Blog Archives

Hammer Horror Series: Frankenstein Must Be Destroyed (1969)

by Steve Habrat

That evil Baron Victor Frankenstein is back and more hellish than ever in director Terence Fisher’s 1969 Frankenstein Must Be Destroyed, the fifth entry in Hammer’s brutal and bloody Frankenstein series. Back with a vengeance, Frankenstein Must Be Destroyed ushers in a pulverizing wave of emotion that will shatter your heart and a number of unbearably tense moments that Hammer’s Frankenstein series was noted for. A bit different than other Frankenstein films, this entry in the series lacks a grunting, groaning hulk of a monster and replaces him with a mad colleague who has undergone an icky brain transplant. Not as heavy on the horror and more of a thrill ride, Frankenstein Must Be Destroyed finds Peter Cushing once again stepping in as the infamous mad scientist and playing him with such demented fury, it practically sends the viewer into shock. While the lack of a deformed corpse shuffling around the countryside may be a bit of a disappointment, the twisted story and the lack of a clean cut hero makes this installment one that really hits you right in the gut. And I dare you not to be downright mesmerized by the chilling opening sequence and that grim ending.

The monstrous Baron Victor Frankenstein (Played by Peter Cushing) has been prowling the streets in secret and gruesomely claiming victims for his terrifying experiments. After one of his victims survives and discovers the whereabouts of his secret lab, Frankenstein is forced to take shelter at a local boarding house that is run by young landlady named Anna (Played by Veronica Carlson). Under a new name, Frankenstein keeps largely to himself but after he discovers Anna’s fiancé, Karl (Played by Simon Ward), who happens to be a doctor at the local mental asylum, is stealing drugs and selling them, he blackmails the young couple into helping him with his macabre work. The couple soon learns that Frankenstein is attempting a brain transplant on a former colleague named Professor Richter (Played by Freddie Francis) who has been locked up in an insane asylum for many years. As the police close in on the trio, the experiment on Professor Richter doesn’t go according to Frankenstein’s plan and Richter sets out to make Frankenstein pay for his ungodly experiments.

Perhaps the strangest touch to Frankenstein Must Be Destroyed is the fact that there isn’t the usual Frankenstein Monster that we are all familiar with. This creature is certainly sympathetic as everyone he stumbles across is terrified of him (he means them no harm) but he actually speaks and very intelligently at that. The only thing truly horrifying about his appearance is the slew of stitches that dot his forehead like a hellish crown. Later in the film, the Monster (or Professor Richter) goes to see his wife who is just sickened over what Frankenstein has done to her husband. It is emotionally intimate and touching as Professor Richter hides out of his wife’s sight and calmly tries to comfort her. Mind you, Frankenstein Must Be Destroyed certainly asks for plenty of empathy but this isn’t all a pity party. Fisher opens the film with plenty of bloody, gore, and severed limbs to make us all a little queasy. The opening finds a masked Frankenstein prowling the shadows and lobbing off heads as blood splatters every which way. If that scene doesn’t get your heart pounding, surely the sequence that finds a water main suddenly bursting and a rotten corpses bubbling up from its muddy grave as Anna tries desperately to hide the body from onlookers will have you covering your eyes. It’s smartly conceived horror sequences like this that prove to the viewer that Fisher and Hammer may have been making a spin-off franchise film but they were determined to do it with plenty of style and fury.

Frankenstein Must Be Destroyed also gets a boost from the always-spectacular Cushing as the demented Frankenstein. If you think you’ve seen him at the height of his evil, wait until you see him here. He hilariously cuts down a group of over opinionated gentlemen who criticize his past experiments. As he overhears their conversation, the sullen Frankenstein turns to them and says, “I didn’t know you were all doctors!” They quickly explain that they are not doctors and Frankenstein hits them with, “Oh, I thought you knew what you were talking about.” When he is verbally ripping someone to shreds, Frankenstein commits other monstrous acts including a heartless murder and the stomach-churning assault of Anna. It is also terrifying the way he forces Karl into murder but what is even more chilling is that Karl doesn’t put up much of a fight, although he does squirm but mostly during the experiments. The climax of the film largely belongs to Francis, who really manages to get us on his side as Richter. Then we have Carlson and Ward as the young couple forced into terrible acts by their evil puppet master. It certainly isn’t easy to watch Karl get tangled in a web of death but there are points where he doesn’t seem to mind at all. Anna, meanwhile, is more of a prisoner than Karl, kept around only for Frankenstein to rape and make coffee.

In typical Frankenstein fashion, Frankenstein Must Be Destroyed ends with a fiery confrontation between Richter and his creator. You will be cheering as Richter unleashes charred revenge on the sick and twisted Frankenstein. In a way, the film is disappointing because we are so naturally used to seeing a decaying corpse brought back to life through electricity that it does come as a bit of a shock when this “Monster” begins speaking in a polite manner. The positive is that it does add a fresh spin on the material and it doesn’t resort to rehashing what we have already seen in previous Frankenstein films. The other disappointment is that most of the scares are found at the beginning and then the film transitions into a more of a suspense thriller with lots of bright red blood. Overall, Frankenstein Must Be Destroyed is certainly a strong installment in Hammer’s Frankenstein series, one that isn’t afraid to embrace plenty of extremely unethical behavior and plenty of fiery doom and gloom when the curtains fall on the climax. This is a nasty movie with infinite amounts of madness burning in its blood red eyes. An essential film for Hammer fans.

Grade: A-

Frankenstein Must Be Destroyed is available on DVD.

Hammer Horror Series: Dracula Has Risen from the Grave (1968)

by Steve Habrat

After Hammer’s success with Horror of Dracula, the British studio began whipping up multiple sequels that found Christopher Lee’s snarling Count Dracula rising from the grave in some way, shape, or form. One of the better sequels is 1968’s Dracula Has Risen from the Grave, a snappy horror outing with plenty of blood dripping from Lee’s fangs and as much cleavage as you can handle. Hey, this is Hammer! With Hammer’s favored son Terence Fisher out of the director’s chair and director Freddie Francis taking control, there seems to be a reignited spark of enthusiasm throughout Dracula Has Risen from the Grave. Lee seems just a little more devilish than usual and the bloodletting is a tad more extreme than some of the previous offerings (the film is hilariously rated G but don’t be fooled). Francis injects a captivating storyline and mixes it with attention grabbing melodrama and likeable characters, all which give the film a morbid charm, much like the monster we all fear. Francis takes things to the next level with a number of iconic images and a climax that more than delivers. It’s a gothic image so startling that you will never be able to chase it from your mind. The only thing missing here is Peter Cushing, who is sorely missed!

Set after the events of Dracula, Prince of Darkness, a year has passed since Dracula’s (Played by Christopher Lee) death but the local villagers are still jumpy and whisper about vampirism. They are convinced that Dracula still watches them from his castle high in the mountains and that he still emerges at night to drink the blood of the living.  Monsignor Ernst Mueller (Played by Rupert Davies) decides to perform an exorcism on Dracula’s castle to prove to the villagers that the evil is gone for good. The monsignor takes a local priest (Played by Ewan Hooper) with him up to Dracula’s castle but what he doesn’t know is that the priest is grappling with his faith. During the exorcism, the priest takes a nasty fall and cuts his head. The blood trickles down the rocks and finds its way through a crack in the ice. The blood flows into Dracula’s mouth and the evil one is revived from his chilly slumber. Unable to enter his castle due to a giant crucifix on the door, Dracula sets out to find the monsignor and make him pay for what he has done. He targets the priest and the monsignor’s beautiful niece, Maria (Played by Veronica Carlson), and her atheist boyfriend, Paul (Played by Barry Anderson).

Despite being a whole bunch of fun, Dracula Has Risen from the Grave does have one major gaffe near the end of the film. The scene finds atheist Paul attempting to drive a stake through old Drac’s heart but he refuses to pray so the attempt is useless and Dracula survives. It was news to this viewer that when one drives a stake through Dracula’s heart, you have to say a prayer or the vampire will survive. It may be goofy and completely out of place but the sequence does have tons of gore so that makes up for it. Other than this one flub, Dracula Has Risen from the Grave can be wonderfully funny, romantic, and terrifying. The opening sequence that finds a bloody dead body stuffed in the church’s bell tower is one to have you on the edge of your seat. The exorcism scene is also one that will give you chills as the winds pick up outside the gothic castle. Whenever Dracula’s presence is felt, Francis applies a filter that yellows the edge of the screen, an odd touch at first but as the film goes on, you may find yourself actually enjoying the effect as it suggests evil closing in around anyone who is near Dracula. And then there is the love story, a soft, melodramatic affair that will have the viewer rooting for young love.

Then we have the top-notch performances from Lee and the rest of the cast. Much like Horror of Dracula, we don’t see too much of Lee’s Dracula but when he does decide he is going to show up, he will have you trembling in your boots. When he sets his sights on a young gal he wishes to bite, his eyes turn that familiar shade of red and his lips curl in to a demonic sneer that spells death. When he approaches the crucifix that hangs from his castle doors, he commands one of his vampire slaves to get it out of his sight. The way he delivers the dialogue will send a chill, as he says it with heaping amounts of hate in his voice. Anderson is great as the honest and true Paul, who resists the seduction of a voluptuous bar maid named Xena (Played by Barbara Ewing). He just seems like such a good guy that you can’t help but root for him in his battle against Dracula. Carlson is easy on the eyes as Maria, a warm and innocent girl who sneaks out of her room at night and tip toes over the rooftops to check in on Paul. Then there is Davies as the stern monsignor who detests the fact that Paul is an atheist. Rounding out the cast is Hooper as the priest at odds with his faith. He is one of the first to fall under Dracula’s spell and he certainly is a sympathetic character. He can also seriously creep us out as he utters only snippets of dialogue and refuses to look anyone in the face.

The whole conflicted faith aspect of Dracula Has Risen from the Grave is certainly an interesting touch to a Dracula film. It seems fitting but sometimes it seems slightly neglected as a plot point. However slack this plot point may be, Francis guides it smoothly into one hell of a finish that features a gothic image that has to be the king daddy of nightmarish visions. It’s epic, gruesome, terrifying, and strangely beautiful all at once as it rests against an overcast sky. There are a few moments where Dracula Has Risen from the Grave can be a bit cheesy, especially when a sped up Dracula zooms along in his carriage (I’ll wait while you chuckle). As the Dracula films began to slowly fall apart, Dracula Has Risen from the Grave is a commanding Hammer vampire film that doesn’t hesitate to entertain us and then get right in our face so that we can smell the blood on its breath. And we can’t leave out Hammer’s famous gothic atmosphere, which is once running rampant right through the action. It certainly has a number of small flaws and one weird moment in the middle but Dracula Has Risen from the Grave is still a vampire film you will want to scare the living daylights out of you again and again. You may even crack a smile at a few points.

Grade: B+

Dracula Has Risen From the Grave is available on DVD.