjects for his latest creation, quickly reaching fruition by the sudden arrival of Shane Briant's Dr. Simon Helder, a devoted acolyte who was sentenced by the same court that condemned Frankenstein, and for the identical 'crime' of sorcery. A more comely assistant is the mute Sarah (Madeline Smith), known by the inmates as 'The Angel' for her beauty and fastidious devotion. Anthony Hinds contributes his third script (again as John Elder), showing the Baron's burnt hands useless for surgery (a nod to the fiery finale from 1969's "Frankenstein Must Be Destroyed"), and yet greater attention to gruesome surgical detail as damaged arteries are repaired, eyes are installed, the brain transplant involving the severing of the spinal cord and various nerve endings. The resulting Creature is played by weight lifting champion David Prowse, previously The Monster in "The Horror of Frankenstein" under a square headed appliance, here donning a hirsute costume of immense size, yet still able to facilitate sympathy through his expressions and body language. Granted the hands of a sculptor (Bernard Lee) and the brain of a mathematical genius who also plays the violin (Charles Lloyd Pack), it's heart wrenching to see the poor Creature crush his once beloved musical instrument in his lack of coordination (so expertly conveyed by Christopher Lee back in 1957). Another nice reprise comes when Frankenstein again uses a magnifying glass for a closer examination of an eye, just as he did in "Curse," and later spoofed by Cushing himself in 1984's "Top Secret!" To say that this latest experiment goes wrong only shows how well Hammer was able to relate the same basic situation from different angles, achieving something new and fresh against all odds, a fitting climax to a series that remains underrated compared to Hammer's Dracula entries, which in unison offered far less screen time for the Count while keeping Frankenstein front and center with the masterful Cushing usually guided by Fisher's steady hand. The drab, gray asylum setting must be considered most apt, the audience as trapped as the inmates in an undeniable air of inescapable melancholy, the final scene showing how little the Baron has truly learned from his numerous failures, to the point of actually agreeing with Helder's assertion that he must be mad: "possibly!"

Terrible monster, Terrible story

[arminhage · 3/10 · 8 September 2014]

The movie is quiet like the not so good "Diamonds Are Forever" the last official Bond movie starring Sean Connery after a gap in the series which Bond was played by George Lazenby in OHMSS, a great movie though! Here we see good old Peter Cushing again as Baron Frankenstein for one last time although Cushing does not have half of his charm in previous movies but he still is considered the original Baron Frankenstein which gives movie a sense of originality to the audience.

The movie appears to be a desperate departure from the cliché to lure audience in the fading market of mid 70s by briefly showing supposed to be gory but extremely cheesy surgery and slaughter scenes. Despite the incited curiosity, Such scenes were never shown in any of the prequels, a trend which should have been disappointing but it was not due to solid and very interesting stories. But in this very last, there was no solid screenplay and as a result, cheesy became cheesier and at some point became comic! a tragic failure for a horror movie. Now let's see what made this movie so bad... bad screenplay/story of course not the production. Production was as good as it was supposed to be.

1. The monster's body came from a supposed to very strong criminally insane man. Well, what we saw was a beast straight out of "Beauty and the Beast", a creature which does not exist in reality.

2. The monster was so disappointing but it leads to the second question. Why Frankenstein chose such body in first place? He always wanted to create a perfect man so why this monster? I know the answer. Frankenstein didn't want the beast but it was assumed by the producer that the audience wanted such monster.

3. Apparently Baron had a hand problem so why not transplanting those supposed to be awesome hands to himself so he can do surgery again? Also as I remember, he changed his body once in the second movie so why not this time?

4. Why baron wanted to transplant an insane genius's brain to his creation? to create an insane genius with the body of king kong?

Terrible monster, Terrible story... it was a watchable movie just as part of the series. Do I feel that I wasted my time watching this movie?

ABSOLUTELY