Jackson Booth-Millard The first Frankenstein film from British Hammer (Horror) Studios was very good, the second film was alright, and the third was terrible, this fourth film has been described as the best by fans of the series, directed by Terence Fisher (Dracula, The Hound of the Baskervilles, The Mummy). Basically Baron Victor Frankenstein (Peter Cushing) has been reanimated and awoken from a frozen state, he confirms with his colleague Dr. Hertz (Thorley Walters) he has proved with this experiment that the soul does not leave the body instantly after death. Frankenstein believes he can transfer the soul from a recently deceased body into another recently deceased body and restore it to life. Frankenstein's lab assistant Hans Werner (Robert Morris) is the lover of Christina (Susan Denberg), daughter of innkeeper Kleve Herr (Alan MacNaughtan), Christina's entire left side is disfigured and partly paralysed, she is constantly taunted by young dandies Anton (Peter Blythe), Johann (Derek Fowlds) and Karl (Barry Warren). Hans becomes angered by the three mocking Christina for her deformities, he fights with them and cuts Anton's face with a knife, Kleve later throws the the three men out for refusal to pay, they return to steal alcohol, and Kleve catching them is beaten to death by them. Hans, the son of a murderer notorious for his short temper, is convicted, despite Frankenstein and Hertz's defence against him, Hans is found guilty and sentenced to death by guillotine, the three are delighted, Frankenstein sees this as an opportunity to get hold of Hans' fresh corpse. Christina is devastated following Hans' execution, and feels guilty not defending him in court, she commits suicide and drowns jumping into a river from a bridge, her body is brought by peasants to Hertz, he and Frankenstein carry out the experiment, transferring Hans' soul into Christina's body, and following months of treatment they also cure her deformities. The result of the experiment is a physically healthy female with no memory, she keeps asking who she is, Frankenstein insists she is told nothing but her name and keeping her in the house, but she does eventually regain her memory of who she is, Christine is taken over by the vengeful spirit of Hans. Christina, driven mostly by the spiritual intentions Hans, kills Anton, Karl and Johann, Frankenstein and Hertz become suspicious of her behaviour and the killings, they believe she subconsciously has memories of her father's death, but it is too late when they realise it is Hans' soul controlling her. Christina goes to the where Hans was executed, upon holding Hans' severed head, his ghostly voice tells Christina to avenge his death, she is chased by Frankenstein who is willing to tell her the truth about her identity, but Christina has no one left to live for, and jumps from edge of a waterfall, Frankenstein is saddened and silently walks away. Also starring Duncan Lamont as The Prisoner, Peter Madden as Chief of Police, Philip Ray as Mayor, Ivan Beavis as Landlord and Colin Jeavons as Priest. Cushing remains dependable as the maddened scientist, the twist with this story is taking the mind of a wrongfully killed man and putting it in another reconstructed body, so it isn't quite the usual body put together to make a monster, it is a little slow in places, but there are gory moments and intrigue to keep you going, all in all it is an interesting horror film. Worth watching!

LeonLouisRicci Director Terence Fisher and Hammer Studios Deviate a bit from Format here with this the Fourth of Seven in the Frankenstein Series. Although Unorthodox and not what the Fans were Familiar with, the Talented Peter Cushing, Fisher, and the Hammer Crew made this one a welcome Diversion.It still Delivered the Standard Hammer Look, with its Color Template, always Interesting Mad Labs, Gore, and a Beautiful Woman in a very Low Cut Dress. Notable, in the Title Role, Susan Denberg (Playboy Playmate, Aug.1966) Shows Competent Acting beneath the Dubbing and Lights Up the Screen. The Story Drags somewhat here and there but always Manages to Return with something Interesting. This Time there is a Metaphysical Soul-Transference. The Details are Sketchy but the Horror-Sci-Fi-Fantasy Moves right Along.Cushing Shines once again as the Ultra-Focused Frankenstein who Quips "If they gave out a Ph.D in Witchcraft, I'm sure I would qualify." If They gave out Awards for B-Movie Excellence with Longevity, Hammer Films would more than Qualify.

GL84 Attempting to continue his experiments, the Baron finds that the opportunity to transfer the soul of a young man into a recently-deceased young woman instead sets her out to avenge the group who framed him for death and causing him to try to stop her.Overall this one was quite decent if slightly flawed. Among the finer points here are the rather fun experiments being conducted for there's plenty of time here working in the lab to complete matters fully throughout here. The opening attempts to bring him back to life from being in the freezer is quite nice by setting up the later work here with the soul that comprises the middle here where he begins going through the different resources possible for his contraptions here to bring that along even further along with the actual transference procedure where they bring about the change-over here of having the two changing his soul into their equipment and then into the girl for another really enjoyable sequence. The later scenes here of them getting her through the recovery process which includes the walking around learning to how to walk and the gratification of the changes made to her appearance due to the change as well as the return to the guillotine which brings about the shock of the opening death of the father there which is all quite fun here. The revenge part here is even better with the person talking in voices and switching into the other voice here to signify the changes as the tense stalking in the pub and out into the countryside as she goes after the last one on the picnic in the woods here so there's a rather fine series of kills in here. These here give this one enough to like overall that it holds off the few flaws within. The main issue here is that there's so little actual horror in here that it can feel very dull at times with the film really holding back how quickly paced this really could've been as a lot of what happens isn't too scary. The majority of time here isn't all that scary here with the continued ramifications of his father's past connecting with his own future from all the townspeople, their budding romance and another instance where the villagers are indeed afraid of the Baron through his reputation but aren't capable of doing anything about it here which in itself is yet another big flaw here as all of these here found throughout the first half just don't make this into much of a horror film. These here are just so bland that, though they do serve as the cause of the revenge later on, it just drags on for quite a while here taking it's time with the overloading these points that becomes very bland overall, and is one of the biggest issues here. Once again, the distrustful natives isn't too original being here, while the other big flaw here is the really abrupt ending which is such a sadden stop that it's hard to believe nothing more involved wasn't used here as it seems to be mere seconds after the revenge is taken that there's the chase and then the ending which for once could've used some stretching out here to really take advantage of what's going on. Otherwise, this one is a lot of fun.Today's Rating/PG-13: Violence and the aftermath of a sexual encounter.

Woodyanders Sweet, but disfigured young Christina (a sympathetic portrayal by the luscious Susan Denberg) commits suicide after her lover Hans (a likable performance by the handsome Robert Morris) gets framed and executed for murder. Baron Victor Frankenstein (superbly played with conviction and dignity by the always reliable Peter Cushing) resurrects Christina from the dead by transforming Hans' soul into her body. However, the new woman created by Frankenstein longs for revenge against those who have wronged her. Director Terence Fisher relates the engrossing story at a stately pace, meticulously crafts a flavorsome period atmosphere, and keeps things classy and involving throughout. The smart script by Anthony Hinds offers an intriguing central debate on the morals and perils of man playing god. The characters are neatly delineated: Hans and Christina make for charming leads while the villains are appropriately mean and hateful. Christina's conflict about her identity adds a surprisingly poignant element of pathos. Thorley Walters contributes a stand-out turn as Frankenstein's kindly and bumbling assistant Dr. Hertz. Peter Blythe likewise excels as ruthless cad main bad guy Anton. Peter Madden makes the most out of his regrettably small part as a stern chief of police. Both Arthur Grant's sharp cinematography and James Bernard's robust score are up to speed. A worthy Hammer item.