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This 1962 version of thehorror story comes from Britain's Hammer Films, and is unusually ornate for that studio. Herbert Lom gives an affecting performance as the disfigured composer who wreaks vengeance beneath an opera house. The film is low on violence and strong on the character's psychological state, and the Phantom's lair is very haunting in its own way. A subplot involving a police investigation is mere (and distracting) padding, but otherwise there is a lot of merit to this 1962 production.--Tom Keogh ... Read more

Reviews (18)

Solid film
Hammer's version of the Phantom starts right in with odd happenings at the opera like missing music, destroyed instruments and stories of ghosts. On opening night of the opera (which is about Joan of Arc) a man is hanged and the star singer leaves because of it. The opera's producer and the house manager try to find a replacement and deal with the opera's obnoxious creator who tries to control every step of the opera. A young women named Christine is picked for the starring role, but the Phantom hears her and takes her away to his underground lair. This is the finest version of the Phantom because the Chaney version offers a strong performance for the phantom, but the story strays and becomes very awkward at times. The Universal version offers a fine phantom played by Claude Rains, but gets bogged down by too much singing and it takes the film nearly half an hour to really get going. This version jumps right into the story and never slows down, the interest level is high throughout the film and the the pace is consistent. Herbert Lom offers a more low key, almost sympathetic phantom. Michel Gough deserves mention for a great job as the overbearing Lord Ambrose D'Arcy. The Phantom did not really need an assistant and he never professes his love for Christine as much as he does just for the musical ability she has. This is still a fine film for Hammer and the best Phantom to date.

Hammer Hits a "High Note" with this one!
I suppose most "purists" consider earlier versions starring Lon Chaney and Claude Rains, respectfully, as being the best of this oft-interpreted story. I, for one, have fond memories of this Hammer adaptation starring Herbert Lom, the hapless police commissioner in "The Pink Panther" series.

His "phantom" is sympathetic, forceful, and completely mesmerizing. The actor has a voice that commands attention. It is amazing to me that his career was not more remarkable that it was.

The music, especially the last aria "sung" by "Christine," is superb. Obviously, Hammer felt that that element deserved a full treatment so they sparred no expense in that area.

Terence Fisher has crafted a wonderful film that ranks as one of the studio's better adaptations of classic literature.

Michael Gough, late as "Alfred" in the "Batman" series, plays Lord D'Ambrose Darcy with such complete arrogance and deceit that you cringe every time he is on screen. No one else could have played such an unlikeable character.

Let this Phantom cast his spell over you!

The best movie version!
I've seen all of them from the original with organ backgroud music to the latest Hollywood attempt. This version to me was the best. There seems to be alot of character development where all the others just want to see who can create more violence. We have to remember in alot of ways that this is really a love story of music and a opera. This version with its, i think, original music is wonderful. I have always wished that there was a recording of this somewhere because the music is extremely powerful, climatic and strong. The acting is the best you'll see on the screen in years the voice of Christine is magical. Wish this version would come out on DVD. I'm just wondering how the musical version will hold up seeing that there isn't any talent in Hollywood these days. I hope Andrew Loyd Webber has the good sence to do this film right and stay away from American Movie actors. I hope that his new movie attempt of stars come from the stage. We will see in December 2004!

A valiant attempt, but does it work?
Hammer regular Terence Fisher gives Phantom of the Opera a good shot, but it is not enough. The result is perhaps his most uneven film. Chief problem is that, although it seems Fisher wanted a sympathetic protagonist, the Phantom (Herbert Lom) comes across as rather a brute, and fails to inspire the necessary pity or sympathy. The way he manhandles and slaps around the heroine (Christine, played by Heather Sears) is fatal to this, and not helped by the plot's general lack of believability and the Phantom's insufficient motivations.

This is not to say there are not plenty of great vintage Fisher/Hammer touches. The suspense is built up effectively at times; unfortunately, as with the earlier 1943 adaptation, the lengthy and rather banal operatic sequences tend to diffuse the tension.

Certainly worth a look, but on the whole, this was a bit of a misfire. Despite some fantastic set-pieces (including the impressive Bernard-Robinson-designed underground lair) and an at-times genuinely sinister Phantom, it lacks punch.

A nice film, but NO Phantom-film
This film was well done, it was interesting and kind of charming. But it has nothing in common with the story of the Phantom of the Opera.
For me, one of the most important aspects of the original story is the great and neverending love of Erik for Christine. In this film, there's NO love - the Phantom only wants somebody who can present his music perfectly to the world.
In this film, Erik never kills anyone, he has an odd-jobber for the dirty jobs. Besides the real Erik would NEVER!! beat Christine! So the Phantom in this film and Leroux's Erik are two completely different characters.

I really liked this film, but it has the least right to carry this title of all of the Phantom-films. ... Read more

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When Christopher Lee declined to reprise his role as Count Dracula in a sequel to the enormously popular The Horror of Dracula, Hammer went another direction and instead followed the investigations of vampire hunter Van Helsing (Peter Cushing). He doesn't actually appear until the second act, after French schoolteacher Marianne (Yvonne Monlaur, a big eyed, thick-lipped, curvy young beauty in the Bardot mold) inadvertently releases Baron Meinster (David Peel), a young disciple of Dracula, from his castle prison in a cursed mountain village. This handsome vampire bites his way through a bevy of glamorous beauties in low-cut blouses and frilly nightgowns as he woos his sexy savior, while Van Helsing relentlessly tracks him back to Marianne. Director Terence Fisher, working from a rather convoluted (and at times incomprehensible) script, makes his markthrough a series of marvelous set pieces. In one of the most memorable, a twisted old woman plays midwife to a reborn undead, coaxing her out of the ground as hands push through the earth. In one harrowing moment Van Helsing sears his neck with a branding iron and treats it with holy water after being bitten. Cushing is his usual dashing self, more than making up for the handsome but hardly commanding Peel, and you might recognize Marita Hunt, who plays the withered Baroness, as Miss Haversham from David Lean's classic Great Expectations. --Sean Axmaker ... Read more

Reviews (34)

Taste Counts
I'm disapointed when a movie that I consider a gem like this one takes a beating about script development. Yes, there are problems with the script. But somehow it all works on the screen, due no doubt to the direction of Terrance Fisher and Peter Cushing's superb performance.

I'm still mesmerized by the sheer fun and beauty of this movie. It is a fast-pasted vampire-hunter film, with the best vampire hunter ever in the top role as Van Helsing. Peter Cushing makes this role his own, giving it the athletic energy and grace, as well as the heroic mania and intelectualism it had needed for years. This is no tired, stodgy bookworm fighting vampires. This is a guy who can think on his feet and act under the most dire circumstances.

Yes, it's a shame that Christopher Lee chose not to partake in this movie, but the story still holds up with David Peel in the lead vampire role. He is not the darkly masculine image that Lee portrayed in "The Horror of Dracula", but a fair-haired insidious "sneak", that sweet talks his female victims until they are caught off guard and devoured.

The photography is breathtaking. This film really deserves a dvd release, for those of us who love it. It is a tribute to Terrance Fisher that he was able to wrangle it all together, bad script or not, into one fun horror film.

Strong entry in the Dracula series
Despite the title, there is no Dracula in this film, but instead we have a vampire named Baron Meinster. The Baron gets a young French girl to release him from the shackles his mother has put him in. The Baron begins taking young women and has plans to take the French girl, but Professor Van Helsing arrives and begins to realize what is going on and he tries to stop Meinster. The film is solid all the way through, good story and credible acting. David Peel does a fine job as the slick, but evil vampire and whoever did his make-up should be commended. Peter Cushing delivers a grand performance as Van Helsing, Horror of Dracula is a better film, but I think this is Cushing's best portrayl as the vampire hunter. This is also a beautiful film with all the lush, vibrant sets and costumes that Hammer often had. Unlike some of the Hammer Dracula films, this one does have a satisfying ending that seems more planned than rushed. This one is certainly worth buying.

Brilliant! But Please release on dvd.
This is one of the best Horror films ever made.Peter Cushing is and will always be Van Helsing.This film proves it.In light of the recent flurry of re-relesed horror flicks on dvd why hasnt this one been released in that format?
How about a new boxed set containing Brides of Dracula, Curse of the werewolf,Phantom of the opera,Gorgon, Skull,Dracula AD 1972 and kiss of the Vampire?
Could there be a better collection.Come on powers that be get to work.

First-Rate Vampire Movie, One Of Hammer's All-Time Best!
Note: Don't be fooled by the title; this has nothing to do with Hammer's first Dracula outing (or any other for that matter), besides the presense of Van Helsing.

This is one of the most incredibly (and surprisingly) entertaining vampire movies I've ever seen. While not really scary, it does have some pretty exciting sequences, especially the ending! The plot has a young student accidentally releasing a vampire from its imprisonment, despite warnings from the vampire's mother to not go anywhere near it. Now, it's up to Abraham Van Helsing, vampire killer expert, to stop the fiend from turning all of England into the undead!

The center vampire is certainly no Christopher Lee (who is the ultimate screen vampire), but he's good enough. Peter Cushing more than makes up for Lee's absense; he once again totally lights up the screen as the dashing Van Helsing, and once again defines himself as THE vampire hunter. Excellent direction by Terence Fisher (my personal favorite of the Hammer directors), who captures both an eery atmosphere and a rollicking sense of fun. These two things, some awesome sets, and lots of sexy vampire babes make this Hammer flick one helluva good time!

Be sure to check out these other fantastic Terence Fisher films:
- "The Curse of Frankenstein"
- "Horror of Dracula"
- "The Mummy"
- "The Curse of the Werewolf"
- "Dracula-Prince of Darkness"
- "The Hound of the Baskervilles"
- "The Phantom of the Opera"
- "Revenge of Frankenstein"

As well as these other great Hammer flicks:
- "The Abominable Snowman"
- "The Plague of the Zombies"

Van Helsing carries on.
Transylvania. Land of dark forests and fathomless lakes. Dracula, monarch of the vampires, is dead. Yeah, right. Around Castle Meinster villagers fear that the undead walk among them. In this first sequel to "Horror of Dracula," both Dracula and Christopher Lee are conspicuous by their absence. The action centers on Van Helsing (Peter Cushing) as he battles the effeminate Baron Meinster (David Peel) and his minions. Freda Jackson steals the show as Greta, the insane familiar of the vampire. Picture a female Renfield. She screechingly implores a recently buried victim to rise from the grave. This resurrection scene is a definite high point as the pale hand gropes upward through the dirt. Van Helsing stakes the old Baroness Meinster to a couch after the young Baron corrupts her with the vampire's kiss. Mother love, indeed. Van Helsing is more physical than intellectual in this flick. At one point, he jumps into thin air and catches the handhold of a giant windmill blade. Using his body weight, he drags the great blades into just the right position, and the full moon casts a giant, cross-shaped shadow. In addition, after Meinster bites Van Helsing on the neck, one of the the greatest scenes in vampire cinema ensues. Van Helsing's self-cure is of searing heat and cooling holy water. The viewer can only stay silent before this powerful visual image. The usual Hammer lush color photography, plunging necklines, and diaphanous gowns are present. David Peel lacks Christopher Lee's towering image of unholy lust, but there is enough to like about the movie to make ownership worthwhile. A must for classic horror fans. ;-) ... Read more

Reviews (58)

An okay repersantation worth mentioning
dracula Prince of Darkness, the second hammer horror dracula in the series. starring christopher Lee in an unspeeking role(why?), and the worst actress, Barbra Shelly(I don't know about you but shelly reminds me of my seventh grade teacher). One of the few wide screen hammer films that I could find, its a must have for any hammer collecter. The story isn't bad, four travelers from england are taking a vacation in, of all places, the Carpathian, supposedly to broden there minds. They are abandoned by there coach driver so when a misterios cart comes rolling down the road they decide to take it. But the horses went in the wrong direrction, towards castle Dracula. The servent of the castle, kills one of the travlers and pours blood on the ashes of the count(he ran into the sun in Horror of Dracula). then Dracula stocks helen (the sventh grade teacher(Barbra Shelly). Two travelers get out alive after being confronted by Dracula. They seek the help of a preist who knows how to destroy vampires(a real Van Helsing). They Destroy the count with a bit of the old stake through the heart. a few bad points, no dialog from the Lee, the cute chick doesnt get naked, and Barbra Shelly. It's too bad.

Dracula-Prince of Darkness: A must see for all horror fans!!
This film was first released in 1965 and is certainly worth the 90 minates of running time. Filmed in Techniscope, Dracula-Prince of Darkness is about 4 tourists who stray off their destination of Carlsbad and end up within the walls of Castle Dracula. Christopher Lee and Barbara Shelley provide plenty of scares and keep you on the edge of your seats. Plenty of gore and a very tense scene involving B. Shelley towards the end of the film, make this (in my opinion) one of the scariest Dracula films ever. Although Christopher Lee was disappointed that he didn't have a speaking role, I think (in my opinion) it made him more frightning to watch. The only 2 faults I have with this film is the dialog a little weak at beginning and an extra scene or two could have been used at the end. Never the less, an enjoyable film to watch for all horror fans. Cast: Christopher Lee, Barbara Shelley, Francis Matthews, Andrew Keir, Susan Farmer, Charles Tingwell and Thorley Walters. Director: Terence Fisher

A Hammer classic
Dracula, Prince of Darkness tends to get short shrift from the critics, but it is hard to see why. Director Terence Fisher is on top form, delivering some of Hammer studios' most memorable and fascinating images: Klove's pseudo-Eucharistic ritual to bring Dracula back to life; the staking of a female vampire; the Count's destruction at the film's icy climax. Cast are second to none: Christopher Lee reprising his role as the Count; Barbara Shelley as a repressed Englishwoman-cum-vampire; Andrew Keir as Father Sandor, a rough-and-ready Van Helsing-type. Rest of the crew are top-notch: The atmospheric photography is by Michael Reed; the score is one of studio regular James Bernard's best; and Bernard Robinson's set designs are among his most memorable (the castle exterior was shared with the less impressive but still entertaining Rasputin the Mad Monk in the same year).

I found this film riveting as a child, and it still captivates me today. It certainly belongs in the essential Hammer canon, and is perhaps the finest of the Dracula sequels.

OK, but does not add up to the original
This one is OK for Halloween perhaps, but not the best of them all. Dracula does not even say anything in this film although the evil is quite effective. Only buy this one if you are a die hard fan of the Hammer "Dracula" films. Other than that, renting it at your local video store might be better.

This film may have also been better with the presence of Professor Van Helsing, and that's what also made the first film even better.

Dracula Returns
In 1895 two english couples on a trip in the Carpathians find themselves stranded at an eerie castle. They do not know it but they are at Castle Dracula. Count Dracula's manservent Klove has been waiting for this, it seems his master has been dead for 10 years. One of the guests becomes a victim and reconstitutes Dracula. The next day the other couple go in search of Alan & Helen Kent, Helen has become a vampire and Charles is no where to be found.

They seek the help of Father Sandor and he helps them combat the Count. The final is a thrill when Sandor shoots the ice around Dracula. The Count is consigned to the moat, destroyed by running water. Father Sandor replaces Dr. Van Helsing in this one.
Barbara Shelly gives the performance of a lifetime as Helen Kent. ... Read more

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Though it wasn't Hammer Studios' final film, Frankenstein and the Monster from Hell can be considered its swan song, an intelligent, inventive, stylized reworking of the themes that had sustained the series for almost two decades. Dr. Frankenstein has buried his old identity and reigns over an insane asylum as Dr. Victor (Peter Cushing under a flamboyant blond wig in his sixth and final turn as the mad scientist) as if it were a live-parts yard for his continuing experiments. With the help of an ambitious acolyte he builds his latest creature, a hirsute apelike brute stitched together from the asylum's most promising inhabitants and turned into a sad, tortured slave. The film was shot at the end of Hammer's glory days, and the budgetary constraints can be seen in unconvincing miniatures and the rather bulky and stiff ogre suit, but the dark, claustrophobic sets create an effectively gloomy atmosphere. Director Terence Fisher effectively pulls out all stops for a marvelous sequence of the creature digging through the asylum graveyard in the middle of a flashing electrical storm, a demonic twist on the iconic gravedigging images that go all the way back to the 1931 Frankenstein. This was the last reunion for Cushing and Fisher, who together gave birth to Hammer's gothic reign with The Curse of Frankenstein and Horror of Dracula. Fisher retired after finishing the film. --Sean Axmaker ... Read more

Reviews (23)

Hammer Studios' last gothic masterpiece
Frankenstein and the Monster From Hell was not famed Hammer Studios' final film, but it in many ways represents the swan song of the premiere maker of vintage gothic films. Not only does the film play well even today, it has an incredible number of fascinating facts surrounding its production that makes it particularly notable. Consummate actor Peter Cushing and director Terence Fisher can be viewed as founding fathers of Hammer Studios, and this film marks a return to the spirit of the early days. It stands as the final entry in the famed Frankenstein series starring Peter Cushing as Dr. Frankenstein, and David Prowse makes an unprecedented second appearance as a Hammer monster. Some wonderful actors appear in even the smallest of roles, the overall look and feel of the film is wonderfully dark and serious, and the story is allowed to tell itself, foregoing sex appeal for violence and intellectual passion. Despite its almost ridiculously paltry budget, Frankenstein and the Monster From Hell truly shines as Hammer's last truly gothic motion picture.

Baron Frankenstein is dead; there's a death certificate to prove it, and he's buried in the yard of the insane asylum where he spent his last days. One young researcher sets out to fill his shoes, however, eventually being arrested for "sorcery" and consigned to the same mental institution as his idol. Simon Helder (Shane Briant) inquires about Dr. Frankenstein as soon as he arrives. The story of the Baron's death notwithstanding, he quickly recognizes the asylum's Dr. Victor as none other than Frankenstein himself. Assisted by the mute and ever so lovely Sarah (Madeline Smith), known as Angel among the inmates, the doctor has continued his work. He explains to young Dr. Helder how he managed to "kill" Frankenstein and get himself appointed the medical doctor in the asylum, and soon the ever-curious Helder is an active participant in the doctor's ongoing unconventional medical experiments. Rather than resurrect the dead, Frankenstein is now working on making a new man piece by piece based on an existing flawed creation. With the help of Helder's surgical skills, the men have soon given an animalistic misanthrope the hands of a craftsman and the mind of a genius, but of course the newly created monster seems less than overjoyed with his new life.

I am an unabashed fan of Peter Cushing; he was the ultimate gothic actor, a meticulous perfectionist who demanded the serious commitment of everyone surrounding him on whatever project he was working on. In Frankenstein and the Monster From Hell, he makes one of his most memorable entrances and delivers a sterling performance. At this particular time, Cushing was in deep mourning over the recent loss of his wife, and he is as grim and emaciated as you will ever see him. This makes his obviously whole-hearted commitment to this role all the more amazing. This sixth and final Hammer-produced Frankenstein film offers yet more proof that Peter Cushing is the greatest horror actor to ever live. Madeline Smith is just beautiful and delivers an amazing performance almost wholly devoid of spoken lines, and Shane Briant, looking quite James Spader-like, makes young Helder an admirable and deserving new underling of Dr. Frankenstein's. The monster is played wonderfully by David Prowse, the man who would later serve as the man behind the mask of Darth Vader; his costume isn't that impressive, but it works well given the budgetary constraints this movie operated under. Doctor Who fans will no doubt note the presence of Patrick Troughton as Helder's bodysnatching accomplice at the beginning of the film; Troughton would of course go on to become the second man to play Doctor Who on the famed BBC television series.

Frankenstein and the Monster From Hell is vintage Hammer horror, a really quite extraordinary achievement given the monetary and personal constraints the production faced. Terrence Fisher and Peter Cushing make an unbeatable combination, even when both men are laboring under heavy burdens of their own. The DVD comes with a commentary by actress Madeline Smith, actor David Prowse, and horror historian Jonathan Sothcott, and this commentary ranks among the best and most interesting I have ever heard. The trio expound upon all types of things, oftentimes going beyond the subject of the film itself to relate fascinating stories about their fellow performers and about the very history of Hammer Studios as well. All of this adds up to a film that all Hammer fans simply must own.

A return to familiar gothic traditions...
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.

Solid Hammer Fare
Good, solid sequel(but not as good) to Frankenstein Must be Destroyed has the good doctor in charge of insane asylum, carrying on experiment that involves a simean-looking monster played by David(Darth Vader) Prowse. Terence Fisher scores high marks with this gothic production and erie atmosphere. This one is somewhat reminiscent of "Revenge" as again, he is working in a hospital while carrying out experiment in secret. Plot also involves Frankenstein disciple sent to asylum for his work with Frankensteinesque experiments, and a beautiful assistant who must perform the actual "surgery" due to Frankenstein's burn-damaged hands. This one also has the best(if not campiest) title!

Cushing shines but the monster's just not up to it.
Frankenstein and the Monster from Hell is an aptly titled film. It is truly full of mood and drama, but it lacks a real sense of forboding and eeriness that previous turns provided. Further, Cushing, while always excellent, is just not his usual self. The DVD extras tell us he was still reeling from the death of his wife.
Though Fisher really approaches the subject matter rather scholastically rather than as one might hope, from a sense of foreboding, it isn't really the film as a whole that I have a problem with. It's the creature.
David Prowse (of Darth Vadar fame) plays the creature as best as can be expected given the costuming provided. The costume consists of a wetsuit all but completely covered in hair. Only the pectorals don't have long coarse hair on them. And the pectorals look extremely fake - papier macher fake. The monster looks less like a creature cobbled together from body parts than a gorilla suit or something left over from Murders in the Rue Morgue. Although it is explained that the body and head are from a man who was something of a "neolithic" nature, it makes little sense to choose him since Frankenstein never wanted a brutish creature before and even here he wants a refined brain and hands for his creature - so why have, what especially in the period's times, what would have been considered crude and low class bodily - a hairy brute with thick lips and heavy eyes?
I know the reasoning was for horror's sake, but I find a gorilla-like man far less horrific than a man stitched together looking gentile and refined underneath his stitches.

The acting is superb, as usual and the sets are really top notch. The script is a bit thin, and the monster costume is really laughable, but it is a worthwhile film.

The DVD extras are another matter. I enjoyed them all but for the narrative. And those I might have enjoyed, but for the kind lady who had the female "engenue" role in the film. A mute in the film, in the DVD extras she just couldn't keep her mouth shut. She prattled on and on and on about any and every thing. She and David Prowse are the narrators of the audio and though they really don't have large enough roles to warrant this (it seems that Shane Briant should have been narrating it), they seem to want to talk incessantly about things that have nothing to do with the film at hand and the things they do discuss are not relavant to what is happening on screen. So many opportunities for interesting information transfer are lost as they pass them by. For instance, toward the beginning of the film, Shane Briant's character actually appears to be taking the full force of a real fire hose. His skin actually raises up red welts to the force of the hose as we watch the film, yet it is never divulged to us whether this was really the case. Rather the young lady goes on and on about how she really thinks the dress she was wearing was terribly dowdy. Well, you get the gist of it.

Watch the film - enjoy it - skip the audio commentary on the DVD extras.

Brain from a genius, body from a killer, soul from hell...
Frankenstein and the Monster from Hell (1974) marks the final installment of the Hammer Studios Frankenstein films and also the last film by perennial Hammer director Terrance Fisher.

The film stars Peter Cushing as Baron Von Frankenstein, aka Dr. Carl Victor. Confined to an asylum for the charge of sorcery due to his last foray into the creation of man, Frankenstein, along with the director of the asylum, orchestrated the death of Dr. Frankenstein and his new identity to allow for the Baron to assume the duties of staff doctor within the asylum. Frankenstein, now Dr. Victor, has a fairly free hand to do as he pleases due an intimate knowledge of some of the asylum director's peccadilloes and past indiscretions, and has once again begun his quest to create life where there was none before, from body parts culled from recently deceased inmates.

Dr. Simon Helder (Shane Briant) has just recently been committed to the asylum for trying to follow in Frankenstein's footsteps, and learns that Frankenstein is alive and well, working under his current pseudonym. I remember Briant from other Hammer films like Demons of the Mind (1972) and Kronos (1973). Dr. Carl allows for the younger doctor to assume his routine duties within the asylum, caring for patients, freeing up the elder to pursue his experimentations. The good doctor seems to have created quite the hairy behemoth, using various bits and pieces of some of the recently deceased, more interesting inmates. The monster, played by David Prowse (Darth Vader in the early Star Wars films), has the best features of these poor, departed souls, but lacks an adequate brain. Did I mention he is also very hairy? I probably did, but it's worth mentioning again as the dude is almost ape-like. But what's this? We are soon introduced to an inmate whose intellect far surpasses even his keepers? I am sure that will come into play later...

Also starring is the comely Madeline Smith as Sarah, a mute resident, also known to the inmates as Angel. She acquired the moniker while being in the service of Dr. Karl as his assistant, and having the ability to deal with the crazy people with a quiet, gentle bedside manor.

With the aid of his young assistants, Sarah and Dr. Helder, Dr. Karl completes the hideous creature, and all seems a success. But is it? What happens when you play mix and match with body parts from various individuals, not to mention various mentally disturbed individuals? The success is soon overshadowed by problems as the creature begins to understand his own being, from whence he came.

I thought this was a great 'last hurrah' for Hammer and Fisher, despite some of the concessions made due to a smaller budget, i.e. the obvious use of miniatures when showing exteriors of the asylum and the stiff and unresponsive suit worn by Prowse. Most of the film takes place in the confined quarters of the asylum, giving the viewer a sense of being trapped in a nightmarish world within. I really enjoyed the camaraderie between Dr. Helder and Dr. Karl, and I can't help but wonder if the characterization was carried over into real life between the Briant and Cushing. There were also a few neat surprises that help to flesh out the story, adding depth to the characters, allowing for a real interest to develop for the viewer. The gore is present, but another reviewer has stated that some of the more gory aspects have not been included in the film. I couldn't help laughing at the scene when Dr. Karl and Dr. Helder are removing the 'old' brain from the creature and Dr. Karl unceremoniously drops it into a dish on the floor (just throw that anywhere) and then proceeds to trip on the dish, spilling the contents over the floor, his reaction being that of someone who just knocked over a bowl of milk for kitty. A nice, little touch.

The print here looks really good and sharp, and special features include a commentary by actress Madeline Smith, actor David Prowse, and horror historian Jonathan Sothcott, one which I haven't had an opportunity to listen to, but sounds to be interesting.

Cookieman108 ... Read more

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When, oh, when will scientists learn to stop playing with radiation? Island of Terror takes place on a remote island off the coast of Ireland. No phones, no regular transport to and from the mainland, but there is a well-equipped cancer research center where the well intentioned--but foolish!--scientists are irradiating lumps of tissue. The local constable finds a body with no bones in it ("No bones?" "No bones!") and soon a team from London, led by the ever-game Peter Cushing, arrives to investigate. Let's hope that darned generator doesn't give out... Island of Terror isn't going to keep you awake at night, but it is a lot of silly fun. Be warned, though--whatever the evil menace is, it can climb trees! Aaaaiiiieeeeeee! --Ali Davis ... Read more

Reviews (14)

A fast paced thriller with a Hammer feel!
I saw this movie as a child and couldn't sleep for a week. It wasn't uncommon to catch this movie during the evening or late show in the late 60s and early 70s. Unfortunately, the versions I'd watched as a child were often brutally edited by the local television station. I'd searched - since the arrival of videocassettes - for a copy of this movie. When I finally tracked down a copy a few years ago, I was almost reluctant to watch it. I'd enjoyed the feature so much as a child, I was afraid - as an adult - I'd find it silly and contrived. Not at all. I enjoyed it just as much as I had all those years ago. Watching the video provided me with the first opportunity to view the film in its entirety. It was great! The video release also features the original movie trailer (The trailer IS silly and contrived). Island of Terror is a tale set on a remote Irish isle in which experimentation into a cure for cancer results in a deadly new organism which feeds on bone. Unlike the hackneyed "mad scientist creates a monster" storyline, in Island of Terror we have a group of scientists with the highest regard for life and best intentions accidently creating terrifying creatures. Peter Cushing and Edward Judd deliver believable performances and the writing is better than similar movies of its era. I have read criticism of the special effects. Indeed, they pale in comparison to effects we see today, but considering when the feature was made, I think they hold up well. In a shocking scene, one of the "Silicates" grabs Cushing by the wrist. Judd grabs an ax and must choose between the limb and his friend's life. The result is bloody and spectacular. Okay - I will concede that the sound of a straw rattling in a milkshake cup when the creatures are "sucking" the bones from their latest victim is cheesy, but that's a minor flaw. This isn't a Hammer film, but has the feel of one. This is a fast paced thriller and while the special effects may not always be incredible, the acting and story line make this a terrific film.

This is a fine, fun, and fast paced thriller!
I saw this movie as a child and couldn't sleep for a week. It wasn't uncommon to catch this movie during the evening or late show in the late 60s and early 70s. Unfortunately, the versions I'd watched as a child wre often brutally edited by the local television station. I'd searched - since the arrival of videocassettes - for a copy of this movie. When I finally tracked down a copy a few years ago, I was almost reluctant to watch it. I'd enjoyed the feature so much as a child, I was afraid - as an adult - I'd find it silly and contrived. Not at all. I enjoyed it just as much as I had all those years ago. Watching the video provided me with the first opportunity to view the film in its entirety. It was great! The video release also features the original trailer. Island Of Terror is a tale set on a remote Irish isle in which experimentation into a cure for cancer results in a deadly new organism which feeds on bone. Peter Cushing and Edward Judd deliver believable performances and the writing is better - certainly no worse - than similar movies of its era. I have read criticism of the special effects. Indeed, they pale in comparison to effects we see today, but considering when the feature was made, I think they hold up well. In a shocking scene, one of the "Silicates" grabs Cushing by the wrist and Judd must choose between the limb and his friend's life. The result is bloody and spectacular. Okay - I will concede that the sound of a straw rattling in a milkshake cup when the creatures are "sucking" the bones from their latest victim is cheesy, but that's a minor flaw. This is a fun and fast paced thriller and while the special effects may not always be spectacular, the acting and storyline make this a terrific film.

No bones? We just don't know what we're up against!
In the late 60's, my mom packed the four of us kids into the station wagon and took us to the drive in theater to see a showing of four horror movies. Island of Terror was the third...and the best! I still remember being afraid to get up to go to the bathroom at night because I was SURE that the silicates were on the hallway ceiling waiting for me!

Of course, this is a low-budget horror flick made by a Hammer rival, but for what it is, it's still pretty darned good. The special effects aren't bad for the period, with unique and interesting creature design, sound effects and blatant rubber bodies... But a decent script, capable actors and the cold damp atmosphere of an Irish island directed by Hammer veteran Terence Fisher result in a memorable fun-filled and sometings even genuinely creepy good time. Cushing and Judd move things along nicely, and the supporting cast of does a nice job of adding local color.

Hammer House classic
Good characters in this "monsters on the loose" classic. You will notice that the Irishmen drink what appears to be pints of Guinness in this movie.
Unlike a lot of monster movies, they gave the characters in this movie lives other than simply monster bait. Too often the characters are just standing around waiting for a monster to eat them.

Cheesy
This is a pretty funny horror movie about cancer cells that grow and then go crazy on an island in the U.K. somewhere. The monsters look like big pieces of rubber hud. They also quiver with rage when they are attacked, anyway Peter Cushing does a good job and the scene where his hand gets whacked off looks pretty realistic considering how old this is. ... Read more

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Death has never stopped anyone from crafting a sequel to a successful film, but Terence Fisher and screenwriter Jimmy Sangster rather ingeniously twist the climactic execution of The Curse of Frankenstein into the opening of The Revenge of Frankenstein. With a cold-blooded flourish that would become his trademark, Frankenstein plots his escape and sends an innocent (a priest, no less) to take his place on the guillotine, leaving himself free to continue his experiments. As the new head of a hospital for the poor, he builds a body for his crippled assistant from parts amputated from his patients, but body battles mind for supremacy and turns the newly ambulatory man into a bloodthirsty cannibal. Once again Fisher makes the most of a constricted budget, turning his poorhouse hospital into a cramped, dank hole and splurging on another colorful laboratory of buzzing devices and a centerpiece tank for his suspended creature. There are few innocents in the Frankenstein films and this is no different: high-society dandies are hypocrites, poorhouse patients thieves and opportunists, and of course the driven doctor is willing to sacrifice anything and anyone to achieve his goal. The clever conclusion, which lays the groundwork for the next sequel, was curiously ignored when the third installment finally arrived six years later in The Evil of Frankenstein. --Sean Axmaker ... Read more

Reviews (17)

Superior Hammer Frank film
Right up there with Horror of Dracula(my fave Hammer) and The Hound of the Baskervilles, this Hammer gem has all of the lovely technicolor Victorian atmosphere and macabre tendencies exhibited by title character. Cushing, as always, plays the Doctor wonderfully. Ol Peter could always be counted on to make even the worst Hammer film tolerable.
Film is right on cue with regard to continuity. We are taken to the guillitione(its as if Terence just kept filiming right after "Curse") and the good doctor cheats death only to continue brain experiments while working as a doctor for the filthy rabble by day. SEQUEL:THE EVIL OF FRANKENSTEIN

"One of Hammer's best, and most exciting productions."
With the success of The Curse of Frankenstein (1957), Hammer, not wasting anytime, went into production, with this witty and thoughtful sequel, and which would set the pace for the following entries to come. The three main stars of this film, are, Peter Cushing, of course. Who reprises his role as Baron Victor Frankenstein. Cushing retains the warpish charm and sublime arrogance of Victor's first outing, but here he's allowed to deepen the character, bringing intresting new angles to light. The second star is the masterful, yet somewhat stately direction of Horror meserto' Terence Fisher, who returns to the director's chair , yet to bring another exellent Frankenstein film. Fisher imbues the film with his usual flair, and in a way trys to remake his classic orginal (but in a way lacks the pure poetry that it's predecesor achieved soo well.) Yet the film makes up for it, all too well. With what is the film's third, and main attraction: Jimmy Sangster's script, which is his most thoughtfuly written--and his best. Sangster's script for ROF is better in every way than his previous effort, with nice touches of black humor and some wry social commentary on the self-satisfied burghers of Carlsbruck. Sangster also manages to weave some neat ironies into his tale, not least that Victor literally becomes his own monster( note: also that his own transplant is the sole truly sucessful experiment in the entire Frankenstein series) Most satisfying of all is the thoughtful way, in which the film explores the real-world implications of Frankenstein's activites. Most previous Frankenstein movies treated the brain as if it were merely another organ, like a pancreas, without exploring the idea that these spare parts might have their own memories and agendas. The Revenge of Frankenstein meets this imminently logical concept head on, using it to develop a fresh, orginal approach to a myth cycle that badly needed it. With all the good to aside, I have to express on how sickly I have become on how Overrated this film is (most notably , the critics). Too many times have people and critics alike have stated this being the best of the Hammer Frankenstein series, not giving an ounce of respect to any of the other "Better entries" (yes, you heard me, better entries.) In my own estimation, critics have either bashed, or ignored the other entries , in calling them decidely weak and (oh, this is my favorite, "Uneven." And only paying homage, to "that almighty Revenge of Frankenstein." Clearly, this is not the best of Fisher, nor is it one of his personal works. I would place "Frankenstein Must Be Destroyed (1969) ", at the top, followed by The Curse of Frankenstein in second, and Frankenstein and the Monster From Hell (1973), being equal, if not slightly better than "Revenge", puting Revenge in 4th place, and finnally Frankenstein Created Woman (1967), in 5th, being "slighlty" inferior to "Revenge"(marred down by the fact of the budgetary problems Hammer was having at the time(tacky looking sets). Though one could surely understand people Bashing the Non-Fisher entries, (The evil of Frankenstein & Horror of frankenstein) Lastly, these past comments concerning this film being overated does not mean I dislike the film. The film is "Exellent" indeed! But Im just soo discusted on how the other entries in the series are treated by critics, and people who don't show a fondness for Hammer, or merely the Horror film for that matter. (All in all, I highly recommend "The Revenge of Frankenstein, and without question, Hammer at it's best.

Rating: 4 1/2 out of 5

Grade: A- 93%

More Good Stuff From Hammer
Halloween is a good time to dip into the classic horror library, and there are few classics better than the Hammer horror films. Revenge of Frankenstein is the sequel to Hammer's successful Curse of Frankenstein. Peter Cushing returns as the good doctor. Having escaped the gallows 3 years prior, Dr. Frankenstein is living and practicing medicine in Germany under the name Dr. Stein. He splits his time between a successful practice and treating the poor. Of course he has not abandoned his research in creating life. His work with the poor serves as a good source of "materials". In this film he transports the brain of a disfigured assistant into a new body. Unfortunately, all does not go smoothly and Dr. Frankenstein once again becomes a wanted man.

I like the course Hammer took with the Frankenstein films. They focused on the "real monster" instead of resurrecting the same creature over and over. Cushing is always a pleasure to watch and he plays the role perfectly. The picture quality on the DVD is very good and is presented in widescreen format. There are some very minor scratches, etc. visible here and there, but they are minor and I doubt the film has ever looked this good. Colors are fairly sharp and clear, though not quite as good as the Warner release of "Curse". The sound is crisp and audible with virtually no hissing. There are virtually no extras on the disc save for a couple of stills and a trailer.

If you are looking to start a Hammer library, this disc should be high on your list just behind the aforementioned "Curse of Frankenstein" and "Horror of Dracula".

The revenge of Hammer productions
In this addition to the series Dr. Victor Fankenstein (Peter Cushing) escapes hanging and is soon back to his old tricks. While walking through a graveyard the supposedly deceased Frankenstein comes across a grave robber and greets him "Good evening, I am Frankenstein" resulting in the robber having a heart attack and falling into the open grave!
Frankenstein soon gets back to practising medicine under the alias Dr. Stein; but a medical student soon discovers his true identity and threatens to expose Frankenstein unless he takes him on as his protege. Frankenstein reluctantly agrees and the pair soon embark on their first experiment- transplanting the brain of a partially paralysed man into a healthy new corpse (that doesn't sound right). Peter Cushing is good, the production atmospheric and the script above average. Not a classic, but recommended to horror fans nevertheless.

Dr. Stein
We pick up at the end of The Curse of Frankenstein where Dr. Frankenstein had been sentenced to death and is being led to the guillotine. He escapes with the aid of a cripple, Carl, which he has promise a new body for helping him escape. Later a Dr. Stein has opened a clinic where he treats the poor. He continues his experiments in a secret lab where he has assembled a body for Carl.

As Dr. Stein practice flourishes, the local medical council is offended that he will not join their "group." The council visits Dr. Stein and tries to persuade him to join but he refuses. One of the council members Hans recognizes him at Dr. Frankenstein and decides to assist him. Dr. Stein and Hans give Carl a new body but when his brain becomes damage in a brawl, he turns into a cannibalistic monster.

We have another wonderful performance by Peter Cushing as Dr. Frankenstein/Stein.

The transfer to DVD is excellent. ... Read more

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Hammer Studios was on a roll by 1964, adapting and updating classic movie monsters with a gory gothic slant, but the fantasy-tinged thriller The Gorgon was a rare attempt at producing their own creature. Transporting the Greek Gorgon myth to turn-of-the-century Europe, Terence Fisher invests the rural mittel-European village with a kind of cursed decay. A deserted castle dominates the perpetually mist-bound landscape while a series of unexplained murders leave victims turned to cold, gray stone. The details are carefully hushed up by local doctor and asylum director Peter Cushing, who helps frame an outsider for the latest murder, which brings a parade of outsiders in to clear his name. Christopher Lee, under gray hair and bushy mustache, arrives in the third act to play a shaggy but sharp old professor, a scientist whose reason and determination cuts through the emotionally clouded motivations of both his allies and enemies. Fisher creates a thick atmosphere of suspicion and dread while driving the mystery ahead with a rapid pace, which helps overcome the gaps in logic of the town's murky conspiracy. The special effects are frankly stiff and unconvincing: the snakes sprouting from the Gorgon's head are jittery, lifeless stalks that pale next to the gorgeous creation by Ray Harryhausen in Clash of the Titans, but Fisher manages to give the Gorgon's scenes an eerie beauty. --Sean Axmaker ... Read more

Reviews (14)

Top-notch Hammer Chiller
"The Gorgon" is a curious mixture of elements, as the spirit of the sole surviving gorgon sisters of Greek legend rises again to plague a Balkan village at the dawn of the 20th century. Peter Cushing is featured prominently as the village doctor who is trying to cover up the fact that villagers are being turned to stone under every full moon for mysterious (and possibly sinister) reasons. Christopher Lee and Richard Pasco play scholars devoted to ending the Gorgon's reign of terror.

"The Gorgan" contains a number of truly chilling moments, with lighting, camera work, and performances by all featured actors being of top quality for Hammer efforts. Yes, there are some plot threads left dangling, and the film loses a little bit of steam toward the end--when the mystery of the Gorgon is all but solved but the story STILL doesn't go to its resolution--but the final confrontation between Cushing, Pasco, Lee, and the Gorgon is one of the most dramatic endings to a Hammer film outside some of the 'Dracula' series.

Definately a worthy effort that's well worth watching if you enjoyed any of the 'Frankenstein' pictures, or even Hammer's 'Hound of the Baskervilles.'

An offbeat monster movie from Cushing, Lee & Fisher
Hammer reunited their big three of actors Peter Cushing and Christopher Lee along with director Terrence Fisher for the first time since "The Mummy" for the 1964 film "The Gorgon." Having seen success providing their own twists on Universal's classic monster, Hammer was obviously going for something original. Our story begins with the death of a beautiful artist's model who is found petrified, the seventh victim turned to stone in the last five years. The local physician, Dr. Namaroff (Cushing) convinces the police to pin the murder on the girl's lover, artist Bruno Heitz, who was found hung. When his father, Professor Heitz (Michael Goodliffe) arrives to investigate he encounters a strange crature in the shadows. Turning to stone, the Professor manages to scrawl a note before the process is complete. The Professor's other son Paul (Richard Pasco) now arrives upon the scene, learns of his father's death, reads the note and concludes that the killer is in fact Magera, one of the Gorgons of classical mythology (title gives it away, right?). Namaroff sends his assistant Carla Hoffman (Barbara Steele) to spy on Paul, but the two fall in love. When Professor Meister (Lee) arrives to help Paul, he connects the dots and figures out Magera has been possessing Carla and that Namaroff is hiding this horrible secret. We then proceed to the unhappy ending.

Obviously the makeup job on the Gorgon (played by Prudence Hyman instead of Steele) leaves a lot to be desire, even given that we are talking about Hammer Studios in the Sixties. One of nice things about this film constitutes something of a role reversal for Cushing and Lee (I am trying to remember another film where Christopher Lee gets to play the hero). Both Steele and Pasco turn in what is arguably the best performances of the love interests in a Hammer film, but the love story is hampered somewhat by the script, written by John Gilling but heavily revised by Anthony Hinds. Still, when all is said and done, I think "The Gorgon" is an above-average effort from Hammer.

Megera - The Gorgon
There were 3 sisters who lived in the Ancient Greek: Medusa,
Megera and Astherno.They died.But Megera's soul came here,
to the city of Vandorff.People have lived in the Castle of Brosky
but up to the present moment her, Megera.
It has been stablished a love triangle:Carla, Namaroff and Heitz.
Heitz met Namaroff in the castle.One was determined to meet Carla
and the other to kill Megera.A fight began.Namaroff attacked
Paul Heitz using a sword.Heitz used a large lamp.While they were

fighting, Megera was going down the stairs.Namaroff knocked down
Paul Heitz.He fell down with a groan.Namaroff faced Megera.
He became a statue.Meister arrived later.He killed Megera using
a sword.The sword was scattered away on the floor.Megera's soul
has gone away and Carla became free.There was nothing that Meister could do.Fisher used a combination of Greek mithology
and the terror in the eighteen century to perform this film.

Lee and Cushing try to enliven a poor script
A Balkan village at the turn of the century is terrorized by the Gorgon of Greek myth. This is a rather mediocre effort which is intermittently elevated by some good set construction (creepy, fogbound forests and deserted ruins never fail to provide a pleasantly spooky atmosphere) and reliable performances by Christopher Lee and Peter Cushing, who have reversed their usual roles. Here, Lee plays a hero and Cushing is a villainous doctor who tries to hide the existence of the monster and frame an innocent for the murders. The script is dull and the ending predictable.

For god's sake! Not realistic at all!
My god! How much research did these people do? This was probably the most unrealistic film in existence, The Gorgon was quite pretty! Her snakes looked like deli meats and wind up toys! I mean, sure the film in general was good, but the makeup, atrocious! I mean, I am an expert on gorgons, their names were not tasiffany,Medusa,and Maguera, their names were, Medusa meaning ruler, Sthenno meaning strong, and Euryale meaning wide leaping, they had huge tusk-like teeth,their tongues were always sticking out, they had huge bronze wings, and bronze hands with long claws, not scaly faces and green nightgowns, my advice, buy the program called Perseus and the Gorgon, that was a good film. ... Read more

Reviews (92)

The epic Hammer version of Van Helsing versus Dracula
"The Horror of Dracula" is perhaps the finest film produced by the Hammer Studio. At the very least, it epitomized the Hammer style at its best. Peter Cushing as Dr. Van Helsing gets a welcome respite from playing Victor Frankenstein while Christopher Lee quickly enter screen immortality as Count Dracula in one of the few Hammer films that allowed the vampire to have recognizable dialogue instead of inarticulate animalistic howls and the like. Jimmy Sangster's script streamlines Bram Stoker's novel, eliminating the Renfield character and subplot, and taking a more direct approach by having Jonathan Harker (John Van Eyssen) come to Castle Dracula for the purpose of staking the Count. After Harker's initial attempt fails, Van Helsing has to save his friend's soul and then protect Jonathan's fiancée, Lucy Holmwood (Carol Marsh), her brother Arthur (Michael Gough) and his wife Mina (Melissa Stribling), as Dracula's hit list grows. The names of the characters are the same as Stoker's novel, but the relationships have certainly changed. The strength of this film is Cushing's Van Helsing, a character as dynamic as the vampire he pursues. When Dracula is dispatched it is because the good doctor's brains are backup by some compelling physical action. Bernard Robinson's set designs for Castle Dracula belie the fact this film was produced for under $200,000 and the script's overt violence and subtle eroticism certainly plays to the strengths of director Terence Fisher. Of the eight Dracula films produced by Hammer, "The Horror of Dracula" is definitely the first and the best.

"An all time classic with the best bloodsucker to date"
Terence Fisher's Dracula is without doubt the most superior version of Stokers Gothic chiller ever to grace the screen. After the success of "The Curse Of Frankenstein" in 1957 Hammer decided to remake Dracula and although it is debatable whether the Hammer Frankenstein is better than the 1931 version Hammers Dracula is most certainly superior to the Lugosi in almost every way. Christopher Lee makes his debut as the King vampire oozing eroticism and fear and although his scenes are brief every time is rivetting. Peter Cushing is also excellent as the enegetic Van Helsing hell bent on destroying the Count at any cost. Wonderful sets by Bernard Robinson and an the excellent three-note score by James Bernard is now a classic piece of horror music. This is romantic horror, which is not as scary as later adaptions but it still remains the closest to Bram Stokers novelbringing out the underlying sexual overtones in the story that were never touched before. The final scenes of Lee and Cushing physically duelling in the castle are also classic horror scenes up there with "the Exorcist" and others. This is British horror at its peak and very best.

The best in the entire Hammer series!
Definitely the best of all the Christopher Lee Dracula films. The sequels do not live up to this film, mainly because they do not contain all of the original characters such as Lucy, Jonathan Harker, and of course, Van Helsing. This film sticks with the original Bram Stoker novel with these characters. The only person missing is Renfield, plus nothing is ever mentioned about Dracula being able to turn into a bat, a werewolf, or mist. Yes, this was 1958 before visual effects were what they are now. But, in the Bela Lugosi film, at least mention is made of these things.

Lee is smooth as the Count, and Peter Cushing is a delight at Professor Van Helsing. These two were great together in other films, and it is too bad Cushing did not continue into the sequels (with the exception of the present day setting films). He would have made those films better and much more entertaining to watch.

A must have for any horror film fan.

A classic film of dark, ominous foreboding
This excellent horror film is by far the best of all other Dracula screen adaptations. No other film of this type approaches this Hammer production for drama, color, storyline, atmosphere, music score and acting. The movie is a straightforward narrative of the attempt to destroy the dark prince of the undead that becomes a struggle for survival between the resourceful, erudite Dr. Van Helsing and the frightening, evil Count Dracula. There are graphic bloodletting scenes, tense, scary moments and buxom ladies who become Dracula's victims. The film moves at a brisk pace towards its conclusion as Van Helsing races against time and Dracula to reach his castle before dawn or lose him and Mina Holmwood forever in the vast catacombs and underground passages. James Bernard's eerie, haunting music expertly suggests the tension and horror of the proceedings

The Blood Is RED and The Fangs are Bared!
This picture is seminal in that it is the first partnership between Christopher Lee and the wonderful Peter Cushing in the Hammer Dracula series. Arguably the best of the series. This film still holds the power to shock today--despite the lack of heads being ripped from their torsos. From the first moment, one is transfixed by the Scarlet Blood dripping over the tomb with "Dracula" engraved upon the crypt lid. This was very alluring in the 1950's. Vampirism and colour were a very new thing indeed. Peter Cushing while maintaining some semblance of humanity is every bit as ruthless to destroy Dracula as Dracula is to destroy those who dared to violate his sanctum. Though not completely faithful to the book, one will find this movie an enjoyable and frightening venture into the Hammer world of Horror. I am only waiting for the equally terrible: Brides of Dracula to be released on DVD. The immediate sequel to Horror of Dracula, though missing Lee as Dracula, this film is even more inspired in its images of horror. And it is a master stroke to have one of Dracula's disciples: David Peel, actually appear with blond hair. The perfect angel, which makes him the perfect devil when he suddenly transforms. Peter Cushing is also in Brides of Dracula. Hurry and release this terrifying film (one of the top five best vampire films ever done!).

IN CHRIST JESUS: THE LIVING GOD,

W Braithwaite
*Gospel John Ch. 1; John 3:16-18*

Email: wbraithwaite@tampabay.rr.com ... Read more

Reviews (22)

Possibly the finest Hammer horror film of them all.
FRANKENSTEIN MUST BE DESTROYED is the fith entry in the Hammer series, which began with 1957's revolutionary CURSE OF FRANKENSTEIN. Much of the impact of the series can be attributed to the input of director Terence Fisher and star Peter Cushing, and here they are united with stunning results. The story pulls no punches in telling the tale of the Baron, embittered by a string of failed experiemens, who is bent on taking his hatred for humanity out on all those who come into contact with him. Unlike many Fisher-Hammer films, which opt for fairy tale optimism, this film is informed by the nihilistic climate of the late 1960s. Typical for Fisher, the characters and relationships have more depth and complexity than is the norm for a low budget horror film. In fact, the film is more of a drama than anything else, so schlock fans need not apply. A stunning exercise in pathos and suspense, with a brilliant performance by Cushing, and a moving one by Freddie Jones as the pathetic "monster." Highly recommended.

The Baron is in the building...
The character and quality of Frankenstein varied a bit from film to film in the series. Luckily, Peter Cushing always brought his usual vitality to the role. Here the Baron is up to his old habits. He creates life yet again using the brain of a well respected, brilliant scientist (played with power and pathos by Freddie Jones)to make his creature intelligent. The sequence where the scientist tries to make contact with his widow touches on the sadness and power that made James Whale's "Bride of Frankenstein" so great. "Frankenstein Must Be Destroyed" stands as among the best of Hammer's series (along with my personal fav the more atmospheric "Revenge of Frankenstein").

The extras amount to the original theatrical trailer. What makes this DVD worthwhile is the sharp, crystal clear and stunning transfer to DVD. The vivid, rich colors from the original film remain, for the most part, in tact. Although there's a bit of fading evident, the rich colors and nicely detailed sets look quite nice. There's few if any analog or digital artifacts in evidence.

It's a pity that there's no commentary track from a Hammer film or horror historian. Although most of the cast is dead, Simon Ward (in his debut as a Dr. that Frankenstein blackmails in to helping him make his latest creature)could have provided much needed information about the shooting of the film. It's a pity as "Frankenstein and the Monster from Hell" benefited from the commentary track featuring actor David Prowse.

A good choice to add to your Hammer film collection.

Who is the real monster
This is Hammer's fifth Frankenstein movie in the series and again Peter Cushing plays the Baron. He transplants the brain of a brilliant but insane Dr. Brandt into the body of Dr. Richter. The Baron appears to be the monster and the creature is just an unhappy victim, which is apparent in the opening scene where the Baron is wearing a hideous mask. At the end, the creature, whose mental agonies have turned into a hatred for the Baron, carries the Baron back into a blazing house.

The next in the series is The Horror Of Frankenstein (1970).

Hammer's finest hour?
FRANKENSTEIN MUST BE DESTROYED (UK - 1969): Baron Frankenstein (Peter Cushing) blackmails a young medical student (Simon Ward) and his fiancee (Veronica Carlson) into helping him with a brain transplant which goes horribly wrong.

Following a long period of cheap-looking productions designed to play as double-features on their home turf, Hammer returned to premium quality horror with FRANKENSTEIN MUST BE DESTROYED, arguably the company's finest hour, and certainly Peter Cushing's definitive portrayal of the monstrous Baron. Instead of the misguided adventurer depicted in previous films, screenwriter Bert Batt emphasizes the Baron's ruthless pursuit of knowledge and power, culminating in an unexpected sequence in which Cushing's domination of Carlson segues from mere tyranny to rape, a scene which Cushing reportedly found distasteful. Overall, however, Batt's script allows the characters to evolve via a skilfully constructed plot which employs levels of drama and emotion largely absent from much of Hammer's output at the time, alongside the usual elements of horror and suspense. Director Terence Fisher rises to the occasion with remarkable dexterity, orchestrating set-pieces which have been compared to Hitchcock in some quarters, especially the opening sequence in which a petty thief (Harold Goodwin) breaks into the wrong house and has a truly hair-raising confrontation with its volatile owner (leading to a truly great 'reveal'); and the traumatic moment in the back garden of Carlson's boarding house, when she's forced to deal with a corpse (one of Frankenstein's cast-offs) ejected from its makeshift grave by a burst water pipe. Freddie Jones adds pathos to the proceedings as the helpless victim of Frankenstein's latest experiment, his brain transplanted into another man's body against his will, traumatizing his incredulous wife (Maxine Audley) who refuses to accept his new identity (a scenario echoed by a similar plotline in John Woo's FACE/OFF in 1997). The period decor may look a little cramped and cut-price in places, but this is Hammer/Fisher/Cushing at the very height of their creative powers, and the film is a small masterpiece of British Gothic.

Warner's DVD offers a sterling reproduction of the film, letterboxed to its original screen ratio, anamorphically enhanced, with a strong soundtrack marred only by background hiss (clearly audible during quieter sequences) and a brief muffled section toward the end of the movie, during a short sequence without music or dialogue. The only extra is a trailer which sells the film as an outright exploitation flick, though the production is slightly classier than this tell-all promotion suggests! The running time quoted below doesn't include the Time Warner logo at the end of the DVD print, which wasn't part of the original film.

100m 33s
1.75:1 / Anamorphically enhanced
DVD soundtrack: Mono 1.0
Theatrical soundtrack: Optical mono
Optional English subtitles and closed captions
Region 1

Peter Cushing's Finest Performance and One of Hammer's Best
This is one of Hammer's very best productions as well as their best Frankenstein film. Peter Cushing is wonderful as the Baron, more ruthless and sadistic this time out--he stops at nothing to get his way. The supporting cast of Veronica Carlson, Simon Ward and Freddie Jones are excellent. And the fiery cat and mouse finale is a total knockout--the best finale in the Hammer canon.

Warner's DVD is excellent. Picture and sound are sharp and robust. The 1.85:1 framing seems perfectly accurate. Theatrical trailer included. ... Read more

Reviews (16)

Vintage Hammer. Babes, severed heads AND Peter Cushing!
The fist time I saw this movie, at the tender age of 10, it left a lasting impression that has no doubt skewed my view of the world. Here was a former Playboy Bunny trying desperately to contain herself in a typical Hammeresque period costume, running around the Village exacting revenge in a series of bloody murders. The grisly climax contains a scene where she talks to the severed head of her (former) boyfriend. She was, of course, Frankenstein's newest creation. I recently watched this again, curious as to how I would react 30 years later. Aside from a terrible ending (this movie doesn't end so much as it stops), the movie still holds up pretty well. Fans of the Hammer genre, and fans of Peter Cushing will no doubt enjoy this one. Good wacky laboratory sequences, a fun cast of characters (some of which you are glad to see die) and Denberg as the best looking creature yet.

Will the real Soul please stand up
At the beginning of the movie a murderer is guillotine and witnessed by his young son Hans. Years later Hans is working with Dr. Hertz and Dr. Bon Frankenstein (played by Peter Cushing). Frankenstein has himself frozen for exactly one hour, down to the second, where he is trying to prove that the soul does not leave the body. He is revived and to celebrate his success sends Hans out to get some champagne at one of the local pubs. Hans is in love with the owner's daughter (Christina played by Susan Denberg) and spends the night with her but when the owner is killed Hans is accused and refuses to tell where he was when the murder took place. Hans is found guilty and himself guillotined like his father. Christina sees this and jumps off a bridge and drowns.

Dr. Frankenstein retrieves Hans's body, captures his soul, and places it in Christina body. Among Frankenstein accomplishments he is a brilliant cosmetic surgeon and turns Christina into a beautiful blond with the aid of Dr. Hertz. Now with a new body and Hans's soul revenge is sought for Hans and Christina's father's deaths.

This is another excellent Hammer film and with Peter Cushing heading the cast. The quality of the DVD is excellent.

WARNING
this Anchor Bay DVD appears to have serious flaws as almost all of the originally pressed discs no longer play correctly.....those of you who have these discs, Please check them in your dvd players as 9 out of 10 of them have suffered a form of corruption that doesnt allow them to work anylonger...........the worst news of all is that ANCHOR BAY dont apparently have the license to release this title again at the moment, so those of us who have dumped our Elite Laserdiscs are rather stuck with a dud dvd. Anchor Bay who are normally so excellent about handling themselves ought really to start something about refunding those of us who are stuck with a dud disc - clearly something they MUST have had some idea about.

stylish, erotic, smart- all my favorites!!!
I saw this many, many years ago in the theatre... still a great movie, but the tape didn't exactly capture the lush backgrounds, the erotism of the first time. Well, I'm also not 6 (or whatever) years old.
Still, I experienced again: a delirious crush on Hans, the romantic, too-good-to-be-true, hero- who was able to love AND LUST after Christine, the flawed and mistreated servant girl (haven't we all been her at one time?)His ability to see past the scars she felt such shame from made him a big numero uno for me even way back then.
Second: yowza! I prayed that my pre-adolescent self would develop into ANY SEMBLANCE WHAT-SO-EVER of the oozing sexuality of the transformed/re-created (isn't that another wish of ours, ladies?) Christina (Susan Denberg)...
And, oh yeah... Peter Cushing is in it, too.
HA! Just kidding...the blend of old school, classic horror and repressed sexuality made for a memorable movie that I had to buy and watch again and again.
If you dig the mix... and you know who you are out there... get this movie

Will the real Hammer Frankenstein please stand up?
Hammer's Victor Frankenstein owes little to the Universal series (where the character was named Henry and in fact the sequels featured the monster and not the Doctor) or even the original novel (whose Victor was a young college student and not a Baron).
When one follows the Baron in the Hammer series, one finds a lot of inconsistency. The insensitive, murderous Baron of CURSE is toned down a bit in REVENGE, misunderstood in EVIL, is the "hero" of CREATED WOMAN, is a killer and more evil than ever (and just transplants a brain) in MUST BE DESTROYED, and is back more or less like the Baron in REVENGE in AND THE MONSTER FROM HELL. Cushing is a wonderful actor and makes the character interesting, in spite of the scripting.
One wonders how the Baron came upon the idea to transplant souls since he seems to be an atheist or how he is able to acquire the machinery to be able to accomplish it without arousing suspicion. FRANKENSTEIN CREATED WOMAN is a pretty good film overall, but the ending does seem weak. One gets the feeling they couldn't think up a more satisfying ending and just had her drown herself again. Hammer fans will probably enjoy it anyway. Others should look for a more traditional Frankenstein movie. ... Read more

Reviews (30)

The Sherlock Holmes classic from Hammer studios!
This is a fine, fun telling of perhaps the best of the Holmes'adventures. Peter Cushing is excellent (and superbly arrogant) as the world's greatest consulting detective. Andre Morell holds his own as Holmes' partner, Dr. Watson. That is, he is not cast in the role of obsequious buffoon as was often the impression given in the Basil Rathbone classics. Christopher Lee is also excellent as Sir Henry, heir apparent to the Baskerville curse. If your're a Hammer fan you will notice that much of Sir Henry's estate bears a striking resemblance to the vistas used in Horror of Dracula. And of course there are the lush colors and atmospherics...including scoring...that made several Hammer efforts genuine Halloween horror classics. This is an exciting movie; a family thriller for all but the very young, that won't gross you out or make you ashamed you watched it. Elementary? Yes...So what. Most movies are.

Thank You MGM
At last this wonderful film gets the treatment it deserves. This is the DVD for Hammer fans. Peter Cushing, Andre Morell, Christopher Lee, all three bundled into a creepy Sherlock Holmes mystery. The picture quality of this film is simply beautiful. I don't know what kind of film element they used, but it was perfect. Peter Cushing does a wonderful job as the quirky, energetic detective. Morell is a more than fine actor, who steps into the role of Watson with a superb, gentle manner. Christopher Lee gets a chance to be the romantic lead, and proves he has no problems stepping into those shoes.

This movie was produced and released close to the same time as the ground breaking favorites, The Horror of Dracula, Curse of Frankenstein, and The Mummy. And like the other films has an excellent script and top-notch film stars. This was the beginning of Cushing's and Lee's international stardom, which has ballooned into a huge cult following over the years.

If you've got a DVD player, and are still holding onto your VHS copy, you might consider trading up. It's well worth it.