The last Universal film featuring the Frankenstein Monster is the classic, Abbott & Costello Meet Frankenstein (1948). Arguably one of the comedy duo’s best films as well as an affectionate swansong to Universal’s golden age of monsters. It was clear that times were changing even though Bud and Lou would make two more films meeting the Universal monsters: they would meet the Invisible Man in 1951, and the Mummy in 1955 in their last film for Universal. In this post war America, Abbott & Costello would soon find themselves on TV and horror movies were about to go to the next level. After the Second World War, eyes turned toward space and as the cold war heated up, Science Fiction would spawn the next generation of horror films.
Frankenstein was certainly the first Science Fiction novel. That it fit so well with the gothic characters is something else that James Whale and Hollywood achieved with the telling of their tales. Dracula, the Wolf Man, and Frankenstein seemed to belong together, but of course Shelley’s novel had nothing to do with any of that genre of horror. It is ironic then that Universal’s last monster would also be of the Science Fiction genre. Universal would release Creature from the Black Lagoon in 1954. No dreary castles or gypsy curses. This was based on science (of a sort) not myth and folklore. Both Frankenstein and Creature from the Black Lagoon are included in the Hugo Award winning, The Ultimate Encyclopedia of Science Fiction by David Pringle.
The audience was also changing. Television was becoming more and more popular. The movie audience was skewing younger. This effected all of the films coming out of Hollywood.
Suddenly, there were a number of Science Fiction films filling the screens across the country and around the world: The Day the Earth Stood Still (1951), The Thing (1951), It Came from Outer Space (1953), Them (1954), Invasion of the Body Snatchers (1956), just to name a few.
It appeared that the monsters of old would really vanish, but in 1957 Hammer Films released, The Curse of Frankenstein. The first film in what would be a six film series starring Peter Cushing as Doctor Frankenstein. Cushing was already a well known television star in England, but this first Hammer Frankenstein film brought him world wide fame. He was supported by the striking Hazel Court (The Raven) as his cousin Elizabeth. Fearful that Universal may sue (the novel Frankenstein was in the public domain, but the Universal films were copyrighted), the producers at Hammer determined to take a completely different approach to the Frankenstein saga. Focusing more on the Doctor and his obsession than on the Monster led to a successful and lawsuit free series that gave Peter Cushing the role for which he is most celebrated. It also afforded more varied and bizarre plot lines.
The film begins with Doctor Frankenstein in prison. He is awaiting execution when a priest arrives that he has asked to come visit him. He thinks that if he tells his tale to the priest that it will help him to avoid the gallows. He begins his tale from his boyhood when he is left alone due to the death of his widowed mother. His Aunt and cousin are leaving from the funeral and he promises his aunt that he will continue sending the stipend his family always sent her. His aunt hints at what a wonderful wife her daughter, his cousin will make someday. Once they leave, his mentor shows up. It is a tutor that he sent for pretending to be his father in the letters that he sent. The tutor agrees to take the position as tutor, and they begin working right away. In a few years the student surpasses his teacher, and they begin to work as equals.
They keep working until they bring a dog back to life, and then things begin to come apart. His mentor, Paul (Robert Urquhart) is shocked that Frankenstein wants to create a man. He continues to help him against his better judgement, but the Baron goes too far when he steals a body from the gallows. Paul’s distaste grows as the Baron cuts off the head due to damage done by birds. The Baron has to go on a trip, and while he is gone his cousin returns, now a fully grown woman who plans stay and finally wed the Baron.
This is taken in stride by the Baron, but it seems to displease the maid, Justine (Valerie Gaunt). It is clear that there has been some dallying in the pantry! The Doctor is not a good man or at least he is a man with no conscience. His cold heartedness is not disguised by his charm; indeed, it makes it all the worse. The addition of color, violence, and more blatant sexuality are all calculated to draw movie goers away from the telly–I mean the television of course. The cinema now had to compete with the small screen for every ticket sale.
Now that Paul has decided that the Baron is dangerously out of control, he tries to get Elizabeth to get out of the house. She refuses because she feels indebted to the Baron. Paul stays on at the Baron’s house to protect Elizabeth. While Paul tries to persuade Elizabeth, Victor is in the hallway with his maid. The kisses are interrupted by the maid’s jealousy.
This does not bode well and Victor leaves on another trip. He tells Elizabeth that he is off to buy materials for his work. When he returns with his materials (a pair of eyes), Paul makes another attempt to talk some sense into him. Of course, it is futile and things begin to unravel quickly after the Baron commits murder to get the brain that he needs. The Monster is played by Christopher Lee. In this film, the real monster is Baron Victor Frankenstein and is played wonderfully by Peter Cushing. Christopher Lee’s role as the Monster is much smaller, and has not received as favorable a reception as Cushing’s Baron. Part of it may have been the expectation of the audience. With the Baron being as evil as he is, the creature seems even more of a victim than in any other telling of the story. Lee delivers an admirable performance in a supporting role. As for what happens next, you’ll have to watch the film to find out how it all…ends.
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