Rating: 
Summary: Hammer's Last Gothic..Hat's Off to Cushing & Fisher!
Review: Peter Cushing's (the Baron) first scene entrance at the asylum is the most stunning and regal I have seen in the Hammer Frankenstein series. His clothing and choice of fabric colors are a perfect match with his facial structure, top hat and hair piece (which he designed himself). Peter Cushing had Presence to burn without a doubt! Peter's attention to subtle detail in his roles really makes a difference (something LACKING in today's films among a host of other things). Peter performs a great stunt for the viewer without the aid of a double in this gothic feature. He is quite athletic in this film, he was around 60 at this time I believe; very impressive. By this period in Peter's career his screen time was less , with some exceptions, "Twins Of Evil", "The Creeping flesh" and "Satanic Rites of Dracula" so it is wonderful to get such a healthy dose in this film. Films like "And now the Screaming Starts", "Fear in the Night" "Shatter" and "Vampire Lovers", and the Amicus Horror anthologies had Peter on the screen for shorter periods, just bit parts really. His wife's illness and untimley death had alot to do with this and is quite understandable.
The script is well exectuted and the supporting actors do a fine job. The film has a good pace and is interesting and creepy (a little dry ice (fog) would have been great for the day for night scene). Shane Bryant looks great as usual and is in fine form (only Robert Plant in the early 1970's had a better head of hair). This was graceful exit for Terence Fisher, the Baron and the Hammer Gothic's. The film is serious and little sad, but the ending has the Baron ready to move on to his next project, albeit with a degree of forced optimisum on his part, although the film does show an element of the the Baron loosing touch a bit as well. All of this is done without any nudity, profanity, or extreme gore (some scenes have been deleted but it does not disturb the film). The DVD picture quality is great. The sound is very good. Anchor Bay still is the reigning King of Hammer releases but Paramounts release is an improvment of the first batch of Warner DVD's "The Mummy" "Dracula" etc. Thank you Hammer Family, Peter & Terence for a great conclusion of the Frankenstein series!****P.S. Hammer, Tigon, Amicus and Tyburn film lovers Please let Anchor Bay Entertainment know they need to release all British Fantasy, Gothic, Sci-fi's including "Twins of Evil", "Evil of Frankenstein", "The Gorgon", "Capt Klegg" "She" and "Vampire Circus". Contact them today!!
Rating:
Summary: Bravo, BARON FRANKENSTEIN
Review: Peter Cushing, in my opinion the Greatest actor in the world! This was Cushing's last movie as Baron Frankenstein. A person always wanting to do what he thinks is right. I love this film, they don't make movies like this anymore, also look for Shane Briant as the Baron's pupil. A great last finish for Baron Frankenstein, and this was also Terence Fisher's last movie. This movie was made in 1972 as some people putting it as being made in 1974. David Prowse is a great creature.
Rating: 
Summary: Good at what it does, but depressing
Review: Some interesting attempts at social commentary (note Frankenstein's proposal to dope the Monster up on aphrodisiacs and sic him onto the heroine, it plays like a creepy satire of the whole better-living-through-sex-and-chemistry ethos of the hippie era), some good dark humor and sinister imagery. Overall quite good character work too. I think its bad rep stems from its depressing nature: you have unpleasant things happening to fairly likable people, you have this melancholy soundtrack, and you have this dour prison of an asylum where everything happens. The ending, which implies that character is destiny & the surviving characters have basically a pretty lousy destiny, suits the film rather well, but is both a downer and mildly funny. If funny but depressing is your bag, you might like this.
Rating:
Summary: At once fun, frightening, depressing, and entertaining ...
Review: The first film I ever saw in Hammer Studio's Frankenstein series was also the very last, which I feel is a terrible shame, as this was a very good movie. While Hammer's Dracula films drastically revamped themselves twice over the course of their last three films, the Frankenstein series, which was running simultaneously, did it once and even then only partially (by doing no more than cast a younger actor as Dr. Frankenstein). So we have Peter Cushing returning for one final time, after a one-film break with the new guy, in the role of the good doctor, where we get to see him act with Darth Vader three years before the making of "Star Wars" (David Prowse, the man in the Darth Vader suit, is the monster in this one). And I'm glad that Cushing came back, because his performance is what makes this movie so great.
Rather than discuss plot points, as I'm sure you by now have a fairly vague idea of what to expect from this series (though I would like to mention that we get to see the second Doctor Who, Patrick Troughton, as a grave robber at the beginning of the movie), I would instead like to discuss Dr. F, because the character absolutely fascinates me ... especially in this particular film. Here we have a true monster, far worse than any undead beast he could ever bring back to life. Dr. F cares for absolutely nothing but his work ... not only does he have no second thoughts when it comes to disturbing graves, but he goes so far as to see the living as nothing more than potential materiel for his experiments. Witness the casual way he speaks of the patient he prompted to commit suicide (without ever explicitly stating his intention, but by leaving for the patient to read such depressing news that he knew exactly how the patient would react). When I first saw this scene, together with the final one, when Dr. F speaks optimistically about "the next time", I shared completely the shock, dismay, and revulsion felt by our young protagonist, Dr. Helder (Shane Bryant), as he realizes that the man whose work he'd dedicated his studies to and who(m) he'd idolized is so completely inhuman beneath his appearance and kindly manner, so totally obsessed with his life's work that nothing else matters at all, not even his own creations.
Dr. Frankenstein is amoral ... he does whatever he feels is necessary for his experiment to succeed, and hasn't a single care when those actions bring harm or death, let alone anxiety, to anyone else. And yet while certainly not a "good" man, the wicked acts which Dr. F commits are not motivated by malice or a desire to harm ... He's simply so completely blinded by the world of science that it's impossible for him to think in any other way. This makes him, for me at least, one of the most frightening characters in the whole realm of Horror ... a totally conciousless scientist, fanatically devoted to his work and more brilliant than we can even try to imagine. From the films I've seen, I don't believe that any of them give a better, more thought-provoking portrait of the character than this one, without having to rely on any of the films which came before.
"Frankenstein and the Monster From Hell", in spite of suffering from such an awful title, is a wonderfully intelligent and intriguing, visually striking (I love the dreary hallways of the mental institution, as well as the shots of the creature in the graveyard at night), and very well acted indeed. Peter Cushing is one of my favorite actors, and here he certainly doesn't disappoint. Do yourself a small act of kindness and pick up a copy of this DVD today, and then watch it tonight after the lights are out. I think you'll have a marvelous, though somewhat unsettling, time ...
This film will entertain you, but it will also make you think. Definitely five-star material.
Carry on Carry on
MN
Rating: 
Summary: Unjustly neglected.
Review: This intelligent, well-directed swan song for Fisher's career and Hammer's Frankenstein series has had the unfair burden of being dismissed as sub-par 70s fare. This is, in part, due to the era in which it was made: the great Hammer epoch ended (in my view) in 1970, after Sasdy's brilliant Taste the Blood of Dracula. After this, the studio's former consistency for excellence gave way to a wild unevenness, with products that spanned the spectrum ranging from one or two masterpieces (e.g., Hands of the Ripper) to some really embarrassing films (Satanic Rites of Dracula, Dracula A.D. 1972). There is more of value to be found in this era, especially in The Vampire Lovers, Demons of the Mind, and Countess Dracula, than Hammer is often given credit for; but there is no doubt that with fewer talents, a faster production pace, and a pressure to keep up with increased degrees of sex and violence without necessarily measuring or employing them properly for the films' needs or purposes (see Scars of Dracula), the balance tipped more and more in the latter direction as the decade progressed, concluding with the incomprehensible, though well-intended, To the Devil a Daughter. Cushing's Frankenstein at this point is an automaton who creates monsters simply because, as another customer reviewer observed, 'that's what he does.' Having gone through various stages of character development in his previous films, revealing various shadings of cruelty and compassion at different points in the series, he reached his nadir with the rape of Veronica Carlson in the masterful Frankenstein Must Be Destroyed. At this point, Cushing's character becomes sub-human, and only the creature, fittingly enough, has any human qualities; a legitimate and logical way to bring the series to an end, but since it sacrifices depth in Cushing's character in Monster from Hell, it was necessary that this remain the last film. The performers are all very good, especially Cushing, who extracts more from the limited character than many other actors could with most other roles. Fisher's direction, while less energetic than formerly, has a measured, stylish gravity, and the overall film is creative with well-executed moments of physical horror. In my view, this is a fine and respectable end to the directorial career of a true horror great. Hopefully, it will get an audience with the upcoming DVD release.
Rating: 
Summary: The Monster from Hell, looks like hell!
Review: This movie can only be appreciated by those whom have a deep regard for Hammer films. The movie is predictable in its development and can get slow in some spots. The monster's makeup looks like something out of the Halloween clearance rack at pic n save! This is the film all future film makers should watch and learn from.
Rating:
Summary: Great on a stormy night with some popcorn
Review: This was Hammer's final entry in the "Frankenstein" series and it indeed went out with a bang...I saw this as a kid on a late night "Thriller Chiller Theatre" type program, and it was heavily edited...but what fun! Peter Cushing once again completley steals the show as Dr. Frankenstein (or Dr. Victor) and just chews up the scenery. David "Darth" Prowse was the monster this time in a strange neandrethal-like suit, and manages to evoke sympathy for the monster like Karloff did in the 30's. Very Gothic/Victorian and great atmosphere, especially the scene where the Monster rips up the graveyard. The film takes place in an insane asylum, and deals with Dr. Frankenstein's being in charge there, and he continues his ghoulish expiriments with the help of a new assistant. Wonderful entry in the Hammer series and just cheesy enough.
Rating:
Summary: A return to familiar gothic traditions...
Review: Though their reign as the Empire of British horror had surely diminished by the time of its release in 1974, Hammer Film's FRANKENSTEIN AND THE MONSTER FROM HELL marked a return to their familiar gothic traditions. Not only did it mark the last performance of the gaunt and fancy-wigged Peter Cushing in his most famous role of Baron Frankenstein, it was also the last film directed by Terence Fisher, the man who pretty much made the series his own. Also back were Anthony Hinds doing the writing choirs (under his "John Elder" pen name), composer James Bernard, and a bevy of familiar Hammer supporting players (Patrick Troughton, Charles Lloyd Pack, Peter Madden, Sydney Bromley, etc.). The plot has Simon Helder (Shane Briant), a young doctor inspired by the work of Victor Frankenstein, being sent to an asylum for practicing "sorcery." There he meets Dr. Carl Victor (Cushing), who apparently harbors secret information on the underhanded director Klauss (John Stratton), and is able to run the place his own way. Young Helder quickly realizes that Dr. Victor is actually Baron Frankenstein, who wants the outside world to believe he is dead. Helder knows that Frankenstein could never give up his experiments, so after doing some snooping, he discovers his secret laboratory and his latest project. The Baron's new experiment is the hulking, ape-like Herr Schneider (David Prowse), a homicidal inmate whom Frankenstein has kept alive after a violent suicide attempt and has grafted on the hands of a recently deceased sculptor (Bernard Lee). Since Frankenstein's hands were badly burnt in the name of science, the shabby stitch-work was done by Sarah (Madeline Smith), a beautiful mute girl who is nicknamed "Angel" who assists him. When Simon tells the Baron that he is a surgeon, the problem is solved. Soon new eyes and a new brain are given to the creature (allowing this to be a gorefest as far as Hammer is concerned), but he ultimately runs amuck in the asylum. Filmed in late 1972, Hammer's final Frankenstein entry is one of those films that has divided appreciation among fans, some who think it's masterful and others who deem it a low point. The ultra low budget does show in Scott MacGregor's claustrophobic sets, unconvincing miniatures, and the monster's get-up is obviously a pull-over mask designed by Eddie Knight (though the monster is unique in the annals of Frankenstein cinema). But Fisher's direction and Cushing's consummate performance (adding complete madness this time to the character) display a true dedication to this kind of cinema, and the confinement of the asylum only adds to the doomed, somber mood. Prowse, who essayed the role of the monster in HORROR OF FRANKENSTEIN, is able to give the part some empathy--more so than any other Frankenstein monster in the Hammer camp. FRANKENSTEIN AND THE MONSTER FROM HELL may be nothing groundbreaking, but it's certainly entertaining and a worthy end to an important chapter in British horror. It's great to see that Paramount is the latest studio to unleash Hammer films on to the DVD market, but they have released the R-rated U.S. theatrical version which is missing some scenes only found thus far on an atrocious-looking Japanese laserdisc release from the early 90s. The footage not found on this DVD is as follows (those who haven't seen the film may want to view it first before reading this, as I'll reveal some plot points): a few seconds of a sequence where the Baron damns his useless hands and grasps an artery from the monster's wrist with his teeth, followed by his rinsing his mouth out with water; when Briant inserts the monster's eyeball, and Cushing says, "Pop it in," a brief side view of this procedure is replaced in the American version with a reaction shot of Madeline Smith; a second split-second shot of Bernard Lee's character's handless arms in his open coffin (looks to be the same exact brief shot as the first, so perhaps the Japanese just wanted to repeat the bloody sight); after the asylum director has his throat mutilated by the monster, the gushing of blood that comes from his neck is a split-second longer on the Japanese version, and; a few seconds more of the inmates tearing apart the monster during the climax, most notably missing in action is a shot where his guts are being squashed by someone's feet. Quite simply, Paramount went back to the original negative for this transfer, and these scenes were never meant (or were demanded to be censored) for the U.S. version. Getting past that, Paramount's DVD of FRANKENSTEIN AND THE MONSTER FROM HELL looks terrific, and far better than ever before. The film is nicely presented in the original 1.85:1 aspect ratio with anamorphic enhancement. As usual, the studio has done an excellent transfer. Sharpness and detail are very solid, and dark scenes that were once hard to make out are now clear as day. The print source is free of any major blemishes, and the somewhat subdued (for Hammer) colors appear greatly corrected, as do the various fleshtones. The audio is the original mono--there is some audible hiss present, but dialogue is generally clear and James Bernard's score is adequately robust. Optional English subtitles are also included. The DVD has one extra feature (no trailer), and it's big one. A running audio commentary with actress Madeline Smith (Sarah) and actor David Prowse (the monster) moderated by genre historian Jonathan Sothcott. The commentary is rather energetic and quite funny, as both actors are never at a loss for words or a story to tell. They have plenty to say about the film, Cushing, Fisher, and the other players--which eventually leads to anecdotes about some of the other films of the period that they were involved in. This is very fun stuff, remaining interesting until the end, and you'll hear a lot of scoops you've probably never heard before in written interviews.
Rating:
Summary: Almost good and far from great Hammer film
Review: Where is the center to this film? OK - we have a great start here from a GREAT Hammer Horror film. We have the legendary Hammer director Terrance Fisher. We have the great Peter Cushing doing his great role as the evil Dr. We have an insane asylum. We have the dead bodies, the gore, the blood, the...what happened? Yes, this film has its moments. Yet, there is very little real horror. The "Monster from Hell" is almost lame. In fact, in somem moments, he looks pretty awful. Peter Cushing is rarely allowed to do what he did so well in past films. The supporting cast is lackluster. Yet, there are some good moments of Hammer charm. I think that the real problem was that the story just was not there. The story has Cushing and his assistant getting a genius at an insane asylum to give over his brain(after a murder, of course!)to a giant hairy beast - nothing really new. This already mild story is done with no imagination. Yes, for Hammer fans, this one is entertaining - only if you are already a disciple of Hammer. Yet, if you're not, then stay away, this is not where to start your Hammer quest. Start with "The Devil Rides Out," "The Horror of Dracula," or other greats.
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