The Curse of Frankenstein (1957)

I love this movie so much

Such a frustrating disappointment

Good movie but grossly overrated

Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

While most of the novel is tossed aside, this, the first of the Hammers is the best. The Baron is clearly the true monster here, doing anything to see to the creation of his being. Murder, grave robbing. Offending his friends, anything. Peter Cushing is brilliant as the cold hearted man of science. The first teaming of he and Christopher Lee, who is mute is the best one.

The original Hammer Horror film, that is if you count the earlier QUATERMASS films as science fiction. And as you would expect, it's brilliant. This film contains Peter Cushing and Christopher Lee's first appearances in a horror film, they were to pair up again many times in the next two decades to star in lots of similar roles, usually as antagonists but occasionally allies. This is the first of the '50s Hammer Horror trilogy (remakes of the Universal classics from the '30s), Dracula came next and then THE MUMMY. Although Lee doesn't have much to do in this film, let's face it, it was the kickstarter for his career. Cushing never got away from his Frankenstein character either, he came back another five times playing the increasingly ruthless Baron, the first time a year later in THE REVENGE OF FRANKENSTEIN. Although slow and talky by today's standards, THE CURSE OF FRANKENSTEIN succeeds due to having excellent actors, and being filmed in vivid colour, which helps add to the then-gory experiments and makes the costumes and sets scrumptious.Peter Cushing portrays the Baron as cold, ruthless and heartless in his pursuit of science. His role is quite definitive and not many actors have achieved his standard. Instead of Colin Clive's nervous role in 1931's FRANKENSTEIN, his character is utterly dedicated to his work and will use any means to achieve his role. Robert Urquhart is annoyingly stubborn as the tutor who turns against him but the pair work up an interesting and hostile chemistry as the film progresses. Hazel Court (THE RAVEN) is suitably beautiful in her role and is more than just the love interest, she does indeed bring both depth and warmth to her role. Christopher Lee also acts well although he has no lines, he makes us feel for the Creature and pity him as well as fear him.Terence Fisher directs with typical Gothic flair while James Bernard's music is up to the usual dramatic standard. Hammer certainly weren't expecting the success this film gave them, instead they were more worried about distancing it as much as possible from Universal's feature, in fear of a lawsuit. Seen today, the film may have dated a little in the naïve values depicted by the characters, and sometimes the low budget and lack of sets is all too apparent. But THE CURSE OF FRANKENSTEIN really redefined the genre, breathing life into a stale decade where the only monsters had been ones created by atomic explosions. The gore, while scarce, is still effective, especially the eyeballs, severed hands and wax head. It's a great film with a great atmosphere and featuring great actors. A winner on every level.

The essential Frankenstein movie.Based on Mary Shelley's famous novel. A scientist, Dr Victor Frankenstein (played by Peter Cushing) is researching how life can be given / regiven to dead animals. He hits upon the idea of creating a human life by combining body parts from dead people. His research is ultimately successful, but at what cost...?Surely one of the most well known horror-stories of all time. Modern versions are more about the aftermath of Frankenstein's creation, and turn into empty action movies. This version is probably the purest version in terms of telling the original story.Solid plot, good direction. Peter Cushing is great as Dr Frankenstein. Good support from Robert Urquhart, Hazel Court and Valerie Gaunt. Christopher Lee gives his career-defining and - shaping performance as the creature.

This was an enjoyable and engrossing film version of the tale, luridly updated for the 1950's audience – generally every generation goes one excess further in everything. That observation is partially based on extrapolation as I gave up watching modern horror films for pleasure back in the 1980's, as my pleasure gave way to horror.Baron Frankenstein played by Peter Cushing and his former tutor turned tiresomely unwilling assistant Robert Urquhart bring back to life a composite human being Christopher Lee. Naturally, or maybe not, Lee cuts up rusty and shows ingratitude at such high-handed treatment. With this tale comparisons are inevitable: for instance the two versions of the tale written by Mary Shelley are preferable of course, eminently readable if a little dry - the 1818 text for choice; the 1910 film was fascinating and garish; the 1931 and 1935 films were short and entertaining; the 1973 badly dated even on release; while Cushing's Hammer series was excellent, especially if you can leave your brain in a jar by the door. Karloff was the ultimate unforgettable monster - over the decades I've seen too many knuckle dragging yobs looking like Lee haunting (or going by his part in this, simply hanging about outside) my local chipshop to be unsettled by his workmanlike appearance. Colin "It's Alive" Clive was OK, but not a patch on Cushing who with his performance in this created a bit of a monster for himself too. And who can forget Hazel Court playing Mae Clarke's former role of Elizabeth in a splendid selection of gravity-defying dresses? For saying Hammer ran a tight ship the attention to period detail was very good, as far as I can tell after years of seeing Antiques Roadshow. At the climax with Cushing's histrionics I was bizarrely reminded of such disparate films as A Tale Of Two Cities, Dead Of Night and All Quiet On The Western Front. I've always enjoyed this middlebrow soapy corn and recommend it wholeheartedly to those who already know they like this genre; if you like modern horror you'll probably find you've thrown away your eighty minutes and that you perhaps should've got a life instead.