Frankenstein Must Be Destroyed!

Laden with an expressive potency never again equaled by a Hammer production, the fifth chapter of the “Frankenstein” series (the fourth directed by Terence Fisher) resolutely shuns any and all compromise in order to plumb the depths of human degradation and vileness, and still continues to fascinate audiences today.

Elevating the dark side of the baron’s complex personality to an extreme level – a true “deus ex machina” that reaches unprecedented heights of despicability in this film – provides the director an opportunity to confront themes he’s always been drawn to, such as observations on being different (the scene in which Brandt, victim of the mad doctor’s machinations, is rejected by his wife due to his altered appearance is incredibly poignant) and reflections on the ephemeral nature of morality (Karl, the good-natured young doctor, gets dragged into a frenzy of horror and blackmail and ends up becoming a thief and murderer despite himself).

Assistant director Bert Batt’s surprising screenplay lends the characters significant psychological depth, regaling us with a series of scenes that are hard to forget, from the dazzling opening sequence to the police searching the residence, all imbued with thrilling, suspenseful pacing, thanks to Fisher’s extraordinary directorial skills. Moreover, the film shines on the purely visual front as well, thanks to Arthur Grant’s inspired cinematography and the splendid work of Bernard Robinson, Hammer’s momentous art director, here on his final assignment for the British production company.

Although the cast is convincing overall (the excellent Veronica Carlson will also return for the upcoming “The Horror of Frankenstein“, 1970), the film is dominated by the great Peter Cushing who now displays a near total mastery of his character.

Simultaneously dark and sorrowful, “Frankenstein Must Be Destroyed” rightfully takes its place as one of the best horror films, not just of its decade, but of all time.