Frankenstein Created Woman

“That man possesses such power, such knowledge, why, sometimes I don’t even understand it myself“: the elderly village doctor isn’t entirely wrong when he frames the eccentric Victor Frankenstein in those terms given that, alongside the baron’s age-old experimentation in the fields of anatomy and physiology, he has newly become obsessed with metaphysical philosophy (the properties of the soul).

Hammer’s fourth “Frankenstein” film also marks Terence Fisher’s third stint with the series, and in an interview, the returning director offers this insight into his famous protagonist: the baron’s goal is to “perfect the human mind and body”. Basically, Fisher is alluding to a sort of early transhumanism which Victor approaches with the same ruthlessness and cynicism that had been well established in the first two Fisher-directed films of the series (‘But is it right?’ ‘Right? What has right got to do with it?’; Don’t ask! You demand! […] You must know something about everyone in the village. Well, use that knowledge. I’m sure they’ve all got something they want to hide“). However, those particular aspects of the baron’s personality were irrationally expunged in the disappointing third film – “The Evil of Frankenstein“.

And so, a minor revolution was desperately needed to atone for the weaknesses and anachronism that hobbled the prior film. This shake-up was accomplished with a two-pronged approach that involved opening a tactful door to the erotic realm while also paying more than simple lip service to the psychological dimension. Numerous adult themes were effectively brought to bear: the social stigma and existential drama caused by differences, the inequities born of a faulty judicial system, the weight of the sins of the fathers.

Fisher’s capable directing touch is further exemplified by his innate sense of pacing (the way he builds tension in the fight scene at the inn is truly extraordinary), not to mention his skill at conferring a note of tragedy to what likely constitutes the most bitter, sorrowful story of the entire heptalogy. Beyond the return of Cushing, who without a doubt established himself as the definitive actor for the role, the cast features “Playboy” Playmate Susan Denberg (Miss August 1966) as the hapless Christina.

The film was distributed as part of a double bill with John Gilling’s “The Mummy’s Shroud” (1967) and was followed by the memorable “Frankenstein Must Be Destroyed” (1969).