Robert, Nat, and Cody grapple with Terence Fisher’s 3rd outing with the Hammer Frankenstein series with 1967’s FRANKENSTEIN CREATED WOMAN.
Following THE REVENGE OF FRANKENSTEIN, Hammer decided that they couldn’t keep a not so good Baron down and did something of a soft reboot as they continued the story of Baron Frankenstein (Peter Cushing) with THE EVIL OF FRANKENSTEIN which was something of a blending of the Universal and Hammer series. THE EVIL OF FRANKENSTEIN remains to this day something of an odd duck in the series. But, with only the slightest of connected threads, the Baron’s hands are now burned and damaged, the series continued on with Terence Fisher returning as well. As long as the trademark guillotine.
FRANKENSTEIN CREATED WOMAN lacks some of the gore and spark of Fisher’s first two entries, but has more developed characters, something of a tragic love story in its center, and some genuine metaphysical ideas. It’s one of Martin Scorsese’s favorites. Scorsese wrote “If I single this one out it’s because here they actually isolate the soul… The implied metaphysics are close to something sublime.”
While that may be true, FRANKENSTEIN CREATED WOMAN certainly is a film of the mid-sixties. And perhaps beyond as Terence Fisher creates a trio of spoiled dandies who occupy the space as unwitting and principal villains and then later victims in something of a precursor to Kubrck’s A CLOCKWORK ORANGE.
Former Playboy Playmate Susan Denberg serves double duty as the disfigured Christina and a resurrected and restored form of Christina who shares a beautiful body with the soul of her wrongfully executed lover Hans (Robert Morris).
It’s one of Cushing’s least evil performances as the Baron, although it’s certainly one of his more callous performances. His Frankenstein might note that the experiment may be interesting, and he might learn useful things, but never does the idea that he’s toying with people or forces beyond his control ever bother him. He leafs through a Bible for his amusement at one point, but the idea of him not meddling is not a concept that penetrates his mind.
Inevitably, tragedy repeats itself. And there are questions. How much is the Baron truly to blame? How much is history forcing events into a pattern suggesting that free will is more of an illusion than we realize? Does the film function as a horror film? A science fiction film? Many people have put this up as something of a trans film with a male soul inhabiting the body of a woman, but is it really? What does it get right and wrong? And does it matter?
No need to capture a soul to listen to this episode. You can give us a play below or download the episode. Also, feel free to let us know what you think by commenting on our page at Facebook or you can Email Us at skiespocast@gmail.com as we appreciate feedback.
Time tracks:
0:00:00 – FRANKENSTEIN CREATED WOMAN Discussion
1:08:10- Next Movie and Outro
Next month, go all in on Afro-futurism, or at least a good movie, with TOUKI BOUKI. We hope you join us.
