Film Review: The Evil of Frankenstein (1964)
In contemporary discourse, the habit of Hollywood constantly rebooting film series is often lamented as an annoying commercial tactic that stifles creativity. However, a cursory glance through cinema history reveals that this practice is nothing particularly new. Franchises have been resurrected and reimagined since the earliest days of the medium, with some of the most revered genre classics being reworked not that long after their initial release. One such example comes from the famed British studio Hammer Films and its iconic Frankenstein series. While the third instalment, 1964’s The Evil of Frankenstein, is often viewed as a mere sequel in the basic sense, it is structurally and narratively a complete reboot that completely disregards the continuity established in the first two films, The Curse of Frankenstein( (1957) and The Revenge of Frankenstein(1958).
The film, set in the second half of the 19th century, opens with a modern, television-style cold open that immediately sets a tone of urgency. We watch in horror as a young peasant girl observes her dead father’s body being snatched by a suspicious character who is in the employ of Baron Victor Frankenstein (Peter Cushing, repeating the role from previopus two films). This theft of bodies becomes the central motivation for the Baron and his loyal assistant Hans (played by Sandor Elès), who are attempting to assemble a new artificial life form. Their efforts are consistently thwarted, this time by a local priest who becomes enraged by their macabre activities. Forced to abandon their experiments yet again, the duo flees to try their luck elsewhere.
Baron Frankenstein decides to return to Karlstaad, the very home town from which he had been banished ten years earlier following the discovery of his original experiments with the Creature (Kiwi Kingston). His plan is ostensibly to return to his old castle and sell valuables to fund his work. However, he discovers that the castle has been looted. Desperate, he attempts to blend into the town’s fair, but his cover is blown when he recognises a family ring being worn by the town’s burgomaster. In a moment of panic, he and Hans are forced to flee once more. They receive help from a mute beggar girl named Rena (Katy Wild), who takes them to her mountain cave. To the Baron’s astonishment, he finds the body of his original Creature preserved in ice. He brings the body back to the castle to attempt a resurrection, seeking assistance from Professor Zoltan (Peter Woodthorpe), a hypnotist who also ran afoul with local authorities. Zoltan agrees to use his talents to control the Creature, but his drinking habit, greed, and abuse of the Creature make a new set of problems for the Baron.
The Evil of Frankenstein is generally considered the least liked instalment by the fanbase of the original series. This critical derision is partly attributed to the film being the only one made in a co-production with Universal Pictures. This deal allowed Hammer Films to use the specific makeup design for the Creature that matched the iconic version worn by Boris Karloff in 1931. Consequently, many viewers and critics considered the film derivative and unoriginal, feeling that Hammer was relying too heavily on the visual language of Universal rather than forging its own path.
Production on the film was hampered by unforeseen circumstances. Terence Fisher, who was supposed to direct, had been injured in an automobile accident and had to give directing duties to his cameraman, Freddie Francis. Francis, who would later become a renowned cinematographer known for his work with David Lynch, handled the technical aspects competently. The film looks very good for mid-1960s standards of horror cinema, benefiting from strong lighting and composition that maintains the Hammer house style established in previous years. However, he could not fully compensate for the flaws of the uninspired, by-the-numbers script written by Anthony Hinds under the pen name "John Elder." This is best seen in the melodramatic ending, which attempts to wrap up the story with violence, fire, and explosions that mimic the finale of the 1931 Universal film, feeling like a hollow imitation rather than an organic conclusion.
Furthermore, the film suffers from a tonal deficiency; it lacks humour and plays the story straight from the beginning to the end. Unlike some of its predecessors, which balanced the absurdity of science with a degree of wit or irony, The Evil of Frankenstein is relentlessly grim. This lack of levity makes the Baron’s struggles feel more like a chore than a compelling journey.
On the other hand, Hammer Films demonstrates their technical proficiency even amidst these narrative shortcomings. The film looks very good for mid-1960s standards of horror cinema. Peter Cushing took his role as the Baron very seriously. He reportedly asked advice of real pathologists to ensure authenticity in the scene in which Baron takes the heart out of the corpse. His performance remains the anchor of the film, providing a gravitas that elevates the material above its derivative elements.
Supporting performances also shine amidst the film's flaws. Peter Woodthorpe, who would later become known to fans of Inspector Morse as pathologist Max, relishes in the role of the hypnotist Zoltan. He brings a palpable sense of arrogance, greed, and lecherousness to the character, making Zoltan a vivid antagonist whose motivations are clear and whose eventual fate—meeting a rather deserved end at the hands of the Creature he had manipulated—is satisfying. Similarly, Katy Wild is excellent in the role of the deaf mute beggar girl. She is the most vulnerable and most sympathetic character in the film. Her silent, expressive acting provides a human contrast to the scientific grotesquerie surrounding her, anchoring the fantastical elements in genuine emotion.
At the end of the day, despite disappointing those who had built their expectations on the high standards set by Hammer Films, The Evil of Frankenstein still maintains enough quality and strong acting performances to make it recommendable to the fans of the horror genre. It may not be a classic of the series, and its reboot nature alienates purists looking for continuity, but it stands as a competent, if somewhat derivative, entry in the canon of gothic horror.
RATING: 5/10 (++)
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