Frankenstein Created Woman (1967), Frankenstein Must Be Destroyed (1969), Frankenstein and the Monster from Hell (1974)
Continuing our quest to get through the rest of Hammer’s Frankenstein films which starred Peter Cushing, we cover the last three titles that Hammer made. Cushing loved to play this character, and he’s done it like no one ever had, or ever has. Along with the screenwriters, Cushing made this character his own and really made him the real monster in this series.
While these films might be well covered by others, sometimes we forget just how good some of these are, as well as what we might be missing the first time or two that we watched it. And as we’ve mentioned many times before, watching them in sequence in a relatively short time, more things can come to light.
Films mention in this episode:
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Coming to Blu-ray for the first time in the U.S., Warner Archives has announced a new 2-disc special edition of Hammer’s The Curse of Frankenstein, the movie that really put the Studio that Dripped Blood on the map. This new release will contain 75 minutes of new documentary work, audio commentary by Screenwriter/Film Historian Steve Haberman and Filmmaker/Film Historian Constantine Nasr. You’ll get to hear from some of Hammer’s best scholars, such as Richard Klemensen discussing the history of the film, cinematographer and producer David J. Miller discussing Hammer’s underrated cameraman Jack Asher, as well as hearing from Christopher Frayling, Christopher Drake, and so much more.
While there are a few books previously on Terence Fisher, from authors like Peter Hutchings, Paul Leggett, and Wheeler Winston Dixon, I think it is still not enough coverage on this director, who’s name should be right up there with the likes of Romero, Carpenter, Cronenberg, Bava, Argento, and the rest of the horror elite. Now hopefully with this new book by Tony Dalton, Terence Fisher: Master of Gothic Cinema, that will make the change.
For fans of Hammer Films, especially The Brides of Dracula (1960), you knew the stunning beauty that was Andrée Melly, who appeared as one of the brides. This was her only Hammer film, but she also appeared in another Terence Fisher film, The Horror of It All (1964), alongside Pat Boone and Dennis Price. But one couldn’t watch Brides and not be enamored with her, along with Marie Devereux as the other bride (who we also recently lost last December). Seeing them transformed from young school girls to fanged creatures of the night, they once again showed why Hammer Films are still be watched and remembered with so much fondness today.
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