The Curse of Frankenstein (1957) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error The Curse of Frankenstein ( 1957 ) Approved | Victor Frankenstein builds a creature and brings it to life, but it behaves not as he intended. Director: Jimmy Sangster (screenplay), Mary Shelley (based on the classic story by) (as Mary W. Shelley) Stars: From $2.99 (SD) on Amazon Video ON DISC a list of 31 titles created 07 Oct 2011 a list of 22 titles created 13 Nov 2012 a list of 22 titles created 03 Oct 2014 a list of 22 titles created 9 months ago a list of 21 titles created 7 months ago Title: The Curse of Frankenstein (1957) 7.2/10 Want to share IMDb's rating on your own site? Use the HTML below.

You must be a registered user to use the IMDb rating plugin. We watch Baron Frankenstein escaping from the guillotine and going to Germany. There, he names himself Dr. Stein and plans to restart his experiments by using parts of dead bodies. Director: Terence Fisher Jonathan Harker begets the ire of Count Dracula after he accepts a job at the vampire's castle under false pretenses. Director: Terence Fisher In 1895, British archaeologists find and open the tomb of Egyptian Princess Ananka with nefarious consequences. Director: Terence Fisher Dracula is resurrected, preying on four unsuspecting visitors to his castle. Director: Terence Fisher A dead and frozen Baron Frankenstein is re-animated by his colleague Dr. Hertz proving to him that the soul does not leave the body on the instant of death. His lab assistant, young Hans, ... See full summary » Director: Terence Fisher Baron Frankenstein is once again working with illegal medical experiments. Together with a young doctor, Karl and his fiancée Anna, they kidnap the mentally sick Dr. Brandt, to perform the ...

See full summary » Director: Terence Fisher Penniless, Baron Frankenstein, accompanied by his eager assistant Hans, arrives at his family castle near the town of Karlstaad, vowing to continue his experiments in the creation of life. ... See full summary » Director: Freddie Francis When his castle is exorcised, Dracula plots his revenge against the Monsignor who performed the rites by attempting to make the holy man's young niece his bride. Director: Freddie Francis Three middle-aged distinguished gentlemen are searching for some excitement in their boring bourgeois lives and get in contact with one of Count Dracula's servants, Lord Courtley. In a ... See full summary » Director: Peter Sasdy Vampire hunter Van Helsing returns to Transylvania to destroy handsome bloodsucker Baron Meinster, who has designs on beautiful young schoolteacher Marianne. Director: Terence Fisher In the early 20th century, a Gorgon takes human form and terrorizes a small European village by turning its citizens to stone. Director: Terence Fisher Baron Frankenstein works with a mental patient to reanimate the dead. Director: Terence Fisher Edit Storyline In prison and awaiting execution, Dr. Victor Frankenstein recounts to a priest what led him to his current circumstance.

He inherited his family's wealth after the death of his mother when he was still only a young man. He hired Paul Krempe as his tutor and he immediately developed an interest in medical science. After several years, he and Krempe became equals and he developed an interest in the origins and nature of life. After successfully re-animating a dead dog, Victor sets about constructing a man using body parts he acquires for the purpose including the hands of a pianist and the brain of a renowned scholar. As Frankenstein's excesses continue to grow, Krempe is not only repulsed by what his friend has done but is concerned for the safety of the beautiful Elizabeth, Victor's cousin and fiancée who has come to live with them. His experiments lead to tragedy and his eventual demise. Written by garykmcd The creature created by man and forgotten by nature! See more » Genres: 25 June 1957 (USA) See more » Also Known As: Did You Know? Trivia Melvyn Hayes explains in the Blu-Ray "making of" feature how producer Peter Rogers told him about the casting process of the monster.

According to Rogers, a memo went out indicating Hammer was looking for "someone big" to play the monster. In the end, it boiled down to Christopher Lee and Bernard Bresslaw . Both their agents were phoned, asking them how much money they wanted. Bresslaw's minimum fee was 10 pounds a day, whereas Lee's was 8. "And so, for the sake of two pounds, Christopher Lee became an international star", according to Hayes. See more » Goofs When Justine is creeping up to the Baron's Laboratory, she is wearing 20th century high-heeled shoes. See more » Quotes See more » Crazy Credits Opening credits prologue: More than a hundred years ago, in a mountain village in Switzerland, lived a man whose strange experiments with the dead have since become legend. The legend is still told with horror the world over.... It is the legend of... The Curse of Frankenstein See more » Connections Baron Cushing - Resurrector Of The Dead 23 May 2008 | by Bensch – See all my reviews "The Curse Of Frankenstein" of 1957 truly is essential for every Horror lover to see.

While this first entry to Hammer's ingenious Frankenstein series is not one of my personal favorite Hammer Productions, it were this film and the following "Horror Of Dracula" which basically redefined British Horror, and represent everything the Hammer Studios stand for. Mad Science and the Resurrection of the dead have always been among my favorite Horror topics, and Hammer's Frankenstein films starring the great Peter Cushing are among the most memorable films in the field. My personal favorite film in Hammer's Frankenstein franchise is still the brilliantly insane "Frankenstein Created Woman" of 1967, but this first film is also brilliant, and furthermore gets the benefit of originality. Sometimes in cinema, actors are predestined to play a certain role - and this is definitely the case with Peter Cushing here. Nobody else could have played the role of the obsessed Baron Victor Frankenstein as Cushing did. When it was Hammer's Dracula that made Christopher Lee the Horror icon he is, it was "The Curse Of Frankenstein" and its sequel that rose Peter Cushing to immortal fame.

Hammer's Baron Frankenstein is more (insanely) dedicated than the character is in the novel or any previous film, and Cushing is brilliant in the role, which he played six times altogether. While he is not necessarily a villain as such (he does what he does with the strong conviction of doing what's necessary for the benefit of mankind), Victor Frankenstein gets more and more dedicated to his obsession of creating artificial life and resurrecting the dead in this first "Frankenstein" film from Hammer, and, at a certain point, he is willing to do anything in order to achieve his goals. At first he is still supported by his assistant and former teacher Paul Kempe (Robert Urquhart) who gets more and more frightened by his former student's obsessive behavior... I do not want to give too much of the plot away, but I guess everybody knows what the story of Frankenstein is about. As the story of Dracula, the Frankenstein story got its haunting Hammer-style makeover.

From today's point of view the graphic depiction of violence and gore in the film may seem tame, but back in the day the early Hammer Classics "Curse Of Frankenstein" and "Horror Of Dracula" were some of the first films to actually show red blood, some gore and explicit violence. Both classics were directed by Terence Fisher, easily the most important Hammer director, and, as usual for hammer, the film is greatly photographed in eerie Gothic locations. Gothic castles, foggy grounds and a constantly gloomy mood - this is what makes a lot of the greatness of the world of Hammer. Peter Cushing truly is one of the greatest Horror icons ever, and Hammer's Frankenstein series probably earned him this deserved reputation more than anything else. The monster, by the way, is played by a fellow Horror icon, with whom Cushing formed the most awesome Horror-duo in a whole lot of films, none other than the great Christopher Lee.

Hazel Court is a beauty in the female lead, the only tiny negative aspect is the fact that Robert Urquhart's character of Paul sometimes annoys with his moralistic nagging (also, while he is supposed to be Frankenstein's teacher, Urquhart clearly is years younger than Cushing). That does in no way lessen the greatness of this Hammer Classic, however. All said, "The Curse Of Frankenstein" is a true British Horror Classic, which every Horror fan must see, and no film buff in general should miss! 10 of 11 people found this review helpful. Was this review helpful to you? Yes The Curse of Frankenstein by Marcus K. Harmes · OverDrive: eBooks, audiobooks and videos for libraries Performing Arts Nonfiction Critics abhorred it, audiences loved it, and Hammer executives where thrilled with the box office returns: The Curse of Frankenstein was big business. The 1957 film is the first to bring together in a horror movie the 'unholy two', Christopher Lee and Peter Cushing, together with the Hammer company, and director Terence Fisher, combinations now legendary among horror fans.

In his Devil's Advocate, Marcus Harmes goes back to where the Hammer horror production started, looking at the film from a variety of perspectives: as a loose literaryadaptation of Mary Shelley's novel; as a film that had, for legal reasons, to avoid adapting from James Whale's 1931 film for Universal Pictures; and as one which found immediate sources of inspiration in the Gainsborough bodice rippers of the 1940s and the poverty row horrors of the 1950s. Later Hammer horrors may have consolidated the reputation of the company and the stars, but these works had their starting point in the creative and commercial choices made by the team behind The Curse of Frankenstein. In the film sparks fly, new life is created and horrors unleashed but the film itself was a jolt to 1950s cinema going that has never been entirely surpassed. Adobe PDF eBook 1 MB Adobe EPUB eBook 2.2 MB Marcus K. Harmes (Author) Marcus K Harmes lectures at the University of Southern Queensland, Australia, and is author of Doctor Who and the Art of Adaptation and numerous studies on British and European horror and science fiction.

The Curse of Frankenstein | Blu-Ray Review | Film @ The Digital Fix The Curse of Frankenstein 06:00 on 16th Oct 2012 By Mark LeeMark Lee Lionsgate demonstrate an admirable work ethic by releasing two versions of Hammer's first expedition into colour horror alongside a raft of new and used extras, but some may be scared off of this release thanks to a slightly pale transfer. Film Extras Extras New Audio Commentary with Marcus Hearn and Jonathan Rigby, Frankenstein Reborn: The Making of a Hammer Classic, Life With Sir, Four Sided Triangle, Tales of Frankenstein, World of Hammer: The Curse of Frankenstein, Gallery Soundtracks English DTS-HD Master Audio 2.0 Subtitles English Hard of Hearing Lionsgate demonstrate an admirable work ethic by releasing two versions of Hammer's first expedition into colour horror alongside a raft of new and used extras, but some may be scared off of this release thanks to a slightly pale transfer.

�There�s no such thing as bad publicity� is quite clearly a ludicrous adage in the main, yet Hammer�s pivotal The Curse of Frankenstein certainly seemed immune to the sharply negative assessments by the major commentators and critics of the film prior to its release in 1957. �Among the half-dozen most repulsive films I have encountered� was the gravely damning opinion of The Observer at the time, but it seems that the film-going community of the period craved repulsion, as the viewing figures spoke volumes about the public�s appetite for Hammer�s interpretation of Mary Shelley�s classic Gothic horror novel. The benefit of hindsight should perhaps make us sympathetic to the harsh scribblings of these conservative critics, but it does seem that they were spectacularly wrong on a raft of counts, as the film stands as not only one of Hammer�s most important entries to their own catalogue, but also as one of the most significant films in horror history.

The Curse of Frankenstein heralded a new dawn for Hammer; having enjoyed success with the sci-fi horror of The Quatermass Xperiment (an early receiver of the new �X� certificate, and a badge worn with some pride by the film-makers, even at that early stage), the studio was keen to capitalise on the public�s desire for films with such darker themes, and they set about to make a modest black and white entry featuring the legendary yet somewhat long in the tooth actor, Boris Karloff. The film would be distinctly different in its approach to the great Universal films of the thirties starring the great actor, lest Hammer found themselves in undesirably hot legal water after the film�s release, but eventually these plans were dropped, and the decision to feature a new actor as Frankenstein�s cursed creation was one of the most crucial decisions to be made in British horror film history. In fact, there would be two new faces � to Hammer, at least � for this early foray into the type of Gothic horror which would soon become synonymous with the Hammer label and many of its stars.

With the plan to feature Karloff discarded, the serious business of casting eventually gained some momentum, and Bernard "Carry On�" Bresslaw was a name which was suggested. However, a gentleman called Christopher Lee was the actor who eventually landed the role of the wretched monster, with the Hammer team feeling that the unusually sized man fitted their desire for a man of such physical presence, with experience of �movement and mime�. There are also rumours which suggest that Lee�s minimum price was slightly lower than that of Bresslaw, and as such he landed the role with the cost conscious studio. The other new face was a gentleman � in every sense of the word � called Peter Cushing, an actor who had carved out a successful, award-winning television career with the BBC in productions such as Pride and Prejudice, and Orwell�s Nineteen Eighty-Four. Cushing took the role of Baron Victor Frankenstein, and his decision to appear (alongside Christopher Lee) in the first British horror film to be filmed in colour is surely one of the most significant decisions in British horror film history, with Cushing, Lee, and the Hammer team triggering a new dawn of British horror which would shape the genre for years to come.

It must surely be perplexing to a modern horror fan unacquainted with horror films of the thirties, forties, and fifties, to consider what, exactly, critics found so distasteful and repulsive about a film which to a balanced, modern pair of eyes seems utterly dignified. Indeed, much of the delightful appeal of The Curse of Frankenstein is its depiction of the upright behaviours and manners demonstrated by the characters of the period. And furthermore, it�s especially ironic that the critics should suggest that a film with Mr Cushing in could possibly be repulsive in any way; Cushing behaved with absolute dignity both in his film roles and outside, and his resolute gentility and dignity is surely unparalleled at that time or since. However, when considered within the context of the period, and comparing the film to the back catalogue of horror which preceded it, it is possible to identify a number of triggers which would have upset the sensitive critics of the time. Primarily, the delivery of the horror in the new medium of colour must have delivered quite a blow to viewers previously accustomed to bloodshed and horror being diluted by the limited format of black and white.

And cinematographer Jack Asher, who treated much of the film as an exciting new experiment in the emerging colour format (in this instance provided by Eastman Colour), revels in the vibrant reds and glowing greens of the piece, lending an excitingly (and fittingly) lurid edge to the cautionary tale, and breathing as much life into the colour film format as Baron Frankenstein breathes into his poor, doomed monster creation. Our delicate critics may also have been offended by a couple of grisly moments which seem innocuous by today�s standards, but which would have packed quite a punch at the time. One such example is when the cold Baron unwraps a handkerchief with a pair of severed hands within, and another concerns the insertion of a head into an acid bath for quick and effective disposal. This latter scene was considered unsuitable for British audiences, and as such it didn�t make it in unexpurgated format to the theatrical versions which British audiences would have enjoyed. Perhaps what really upset the critics was the approach Hammer took to retelling Mary Shelley�s cautionary tale about man�s interference with nature, and the grave warning the story delivers against man trying to perform acts which are assigned to God.

Those familiar with the 1818 novel and its history will be aware that, ironically, the novel was poorly received by critics upon its initial (anonymous) release, and in an intriguing parallel to Hammer�s film, it was almost immediately successful, despite the negative reviews. Where the Jimmy Sangster-penned screenplay departs from Shelley�s Frankenstein is in its depiction of not only the obsessive Victor Frankenstein, but also of his monster. Shelley�s rendering of both characters was imbued with a heavy quotient of sympathy; Frankenstein himself was misguided, rather than evil, and his obsessive desire to create life was the root cause of his eventual doom. Similarly, Frankenstein�s monster � innocent of any crime as he was brought into existence by the doctor � was a character to be pitied rather than despised, and Shelley showed him to be � initially, at least � a creature capable of sensitivity and an articulate voice, though his eventual self-realisation and his treatment at the hands of terrified locals drives him to acts of terrible rage and vengeance. Sangster�s story is completely devoid of sympathy for �Baron� Frankenstein.

The moneyed and prodigiously intelligent scientist is entirely cold, despite his education with the affable and pliable professor Paul Krempe, and as his work begins to show signs of eventual fruit, we realise he will stop at absolutely nothing to achieve the goal of his life�s work. The monster itself is shown a little more sympathy, especially in a particularly harrowing scene where the Baron leads Krempe to see his �creation� chained up in his laboratory, and the cruel, insensitive Baron barks orders at the monster, forcing him to sit down and stand up at his command. Yet at no time do we root for the cause of the monster, as he shows himself capable of mindless, unthinking violence whenever faced with human life. Far from the thinking and intelligent monster of Shelley�s story, this imagining of the ghastly creation is one of a shell housing a crude collection of uncontrolled instincts. For all of these issues which may have led the critics to their damning conclusions, it is still unimaginable to believe that they could not see how imaginative, how well crafted, and how progressive this new colour vision of Gothic horror really was.

It�s not just that Terence Fisher�s direction is impeccable from start to finish, or that the pacing is handled in such a way as to keep you utterly absorbed throughout, or that Cushing and Lee deliver performances which are absolutely superb (the afore-mentioned scene with Cushing�s Baron and Lee�s monster in the laboratory is chilling as they play their roles with utter conviction). With The Curse of Frankenstein, Hammer seized the Gothic horror genre, applied the new medium of colour to it, and managed to avoid creating a picture which was stale or derived, whilst also managing the application of colour with impressive aplomb. The construction of the crazed Baron�s laboratory is dazzling, and utterly bereft of any clues which may point towards the modest �65,000 budget which the film was made for; Hammer�s uber-efficient film-making machine was in full force at Bray Studios, and this film shines so much more brightly than its budget would seemingly allow. Another success rising above the constraints of the limited budget was that of Christopher Lee�s terrifying appearance as the monster.

Keen not to emulate the image of Universal�s imagining of the monster from the thirties, and keen not to end up with any legal difficulties from that quarter, make-up artist Phil Leakey eschewed the right-angles and thick bolts of the earlier monster, and created something far more organic, more gruesome, and ultimately � more terrifying. Leakey tried a number of designs before arriving at the final decision, and whilst this design was rushed in at the last minute after Leakey had experimented with a number of other ideas, the image of Lee as the monster created a new, gruesome edge which was surely a substantial driver of the success of the new Frankenstein picture. The reveal of this more gruesome vision of the monster constitutes the most impressive part of the film, and this scene delivers one of the most exhilarating moments in Hammer horror history, with the camera zooming in on Lee�s exposed face as Cushing stands before him with a combination of awe, euphoria, and fear. To a 1957 audience, this must have seemed extremely frightening, and even to a modern audience, it�s a chilling moment which marks a pivotal moment in the film.

Whilst The Curse of Frankenstein is an extremely important film, and a compelling one too, it certainly isn�t flawless, though not for the primary reasons those early critics cited. One aspect which is particularly conspicuous to a modern viewer is the film�s treatment of women. The female characters here are relegated to flat, functional roles; Hazel Court looks and sounds extremely charming as Elizabeth, yet she is not given the scope to build a truly engaging character, and Valerie Gaunt performs well as the mistress of the cruel and flippant Baron, but is depicted as a gullible woman unable to see any wrong in the Baron � until it�s too late. The other issue is with Robert Urquhart, playing the Baron�s tutor, Paul Krempe. Urquhart is a likeable and comfortable screen presence, and in the main he performs well, but there are a few moments where it feels his conviction is not complete, and some of his early lines are timed in such a way that feels a little stilted.

It is said that Urquhart � perhaps as a result of the initially negative reception fostered by the critics � became uncomfortable with the film at later stages of its evolution and made mention of its �salaciousness�, and it�s perhaps some early stirrings of these reservations which filter through to his on-screen performance during some phases of the film. Overall though, it�s impossible to overstate the importance of The Curse of Frankenstein in British horror film history (or, indeed, horror film history per se), and not only did the film progress two incredible horror acting careers in the form of Lee and Cushing, nor did it just demonstrate exactly what could be done inside the horror genre with the new medium of colour, but it also obliterated the damning reports of the critics, and showed how new techniques and brave, efficient, intelligent filmmaking could change the face of an entire genre. Cushing returned for Hammer in the 1957 film The Abominable Snowman, and reprised his role as the Baron in the successful 1958 sequel, The Revenge of Frankenstein.

Shortly before, in early 1958, Fisher, Cushing, and Lee had reunited to create Dracula, a reworking of Bram Stoker�s classic gothic horror novel. The Disc Lionsgate have clearly invested a lot of time and effort into this Blu-ray release of Hammer�s pivotal 1957 classic. The film arrives in a 3 disc package, composed of a single Blu-ray and 2 x DVD discs. The split across the discs can be summed up as follows; the Blu-ray contains two versions of the film, the first in 1.37:1 aspect ratio, and the second in 1.66:1, plus all extras (including an audio commentary). The first DVD contains the two versions of the film in the different aspect ratios, plus the audio commentary. The second DVD contains all of the extras. There is also a PDF booklet on the second DVD with text by Hammer archivist Robert J.E. Simpson, but I only received a Blu-ray check disc so am unable to comment in this area. I imagine that the aspect ratio question will raise the most interest and debate from fans and purists, and it will certainly make a difference as to which aspect ratio you select.

The 1.37:1 ratio is known as the �Academy� ratio and is a previously unreleased presentation of the film. When viewing the film in this aspect ratio, expect to see a �squarer� image with larger black bars framing the film from the left and right of the image. This is the default presentation of the film on the disc, and this version appears to better represent the size and shape of the film. Some modern viewers may prefer the 1.66:1 version, which presents the film in a wider format which will be more familiar, though this will presumably be objectionable to the purists, as the image itself is subject to some cropping, to accommodate the ratio without stretching the image, and the 1.37:1 version certainly enjoys improved definition. Please see a comparison of a still from the film below, in both formats, as this demonstrates the cropping of the image at the top and bottom when viewing using 1.66:1. 1.37:1 1.66:1 Both versions of the film benefit from 1080p resolution, and whilst the aspect ratio varies, the content of the film is the same.

The codec used for the transfer is MPEG-4 AVC, and whilst some may have suggested that additional compression may have been used to accommodate the enormous amount of content contained on this disc, it is my understanding that this is not the case. For those who may be interested here, you may wish to know that the total disc content amounts to 37.7Gb, with each version of the film accounting for approximately 14.4Gb. Analysis of the image itself is problematic. This is an early expedition into colour filmmaking, and as such, the source material is going to be showing many signs of age, both in terms of its physical age, and also in terms of the technology used at the time. The film is transferred from an interpositive, and in terms of extraneous dirt or interference, it is surprisingly clean, although there does seem to be some sort of minor noise dancing at the top left of the screen for a substantial period of time. What�s difficult to judge is the strength of the colour itself in the image, and the accuracy.

It seems as if efforts have been made to allow the source material to breathe, and for the release to accurately represent the film as it would have been presented at the time, with a substantial level of natural grain. The colour depth in the image feels quite anaemic though, especially at the early stages of the film, and certain other transfers of similar material from the surrounding period enjoy substantially stronger representation of colour, and a sharper image definition; at times, the image becomes a little blurred, though one might argue that the high definition format is exposing the flaws in the source material of the time. That said, Jack Asher�s stunning cinematography ensures that the reds and greens of this picture are strong and vibrant, and in the laboratory scenes where the reds are so abundantly apparent, this transfer does come to life in a way which is absent during the earlier phases. Your view on the image quality will vary depending how much you feel an older image should be manipulated and processed, and though this is certainly an honest and earnest transfer of a film made in 1957, some may feel that more could have been done to present a stronger and more vibrant image, as has been shown in other similar Hammer releases onto high definition formats.

English Hard of Hearing subtitles can be toggled on and off via the menu system. Audio The dramatic audio is presented in DTS MA 2.0, and whilst the reproduction is clear enough, you should expect quite a harsh delivery from the racing musical score. The dialogue is clear, and the soundtrack doesn�t suffer unduly from hiss or distortion, and Hammer fans should be pleased with what they hear on this presentation. Extras Lionsgate have assembled a fantastic collection of extras to provide an accompaniment to the film. A New Audio Commentary with Marcus Hearn and Jonathan Rigby forms an excellent aural backdrop to the film, with the sculpted tones of the two commentators providing a suitably aristocratic nature to proceedings! The two gentleman know an awful lot about the film, and they demonstrate knowledge of minutiae which should educate even those who are familiar with the film. Frankenstein Reborn: The Making of a Hammer Classic is a new and exclusive half hour documentary featuring a collection of interviews and footage which forms a solid and informative body of information for those with any interest in the film and its history.

The piece is well constructed and features interviews with Jimmy Sangster, author Denis Meikle, the ever-engaging Jonathan Rigby, archive footage from Michael Carreras, and a hilarious recounting of an anecdote by Melvyn Hayes regarding his comments to Christopher Lee. There is also some commentary about the musical score by David Huckdale, and a discussion of the transfer by Paul Collard from Deluxe 142. Life With Sir is a 12 minute segment of an interview with Joyce Broughton, who was Peter Cushing's loyal secretary. In what is one of the most touching and moving extras I've seen, she discusses - with great dignity - the life of the great actor and gentleman, and if this piece doesn't touch you, then you are emotionally bereft! What may surprise you is that Lionsgate have managed to stuff (in addition to the two versions of the main feature) another full length film onto this disc.

The film in question is an earlier Terence Fisher piece called Four Sided Triangle from 1953, and whilst not so absorbing or powerful as The Curse of Frankenstein, the film is an early example of Fisher's evolving talent as director, and also a solid example of Hammer's ability to create thought provoking and imaginative sci-fi and horror on a presumably meagre budget. Tales of Frankenstein is a 25 minute TV pilot featuring some black and white Frankenstein action, and again, whilst nowhere near as special as the main feature, this is still a decent enough viewing experience. Lionsgate have included World of Hammer: The Curse of Frankenstein on this disc, which affords you the opportunity to see the Oliver Reed-narrated episode pertaining to the content of the main feature itself. Expect to see analysis and footage of The Curse of Frankenstein alongside other notable Frankenstein moments from Hammer, including the sequel, The Revenge of Frankenstein. As usual, this makes for a good quality viewing, despite the age and straightforward stylistic presentation of the material and narration. A Gallery piece runs for eight minutes, showing images of promotional posters, stills, and behind the scenes footage.

It also shows an image of the infamous 'head' being placed into the acid bath by Peter Cushing. This piece rounds up the impressive set of extras supplied by Lionsgate on this three disc set. Overall The final image on this transfer may prove a little insubstantial for some tastes, and the 1.66:1 aspect ratio is subject to considerable cropping, but when counterbalanced with a fantastic set of high quality extras, this Lionsgate release of Hammer's genre-shaping classic is still a worthwhile investment. The Curse of Frankenstein Blu-ray - Peter Cushing Description: Baron Victor Frankenstein was the archetypal aristocrat, well-read, cultured and arrogant. Beyond the sophisticated veneer existed a cruel, utterly unscrupulous man, obsessed with ambition. Determined to realise his greatest dream to create life, he had assembled a creature from organs gathered from various unwilling donors. The creature is successful brought to life but the instability of the brain, damaged during surgery, causes uncontrollable violent spasms that result in indiscriminate murder... and it is the Baron to whom the blame is laid with fatal consequences.

The Curse of Frankenstein is a classic 1957 British horror film by Hammer Film Productions, based on the novel Frankenstein (1816) by Mary Shelley. It was Hammer's first colour horror film, and the first of their Frankenstein series. Its worldwide success led to several sequels, and the studio's new versions of Dracula (1958) and The Mummy (1959) and established "Hammer Horror" as a distinctive brand of Gothic cinema. The Film: Curse of Frankenstein was the "breakthrough" picture for the fabled Hammer Studios. Told in flashback, the story centers around Baron Victor Frankenstein (Peter Cushing), a dangerously arrogant scientist who takes it upon himself to play God. Using portions of dead bodies, Victor fashions a synthetic monster (Christopher Lee) with a bad attitude. In a radical departure from the Frankenstein canon, it is the imperious Victor who orchestrates the film's two murders by "borrowing" the brain of a learned professor, then leaving his next victim at the mercy of the monster. In 1958, the film spawned the sequel Revenge of Frankenstein.

Excerpt from MRQE located HERE The first of the Hammer Frankensteins, bringing blood and amputated limbs to the story but cursed with an inept make-up for Lee's monster (Jack Pierce's Karloff creation was copyright). The whole thing in fact looks surprisingly tacky for a film which sparked a box-office bonanza. Fisher's voluptuous use of colour was much more assured in the following year's Dracula . Image : NOTE: The below Blu-ray captures were taken directly from the Blu-ray disc. Of all the Hammer Blu-rays we've reviewed ( Horror of Dracula , Dracula, Prince of Darkness , Frankenstein Created Woman , The Mummy , Paranoiac , The Reptile , The Mummy's Shroud , The Brides of Dracula , Twins of Evil , Quatermass and the Pit , The Vampire Lovers ) The Curse of Frankenstein has the weakest image. It is very soft and flat. It looks more like video than film. Colors are flat and seem to waver while contrast is unremarkable.

The transfer is 1080P but unfortunately, like The Mummy , they have been non-committal on the aspect ratio - offering separate transfers for both 1.66:1 and 1.33:1. Both are almost the exact same, technically, and share the disc and both producing a less-than-ideal bitrate. With the source (or original production) being so inferior, visually, it would have been a better idea to stick with one (the 1.66:1 composition looks fine to me) and try to bring out the best in the transfer. It's reasonably clean showcasing some infrequent hi-def detail in close-ups. This gave me a pleasurable 1080P presentation although it lacks the crispness of the other Hammer Blu-rays. CLICK EACH BLU-RAY CAPTURE TO SEE ALL IMAGES IN FULL 1920X1080 RESOLUTION BOTTOM LINE: The Curse of Frankenstein is a very strong Hammer classic helping continue the studios justified reputation for leaders in the genre in the late 50's and 60's.

Despite my reservation on the image quality - I thoroughly enjoyed the film experience - not as much as The Brides of Dracula , but still a great night in the home theater being wrapped in Hammer's cinematic horror cocoon. The Lions Gate Blu-ray provides a lot - although I found the dual-ratios a waste of space, probably hindering the visuals - still, the commentary. and extras. hold a lot of value. The Four Sided Triangle may be a poor film but is an interesting effort by Fisher. It was also cool to see Siodmak's Tales of Frankenstein. I'd like to see Region 'A' put Hammer's The Curse of Frankenstein out to compare the quality - but as it stands this has enough to indulge and enjoy! Gary Tooze February 18th, 2014 About the Reviewer: Hello, fellow Beavers! I have been interested in film since I viewed a Chaplin festival on PBS when I was around 9 years old. I credit DVD with expanding my horizons to fill an almost ravenous desire to seek out new film experiences. I currently own approximately 9500 DVDs and have reviewed over 5000 myself.

I appreciate my discussion Listserv for furthering my film education and inspiring me to continue running DVDBeaver. Plus a healthy thanks to those who donate and use our Amazon links. Although I never wanted to become one of those guys who focused 'too much' on image and sound quality - I find HD is swiftly pushing me in that direction. Gary's Home Theatre: A List of Movies Based on Frankenstein, 1910-2005 | Romantic Circles A List of Movies Based on Frankenstein STUDY AIDS : IN POPULAR CULTURE A List of Movies Based on Frankenstein, 1910-2005 Since a complete list of films based directly or indirectly on Frankenstein would run into the thousands, it's convenient to exclude films with only a tangential relationship to the original novel: those, for instance, with only a mad scientist, a raising-from-the-dead theme, or a Creature cameo. This chronological list includes most of the major feature films between 1910 and 2005 based on Shelley's novel. Frankenstein , Edison Film Company, 1910 (USA) Directed by J.

Searle Dawley, starring Charles Stanton Ogle, Augustus Phillips, and Mary Fuller. Der Golem, Deutsche Bioscop, 1914 (Germany) Directed by Henrik Galeen and Paul Wegener, starring Paul Wegener, Lyda Salmonova, Carl Ebert, Jacob Tiedtke, and Rudolf Bluemner. Life Without Soul , Ocean Film Corporation, 1915 (USA) Directed by Joseph W. Smiley, starring Percy Darrell Standing, William A. Cohill, Lucy Cotton, George DeCarlton, Jack Hopkins, and Pauline Curley. The Golem, Pagu/UFA, 1920 (Germany) Directed by Paul Wegener and Carl Boese, starring Paul Wegener, Albert Steinrück, Ernst Deutsch, Lyda Salmonova, Hanns Sturm, and Greta Schröder. Il Mostro di Frankenstein , Albertini Film/UCI, 1920 (Italy) Directed by Eugenio Testa, starring Luciano Albertini and Umberto Guarracino.

Frankenstein , Universal, 1931 (USA) Directed by James Whale , starring Colin Clive , Mae Clarke, John Boles, Boris Karloff , Dwight Frye, and Edward Van Sloan. Directed by James Whale , starring Boris Karloff , Colin Clive , Valerie Hobson, Elsa Lanchester, Una O'Connor, and Ernest Thesiger. El Superloco, PCE, 1936 (Mexico) Directed by Juan José Segura, starring Leopoldo Ortin, Carlos Villarias, Consuelo Frank, Ramón Armengod, Raul Urquijo, and "Indian" Fernandez. Son of Frankenstein , Universal, 1939 (USA) Directed by Rowland V. Lee, starring Basil Rathbone, Boris Karloff , Bela Lugosi, Lionel Atwill, Josephine Hutchinson, and Donnie Dunagan. Man Made Monster, Universal, 1941 (USA) Directed by George Waggner, staring Lionel Atwill, Lon Chaney Jr., Anne Nagel, Frank Albertson, Samuel S. Hinds, and William Davidson.

Directed by Roy William Neill, starring Lon Chaney, Ilona Massey, Patric Knowles, Bela Lugosi, Lionel Atwill, and Maria Ouspenskaya. House of Frankenstein, Universal, 1944 (USA) Directed by Erle C. Kenton, starring Boris Karloff , Lon Chaney, John Carradine, J. Carrol Naish, Anne Gwynne, and Lionel Atwill. A sequel to Frankenstein Meets the Wolf Man (1943). Directed by Charles Barton, starring Bud Abbott, Lou Costello, Lon Chaney, Bela Lugosi, Glenn Strange, and Lenore Aubert. Bride of the Monster, Edward D. Wood Jr. Productions, 1954 (USA) Directed by Edward D. Wood Jr., starring Bela Lugosi, Tor Johnson, Tony McCoy, Loretta King, Harvey Dunn, and William Benedict.

Castle of the Monsters (El Castillo de los monstruos), Producciones Stotomayor, 1957 (Mexico) Directed by Julián Soler, starring Antonio Espino, Evangélina Elizondo, Carlos Orellana, Guillermo Orea, and Germán Robles. The Curse of Frankenstein, Hammer Films , 1957 (UK) Directed by Terence Fisher , starring Peter Cushing , Hazel Court, Robert Urquhart, Christopher Lee, Valerie Gaunt, and Noel Hood. I Was a Teenage Frankenstein, American International Pictures, 1957 (USA) Directed by Herbert L. Strock, starring Whit Bissell, Phyllis Coates, Robert Burton, Gary Conway, George Lynn, and John Cliff. Frankenstein 1970, Allied Artists, 1958 (USA) Directed by Howard W. Koch, starring Boris Karloff , Tom Duggan, Jana Lund, Donald Barry, Charlotte Austin, and Irwin Berke.

Frankenstein's Daughter, Astor Pictures/Layton Film Productions, 1958 (USA) Directed by Richard Cunha, starring John Ashley, Sandra Knight, Donald Murphy, Sally Todd, Harold Lloyd Jr., and Felix Locher. The Revenge of Frankenstein, Hammer Films , 1958 (UK) Directed by Terence Fisher , starring Peter Cushing , Eunice Gayson, Francis Matthews, Michael Gwynn, Lionel Jeffries, and John Welsh. A sequel to The Curse of Frankenstein (1958). Orlak, El infierno de Frankenstein, Filmadora Independiente/Columbia, 1960 (Mexico) Directed by Rafael Baledon, starring Joaquin Cordero, Armando Calvo, Rosa de Castilla, Irma Dorantes, Andres Soler, and Pedro de Aguillon. Frankestein [sic], el Vampio y CIA, Cinematografica Calderon, 1961 (Mexico) Directed by Benito Alazraki, starring Manuel Valdés, José Jasso, Joaquin Garcia Vargas, Martha Elena Cervantes, Nora Veryán, and Roberto G. Rivera.

The Evil of Frankenstein, Hammer Films , 1964 (UK) Directed by Freddie Francis, starring Peter Cushing , Peter Woodthorpe, Sandor Eles, Kiwi Kingston, Duncan Lamont, and Katy Wild. Frankenstein Conquers the World (Furankenshutain Tai Baragon), Toho/Henry G. Saperstein Enterprises/American International Pictures, 1964 (Japan, USA) Directed by Inoshiro Honda, starring Nick Adams, Tadao Takashima, Kumi Mizuno, Yoshio Tsuchiya, Takashi Shimura, and Haruo Nakajima. Frankenstein Meets the Space Monster, Vernon Films/Seneca/Futurama Entertainment, 1965 (USA) Directed by Robert Gaffney, starring Marilyn Hanold, Jim Karen, Lou Cutell, Nancy Marshall, David Kerman, and Robert Reilly. Jesse James Meets Frankenstein's Daughter, Embassy Pictures/Circle, 1965 (USA) Directed by William Beaudine, starring Narda Onyx, John Lupton, Cal Bolder, Estelita, Jim Davis, and Nestor Paiva.

Frankenstein Created Woman, Hammer Films , 1966 (UK) Directed by Terence Fisher , starring Peter Cushing , Susan Denberg, Thorley Walters, Robert Morris, Duncan Lamont, and Peter Blythe. Fearless Frank, American International Pictures, 1967 (USA) Directed by Philip Kaufman, starring John Voigt, Monique Van Vooren, Severn, Darden, Joan Darling, Lou Gilbert, and Nelson Algren. Frankenstein's Bloody Terror (La Marca del hombre lobo), Maxper/Independent-International, 1967 (Spain) Directed by Henry Egan, starring Paul Naschy, Diane Konopka, Julián Ugarte, Rossana Yanni, Michael Manz, and Joseph Morton. Killing Frankestayna Karsi, Omur Film, 1967 (Turkey) Directed by Nuri Akinci, starring Otkay Gursel, Oya Peri, Gultekin Ceylan, Ferhan Tanseli, Aynur Aydan, and Yasar Sener. Dracula vs.

Frankenstein (El Hombre que vino del ummo, Dracula jagt Frankenstein, Los Monstruos del terror, Assignment Terror), Jaime Prades/Eichberg Film/International Jaguar, 1969 (Spain, West Germany, Italy) Directed by Tulio Demichelli, Hugo Fregonese, and Peter Riethof, starring Michael Rennie, Karin Dor, Craig Hill, Paul Naschy, Patty Shepard, and Angel del Pozo. Frankenstein Must Be Destroyed, Hammer Films , 1969 (UK) Directed by Terence Fisher , starring Peter Cushing , Simon Ward, Veronica Carlson, Thorley Walters, Freddie Jones, and Maxine Audley. Dr. Frankenstein on Campus, Astral Films/Agincourt, 1970 (Canada) Directed by Gil Taylor, starring Robin Ward, Kathleen Sawyer, Austin Willis, Sean Sullivan, Ty Haller, and Tony Moffat-Lynch. Dracula vs. Frankenstein, Independent-International Pictures, 1970 (USA) Directed by Al Adamson, starring J. Carrol Naish, Lon Chaney, Zandor Vorkov, Anthony Eisley, Regina Carrol, and Greydon Clark.

The Horror of Frankenstein, Hammer Films , 1970 (UK) Directed by Jimmy Sangster, starring Ralph Bates, Kate O'Mara, Veronica Carlson, Dennis Price, Graham Jones, and Bernrad Archard. Santo y Blue Demon contra el Dr. Frankenstein, Cinematografica Calderon, 1970 (Mexico) Directed by Miguel M. Delgado, starring Santo, Blue Demon, Sasha Montenegro, Jorge Russek, and Ivonne Govea. Lady Frankenstein (La Figlia di Frankenstein), Condor International/New World Pictures, 1971 (Italy) Directed by Mel Welles, starring Joseph Cotten, Sara Bay, Mickey Hargitay, Paul Müller, Paul Whiteman, and Herbert Fux. Santo contra la hija de Frankenstein (La Hija de Frankenstein), Cinematografica Calderon/Azteca Films, 1971 (Mexico) Directed by Miguel M. Delgado, starring Santo, Gina Romand, Znel, Roberto Canedo, Carlos Agosti, and Sonia Fuentes. Blackenstein, Exclusive International, 1972 (USA) Directed by William A.

Levey, starring John Hart, Ivory Stone, Liz Renay, Roosevelt Jackson, Andrea King, and Nick Bolin. Dracula Prisoner of Frankenstein, Fenix Films et al., 1972 (Spain, France, Lichtenstein, and Portugal) Directed by Jess Franco, starring Denis Price, Howard Vernon, Mary Francis, Albert Dalbes, Genevieve Deloir, and Josiane Gilbet. The Erotic Rites of Frankenstein, Comtoir Français du Film Production/Fenix-Film, 1972 (France, Spain, and Portugal) Directed by Jess Franco, starring Denis Price, Howard Vernon, Anne Libert, Britt Nichols, Albert Dalbes, and Luis Barboo. Frankenstein '80 (Mosaico), MGD Film Productions/MPI, 1972 (Italy and West Germany) Directed by Mario Mancini, starring John Richardson, Gordon Mitchell, Renato Romano, Xiro Pappas, Dalila Parker, and Bob Fiz. Flesh for Frankenstein (Il Mostro e in Tavola . . .

Barone Frankenstein, Carne per Frankenstein, Chair pour Frankenstein), Pagnia Cinematografica Champion/EMI, 1973 (Italy and France) Directed by Paul Morrissey, starring Joe Dallesandro, Monique Van Vooren, Udo Kier, Arno Juerging, Dalila di Lazzaro, and Srdjan Zelenovic. Frankenstein, Dan Curtis Productions, 1973 (USA) Directed by Glenn Jordan, starring Robert Foxworth, Susan Strasberg, Heidi Vaughn, Bo Svenson, John Karlen, and Philip Bourneuf. Frankenstein and the Monster from Hell, Hammer , 1973 (UK) Directed by Terence Fisher , starring Peter Cushing , Shane Briant, Madeline Smith, John Stratton, Bernard Lee, and Clifford Mollison. Frankenstein's Castle of Freaks (Il Castello della paura), Classic Film International/Cinerama, 1973 (Italy) Directed by Robert H. Oliver, starring Rossano Brazzi, Michael Dunn, Edmund Purdom, Christiane Royce, Gordon Mitchell, and Alan Collins.

Frankenstein: The True Story, Universal, 1973 (UK) Directed by Jack Smight, starring James Mason, Leonard Whiting, David McCallum, Jane Seymour, Nicola Pagett, and Michael Sarrazin. Young Frankenstein , Twentieth-Century Fox, 1974 (USA) Directed by Mel Brooks, starring Gene Wilder, Peter Boyle, Marty Feldman, Cloris Leachman, Teri Garr, Kenneth Mars, and Gene Hackman. Frankenstein—Italian Style (Frankenstein all' Italiana), Euro International/RPA, 1975 (Italy) Directed by Armando Crispino, starring Aldo Maccione, Jenny Tann, Ninetto Davoli, Ginrico Tedeschi, Anna Mazzemauro, and Lorenzo Guerriero. The Rocky Horror Picture Show , Twentieth-Century Fox, 1975 (UK) Directed by Jim Sharman, starring Tim Curry, Susan Sarandon, Barry Bostwick, Richard O'Brien, Patricia Quinn, Nell Campbell, Meatloaf, and Charles Gray.

Victor Frankenstein (Terror of Frankenstein), Aspekt Film, 1976 (Sweden and Ireland) Directed by Calvin Floyd, starring Leon Vitali, Per Oscarsson, Nicholas Clay, Stacey Dorning, Jan Ohlsson, and Olof Bergström. Doctor Franken, NBC, 1980 (USA) Directed by Marvin J. Chomsky and Jeff Lieberman, starring Robert Vaughn, Robert Perault, David Selby, Teri Garr, Josef Sommer, and Cynthia Harris. Frankenstein Island, Chriswar, 1981 (USA and Mexico) Directed by Jerry Warren, starring Robert Clarke, Steve Brodie, Cameron Mitchell, Robert Christopher, Tain Bodkin, and Patrick O'Neil. Mystery! Frankenstein—Legend of Terror (Kaiki Furankenshutain), Toei/Terebi (TV) Asahi, 1981 (Japan) Directed by Yugo Serizawa. Animated, with voices by Nahci Nozawa, Mami Koyama, Hosei Komatsu, Kei Tomiyama, Ichiroh Nagai, and Minori Matsushima.

Frankenstein's Great-Aunt Tillie, Tillie Productions, 1983 (Mexico) Directed by Myron J. Gold, starring Donald Pleasence, Yvonne Furneaux, June Wilkinson, Aldo Ray, Zsa Zsa Gabor, Rod Colbin, and Chandler Garrison. Frankenstein, Yorkshire Television, 1984 (UK) Directed by Victor Gialanella, starring Robert Powell, Carrie Fisher, David Warner, John Gielgud, Terence Alexander, and Susan Wooldridge. Frankenstein 90, A.J. Films/TF 1 Films/AMLF, 1984 (France) Directed by Alain Jessua, starring Jean Rochefort, Eddy Mitchel, Fiona Gelin, Herma Vos, Ged Marlon, and Serge Marquand. Frankenweenie, Walt Disney Productions, 1984 (USA) Directed by Tim Burton, starring Shelley Duvall, Daniel Stern, Barret Oliver, Joseph Maher, Roz Braverman, and Paul Bartel.

The Bride, Columbia, 1985 (France and UK) Directed by Franc Roddam, starring Sting, Jennifer Beals, Geraldine Page, Clancy Brown, Anthony Higgins, and David Rappaport. Gothic, Virgin Vision, 1986 (UK) Directed by Ken Russell, starring Gabriel Byrne, Julian Sands, Natasha Richardson, Myriam Cyr, Timothy Spall, and Alec Mango. Dr. Hackenstein, Marketing Media/Vista Street, 1987 (USA) Directed by Richard Clark, starring David Muir, Stacey Travis, Catherine Davis Cox, Dyanne DiRosario, John Alexis, and William Schreiner. Frankenstein General Hospital, New Star Entertainment, 1988 (USA) Directed by Deborah Roberts, starring Mark Blankfield, Leslie Jordan, Jonathan Farwell, Kathy Shower, Hamilton Mitchell, and Irwin Keyes. Frankenhooker, Shapiro Glickenhuas Entertainment, 1990 (USA) Directed by Frank Henenlotter, starring James Lorinz, Patty Mullen, Shirley Stoler, Louisa Lasser, Charlotte Helmkamp, and Lia Chang.

Frankenstein's Baby, BBC-TV, 1990 (UK) Directed by Robert Bierman, starring Nigel Planer, Kate Buffery, Yvonne Bryceland, William Armstrong, Sian Thomas, and Gillian Raine. Frankenstein Unbound, Warner Bros., 1990 (USA and Italy) Directed by Roger Corman, starring John Hurt, Raul Julia, Bridget Fonda, Catherine Rabett, Jason Patric, and Michael Hutchence. Frankenstein: The College Years, FNM Films, 1991 (USA) Directed by Tom Shadyac, starring William Ragsdale, Christopher Daniel Barnes, Larry Miller, Andrea Elson, Voreaux White, and Patrick Richwood. Last Frankenstein, Bandai/BF Film/Rittor Music/Shochhiku, 1991 (Japan) Directed by Takeshi Kawamura, starring Akira Emoto, Yoshio Harada, and Naomasa Musaka. Frankenstein, Turner Pictures, 1992 (UK, USA, and Poland) Directed by David Wickes, starring Patrick Bergin, John Mills, Randy Quaid, Lambert Wilson, Fiona Gilles, and Jacinta Mulcahy.

Frank Enstein, International Family Classics, 1992 (USA) Directed by Douglas Richards. Animated, with voices by Laura Gabriel, David Nettheim, Lee Perry, and Alan Glover. Mary Shelley's Frankenstein , America Zoetrope/TriStar Pictures, 1994 (UK and USA) Directed by Kenneth Branagh, starring Robert De Niro, Kenneth Branagh, Helena Bonham-Carter, Aidan Quinn, Tom Hulce, and John Cleese. Gods and Monsters, BBC/Lionsgate Films, 1998 (USA) A film about James Whale, director of the classic Frankenstein film (1931) and sequels, using many themes from Mary Shelley's novel. Written and directed by Bill Condon, starring Ian McKellan, Brendan Fraser, Lynn Redgrave, Jack Betts, and Rosalind Ayres. Frankenstein, Hallmark Entertainment, 2004 (USA) A film for television directed by Kevin Connor, starring Donald Sutherland, William Hurt, Julie Delpy, Nicole Lewis, Alec Newman, and Luke Goss.

Frankenstein, Flame TV/USA Cable Network, 2004 (USA) A film for television, set in the early 21st century, directed by Marcus Nispel and starring Parker Posey, Adam Goldberg, Vincent Perez, Thomas Kretschmann, Ivana Milicevic, and Michael Madsen. Frankenstein Reborn, The Asylum, 2005 (USA) Another loose updating of the film to the present. Written and directed (and starring) Leigh Scott, co-starring Rhett Giles, Thomas Downey, Jeff Denton, Joel Hebner, and Eliza Swenson.

Question: The 1957 film ‘The Curse of Frankenstein’ was based on a novel by which author?
Answer: Mary Shelley