The Curse of Frankenstein
Director ~ Terence Fisher
Writers ~ Jimmy Sangster
1957 ~ UK
Stars ~ Peter Cushing, Hazel Court, Robert Urquhart,
Christopher Lee
Although
Hammer had taken the success of ‘The Quatermass Experiment’ as a hint
that they should move into horror as a moneymaker, ‘The Curse of
Frankenstein’ set the agenda. Peter Cushing, Christopher Lee, updating
Universal monsters, Terence Fisher directing and Jimmy Sangster writing,
sumptuous set design by Bernard Robinson, Jack Asher’s cinematography,
salaciousness and a lash of gore all went to make up Bray Studio’s Hammer
Horror brand. Although it sounds like a sequel, ‘The Curse of Frankenstein’ is
Hammer’s first Gothic Monster, the first British horror film in colour and
Fisher makes sure you know it, whether it’s Cushing blue eyes, the
multi-coloured liquids in the lab or a somewhat unnecessary close-up of a
luxurious dressing gown.
Mary Shelly’s
novel is the landmark in the creation of the genres of horror and
science-fiction, teen fiction and body horror, written when she was nineteen.
Famously, it was the result of a writing competition between her, Lord Byron
and Percy Shelley in the Summer of 1816. Its themes are of existential angst,
societal rejection, ambition and responsibility, ego and empathy, running from
parental obligation, victimhood and revenge, male ego, the patriarchy’s
fear/disgust/misunderstanding of a woman’s ability to give birth (seeing it as
a challenge to usurp), and others. All the earliest adaptations forgo the
eloquence of the creature if not the suffering, and in this adaption, Jimmy Sangster
takes full-blown liberties with Shelley’s seminal novel as others have. He
makes it not about the whimpering, cruel rejection of your creation, but
abusing it into sublimation, robbing it of agency, humiliating and tampering
with it at your whim. Rather than an odyssey, this is a chamber piece about a narcissistic
baron, his laboratory, his disapproving best friend and his unaware fiancé – in
that order.
The first
pairing of life-long friends Peter Cushing and Christopher Lee. Cushing is
fantastic, able to exude charm even through his selfishness and mercenariness. Cushing’s
ability to treat the fantastical and tosh with sincerity cannot be undervalued.
The step into confrontational colour gore is nicely declared with Cushing
smearing blood on his jacket (and a find symbol for his bloody obsessive
nature). Unlike his co-star Paul Krempe, Cushing thoroughly embraced this in
Hammer, seeing it as a fairy-tale world. Cinematographer Jack Asher can be
greatly credited with the whole look of Hammer, and certainly the precise
colour from the startling close-up bright blue of Cushing’s eyes to that jacket
bloodstain turning pink over time. But this is not to forget production
designer Bernard Robinson, whose laboratory set is surely as iconic as Whale’s
1931 version.
Lee’s
performance is perhaps a revelation, forgoing the charisma and elegance that would
later give him such presence for the clumsy, lumbering coordination of the
monster. There is a pathetic uncoordinated physicality that he was not called
upon to deliver or necessary after the malevolent baritone elegance of his ‘Dracula’.
To avoid being prosecuted by Universal, Le’s creature make-up designed by Phil
Leakey is a world away from the iconic, brilliant and cartoonish Jack Pierce
designed Karloff visage: Leakey’s make-up is true to the report of being taken
from a hanged man whose been ravaged by the birds. It is a performance that
dominates despite its comparatively brief screentime due to that nasty make-up
and Lee’s natural commanding aura.
Otherwise,
Krempe gives a solid but uninspired performance as Victor’s mentor, there is a
young Melvyn Hayes, a sultry Valerie Gaunt and a charming Hazel Court, exuding
warmth and turning what little she has as Victor’s cousin-fiancé into a
sympathetic character. It is through her that the era’s repression of female
autonomy and patriarchy’s dominance come through.
Hammer’s
novelty was to highlight that, make no mistake, Victor Frankenstein is the true
villain with the creature the jigsaw manifestation of his ugliness, forced into
life. And despite the presumed finality of the ending, it is Cushing’s
Frankenstein that made for a franchise. From a reported budget of £65,000 ‘The
Curse of Frankenstein’ made a box office of $8 million, a success that led
to Hammer’s Gothic Horror agenda and seven Frankenstein sequels. Jack Asher
said that Fisher only did two takes due to Hammer’s demanding scheduling. When
taken into consideration, this conveys just how punk, professional and talented
this team was to produce such performances, elegance and influential horror.
