4K Ultra HD Review – The Curse of Frankenstein (1957)

      The Curse of Frankenstein, 1957.

      Directed by Terence Fisher.

      Featuring Peter Cushing, Christopher Lee, Hazel Court, Robert Urquhart, Melvyn Hayes, Valerie Gaunt, Paul Hardtmuth.

      SYNOPSIS:

      This limited edition box set marks Hammer's inaugural venture into outright horror. The Curse of Frankenstein, released in 1957, serves as a landmark film, being the first in Hammer's Frankenstein series and their first full-color film, thus becoming the first title under the celebrated banner of ‘Hammer Horror’. While the studio had previously experimented with macabre imagery in their Quatermass films and X the Unknown, those stories remained firmly in the sci-fi genre, focusing on aliens and supernatural entities. The Curse of Frankenstein, though it touches on sci-fi themes, is unadulterated horror, and while it wasn't the very first color horror film, its innovative use of Kensington Gore for blood effects set a new benchmark for the genre.

      Significantly, this film marks the first collaboration on-screen between two of horror's most iconic actors: Peter Cushing and Christopher Lee. Although they had both acted in Hamlet, Moulin Rouge, and Alexander the Great in the previous decade, they had never shared the screen or even met before the production began. Cushing had previously been a regular performer for the BBC, captivating audiences with his portrayal in the 1954 live television adaptation of George Orwell’s 1984. Lee, at that time, was an emerging actor taking on supporting roles due to his imposing stature and what was referred to as his ‘exotic features’ (as he had Italian heritage). Initially, Cushing received top billing, a reality that would change years later as Lee rose to prominence.

      The Curse of Frankenstein was crafted with care, as Hammer's screenwriter Jimmy Sangster and makeup artist Phil Leakey needed to avoid replicating elements that Universal had copyrighted from their classic 1930s films, despite Sangster asserting he had never seen them. The film opens with Victor Frankenstein (Cushing) in a prison cell, accused of murdering his maid Justine (Valerie Gaunt), as he recounts a harrowing tale about a reanimated corpse being responsible for the crime. It then flashes back to Victor's youth at age 15 (played by British TV favorite Melvyn Hayes) when he is promised in marriage to his cousin Elizabeth following his mother's death. During this time, Victor enlists the expertise of esteemed scientist Paul Krempe (Robert Urquhart) to serve as his tutor, as they both seek to unravel the mysteries of life and halt death.

      As time progresses—illustrated by the transition from Hayes to Cushing and Krempe sporting a beard—Victor devises a formula to resurrect body parts, acquiring limbs and organs from the recently deceased, much to Krempe's horror. During this period, Elizabeth (Hazel Court) comes to stay with Victor, compelling Krempe to remain for her protection. However, once the Creature (Lee) is assembled and brought to life, chaos ensues as everyone in Victor's life falls victim to the creature's fury.

      Unlike the Universal films, which focused on the monster—brought to life by Boris Karloff’s striking performance that rendered the creature both brutal and sympathetic—Hammer's films concentrated on Victor Frankenstein himself. This is underscored by the fact that the Creature appeared different in each sequel and was portrayed by a new actor. Here, the Creature is depicted as a wretched being, his appearance less recognizable than Karloff's interpretation but more in line with Mary Shelley's description in her novel. Christopher Lee delivers a performance that balances fear and sympathy, avoiding the child-like gestures and expressions of innocence akin to Karloff, instead portraying the Creature as confused and disoriented, reacting like a wild animal when cornered.

      While Lee's portrayal may not receive the same accolades as Karloff's, it deserves commendation; the act of creating a character without dialogue showcases a unique talent. In a memorable scene where the Creature is shot in the eye—a striking gore effect for 1957 that caused real discomfort for Lee due to the fake blood used—his dramatic collapse to the ground encapsulates the Creature's fear and isolation, despite his horrifying visage.

      Nonetheless, this film predominantly revolves around Baron Victor Frankenstein and Peter Cushing's definitive portrayal of the character. In the original novel and the Universal adaptations, Frankenstein isn't malevolent; rather, he is driven by the pursuit of his goals. While Colin Clive’s Henry Frankenstein from the 1931 Frankenstein and 1935’s Bride of Frankenstein realizes the implications of his actions, Cushing's Victor is zealous, lacking empathy, his ambition overshadowing even basic human instincts. By the film’s conclusion, he is mentally unhinged by his desire to be viewed as a god-like creator, crossing boundaries that Krempe refuses to breach