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Curse of Frankenstein, the

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very good story very gory for it time. peter cushing is wonderful .it,s the best of the hammer frankenstein films.

The Curse of Frankenstein was the first of the many gothic horrors for which the Hammer Studios became renowned, and it remains one of the best.

Fisher's seminal film contains all the sophistication, irony and terror that made the Hammer Frankenstein series so successful and memorable. Peter Cushing plays the villianous Baron magnificently, and Christopher Lee presents us with an original and sympathetic portrayal of the creature. Production design is stunning, especially some of the lush matte paintings, and veteran James Bernard supplies one of his best scores.

Shot in colour and released in 1957, "The Curse of Frankenstein" is, of course, the film that made Hammer Films a household name for horror/thriller movie fans all over the world. To fully appreciate the importance and impact of "Curse", you have to look at it in the context of the time when it was made. By the mid-fifties, horror films had long passed their peak in Hollywood--certainly in terms of quality. Black and white "quickies", with almost no budget, were being churned out for teenagers to watch at the drive-in ( at least, those who were watching the screen ! ) Shlock-masters like Roger Corman and Bert Gordon were turning out "masterpieces" like "The Wasp Woman" and "The Amazing Colossal Man".

Suddenly, we have a small studio in England, making a horror film with excellent production values, gorgeously creepy sets, fine costumes, professional actors and a talented director, Terence Fisher. At the same time, along with a classy look, you add liberal amounts of gore ( certainly by 1950s standards ), and a couple of voluptuous "damsels in distress" who can scream lustily when they encounter the monster. It was a winning formula that Hammer would raise to an art form.

Peter Cushing plays Baron Von Frankenstein, and his terrific performance dominates the film. His character goes through quite a transformation from curious scientist to an obsessive fiend, determined to "create life" at, literally, any cost. His mentor/friend Paul Krempe ( Robert Urquhart )is an enthusiastic assistant at first, but soon becomes alienated by the Baron's frantic and ultimately murderous behaviour. Sometimes body parts are easily available--sometimes you have to be "creative" in obtaining them !

Of course, this flesh and blood "jigsaw puzzle" comes to life in the form of a hideous, pathetic creature played by Christopher Lee, who soon breaks loose, displaying no appreciation whatsoever for being "born" ! As I mentioned earlier, two beautiful women "round out" the cast. Gorgeous Hazel Court is Elizabeth, the Baron's betrothed, and Valerie Gaunt is Justine the maid. Justine is, as they say in England, the Baron's "bit on the side"--when she threatens to spill all the Baron's secrets unless he marries her, you just know that her future is "cloudy".

"Curse" may not be Hammer's best film, but it put the studio on the map and started an enduring partnership of two very fine actors--Peter Cushing and Christopher Lee.

The DVD exhibits good colour, with occasional haziness and mono sound. The extras are sparse--a few notes on other Hammer films, and a trailer. I would have loved some comments from Mr. Lee--sadly Peter Cushing passed away some time ago.

Still, if you like classic horror films, "Curse" has to be in your collection--its importance cannot be over-estimated. Recommended.

This was the breakthrough movie for Hammer studios and caused a storm of outrage among the critics. Peter Cushing is the Baron and he so completely absorbed in his project where he thinks of nothing else. Christopher Lee has the role of the creature. Because the creature is mute, Lee was able to convey emotional turmoil through physical gestures.

In Hammer's version of Frankenstein it is the Baron that is kept alive from film to film in contrast to Universal's version where the creature was kept alive through the series.

This was the 1st British horror movie in color.

The next film in the series is The Revenge of Frankenstein.

THe Curse of Frankenstein is quite an interesting film that borrows plots from both the novel and Universal's classic. The only thing here that is superior to Universal's Frankenstein is Peter Cushing. His performance as Dr. Frankenstein is uncanny, with the right amount of both evil and good. Sure, he's a [bad], but you still end up liking him! Christopher Lee's Creature, on the other hand, isn't as iconic as Boris Karloff's, and the look is pretty forgettable. There is no sympathy felt for this monster. At least The women are excellent.

The Curse of Frankenstein could never rank as one of the best versions of Mary Shelley's novel. Even without the Karloff make-up it borrowed too much from the Universal classic, particularly emphasizing the monster's transplanted brain. Stitches were never seen on the critter until the Karloff version, and Hammer had the stitches too. Christopher Lee, who once referred to his character as a walking road accident, did less in the part than the young actor in I Was a Teenaged Frankenstein. There was no sense of pathos like in the Karloff version, or the wronged being of the novel. He killed just because that was part of the formula of creature features. The monster of the book was romantic, thoughtful, intellectual and more. He even had a sense of humor. When Victor Frankenstein tells him to remove his detested form from his eyes, he places his hands over the young scientist's eyes and says, "Thus I relieve thee my creator." All Hammer Studios had was all the guts we would have loved to have in our childhood Halloween houses, but we had to settle for grapes for eyeballs, and spaghetti for brains. The main value in this movie is the introduction of Peter Cushing as a horror actor and Terence Fisher as a horror director.

"Curse of Frankenstein" is the first Hammer Studios horror movie of note. It maked horror icons out of Peter Crushing and Christopher Lee. Dr. Frankenstein (Crushing) is determined to defy God and make a life on his own. He takes bodies from here and there and makes 'the monster' (Lee). The drama is better than you'd think, if just shy of over dramatic. This is the first 'gore' movie (though it falls short of disturbing by today's standards). Crushing is good as the single minded doctor. He created the evil geniues stereo type that is immitated over and over again (Jeffery Combs' Herbert West is the best immitator). Lee is also good as the confused monster, although his role isn't as showy. Another must for any fan of horror, and if your interested in what may have inspired Tim Burton.

This is the first of Hammer's flamboyant gothic horror-movies, initiating a rich Renaissance for the genre. It's also the first get-together for the quartet who became responsible for the highlights: Peter Cushing is superb as the scientist for whom the moral implications of his unorthodox work are mediaeval dogmatics. When his assistent implies that his experiment is "evil", his reply is: "I wish you would stop saying that". Christopher Lee is the pathetic homunculus, having nothing in common with Karloff or Shelleys romantic creature, rather a tottering retard, failing to understand his surroundings. Jimmy Sangsters screen-play is witty and literary and Terence Fishers direction is simply marvellous, lavish and restrained at the same time. Like most of the movies with "Frankestein" in the title it has very little to do with the novel, but it's a great movie in its own rights, a minor masterpiece. The Warner-DVD do fair justice to the glowing colours, that was one of the trademarks of Hammer's horror-movies.

...as quoted from the original 1957 trailer to this, the first of many British produced Horror Classics. The real treat for audiences, after years of viewing films from Universal's camp in black and white is it being rich in technicolor. Director Terence Fisher, a veteran director of cult classics crafted this well-adapted version which would follow a myriad of future films, yet like many other originals this stands out as the best.

WARNING: POSSIBLE SPOILERS AHEAD!!!

As expected, the screenplay strays greatly from Mary Shelley's original novel, like James Whale's 1931 production, yet it effectively avoids rehashing plot elements from the earlier films. Peter Cushing stars as Baron Victor Frankenstein who is held in prison for murder and his execution is imminent. When he is visited by a Priest, he tells his tale of being obsessed with creating life following inheritance of his family name with the death of his Father. Enter Paul Krempe (Robert Urquhart) who tutors Victor in the process. After they restore a dead puppy, they resolve to recreate a man - and thus Victor's obsession, and Paul's reluctance ensues. Trouble begins as Victor's cousin Elizabeth (a very young, and very lovely Hazel Court) comes to stay at the Castle, and Victor has a secret love affair with Justine the maid (Valerie Gaunt, also the Vampiress in HORROR OF DRACULA). Things are guaranteed to get out of hand even more when the Creature awakens!

Although it is stiff and very slow-paced at times, a clever blend of suspense and camp is woven into the script. For instance, there are graphic close-ups of severed hands, assembled body organs, and although seen only very briefly mentions of halfway decayed cadavers. Thus Victor forms the creation out of several different people. The body from that of a murderer who was hanged. The head and hands from an artist, and the brain from a Professor and Colleague. One must wonder how he seems strongly unrepulsed by this work.

Christopher Lee, although never with a word of dialogue, and reported hated the role, delivers a pretty good performance as the Creature. Gigantic, confused, and tortured. Like the 1931 Frankenstein, he is practically tortured by his Creator. So when he awakens it is only logical for him, having the brain of the man he killed to create him, to identify his killer and attack. Thus Christopher Lee's monster deliberately avoids copying patent Karloff's monster make-up. Artist Phil Leakey designs a network of scars and putty to resemble something out of traffic accident. One eye larger than the other, a sewed up cranium, and incredibly strong.

For collectors of Horror fans this is definite must, but no where near as good as HORROR OF DRACULA, featuring many of the same cast and crew. 1970's HORROR OF FRANKENSTEIN followed this film eerily well, so no doubt it made a strong influence in films to come. You almost get around this so well because Peter Cushing portrays the role with such authority that Hammer Studios effectively brings an entirely different personification of Dr. Frankenstein never quite visualized before. He is cold, ruthless, remorseless, and a murderer to boot - HE is the true monster of the film, not the pitiable disfigured hulk played by Christopher Lee.

I can recall being 10 years old and seeing Curse of Frankenstein on the big screen for the first time playing a double feature with Horror of Dracula. With all due respect to the 1931 James Whale version, this treatment of Shelly's novel (albeit freely adapted)ignited my passion in this genre still prevalent and near mania to this day. The superb acting talents of Peter Cushing (Victor Frankenstein) and Christopher Lee (the Creature),et al, beautiful photography and lavish sets (used multiple times in future creature features)left me wide eyed and thirsting for more. This DVD rekindled my affection for the classic works issued by Hammer Studios in the late 50's and early 60's. The rich colors (or should I say colours?), remastered photography, widescreen formatting, and make this DVD a must have for all horror film aficionados. I would suggest purchasing the DVDs now, lest they disappear as did the Universal Horror DVDs.