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| Frankenstein Created Woman | 
 enlarge | Director: Terence Fisher
Actors: Peter Cushing, Susan Denberg, Thorley Walters, Robert Morris, Duncan Lamont
Studio: Starz / Anchor Bay
Category: DVD
Buy New: $66.50
New (1) Used (4) from $20.25
Avg. Customer Rating:  22 reviews
Sales Rank: 76895
Format: Anamorphic, Color, Dvd-video, Widescreen, Ntsc
Language: English (Original Language)
Rating: Unrated
Number Of Items: 1
Running Time: 92
Aspect Ratio: 1.66:1
Picture Format: Anamorphic Widescreen
Shipping Weight (lbs): 0.2
Dimensions (in): 7.1 x 5.4 x 0.6
ISBN: 630584190X
UPC: 013131119091
EAN: 9786305841906
ASIN: 630584190X
Theatrical Release Date: March 15, 1967
Release Date: July 25, 2000
Availability: Usually ships in 1-2 business days
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| Customer Reviews: Read 17 more reviews...
 Much better than expected! October 21, 2008
I honestly wasn't expecting much from a movie with a silly title but, this is my favorite Hammer Frankenstein film. It never drags, has a unique plot, and made me laugh during one scene where the three young jerks sing an incredibly rude song beneath the bedroom window of the scarred girl. Peter Cushing gives a fine performance as always. If you collect Hammer films, don't even consider passing on this one.
Gothic horror at its finest October 12, 2008
Hammer Studios did 7 Frankenstein films from the late 50s to early 70s:
The Curse of Frankenstein (1957)
The Revenge of Frankenstein (1958)
The Evil of Frankenstein (1964)
Frankenstein Created Woman (1967)
Frankenstein Must Be Destroyed (1969)
The Horror of Frankenstein (1970)
Frankenstein and the Monster from Hell (1973)
Peter Cushing played Baron Frankenstein in every one of these except "The Horror of Frankenstein." The reason is because "Horror" was a remake of the original story and they needed a much younger actor to play the role; in this case they chose Ralph Bates (who superbly played the love-to-hate OTT satanist in "Taste the Blood of Dracula" released the same year).
Until relatively recently I hadn't seen any of the films in this series with the exception of a few clips of the first one while channel surfing. This initial segment never intrigued me mainly because I'm bored with the basic Frankenstein plot and feel Christopher Lee makes a weak Frankenstein monster (sorry for my blasphemy). What got me interested in the series was "Frankenstein Must Be Destroyed," which is a creative and well-done piece of gothic horror. Yesterday I viewed "Frankenstein Created Woman" on dvd and was similarly impressed.
One thing that perked my interest in this film was the appearance of Susan Denberg as the titular "woman;" she appeared in the 1966 Star Trek episode "Mudd's Women" as the blond bombshell and was also a playmate-of-the-month that same year (not that I keep up on such things).
THE STORY: Susan plays a disfigured working class young woman, Christina, who is harrassed by the locals. Hans, a local peasant, who's father was guillotined for murder when he was a boy, truly loves Christina despite her outward marring. Unfortunately Hans is falsely accused of murder and put to death; when Christina finds out she commits suicide. Baron Frankenstein gets his hands on both bodies and is able to resurrect Christina by infusing Hans' soul (his immaterial being) with Christina's soul & body; hence, he "creates woman." In the resurrection process the Baron is able to remove the girl's disfigurement through his skills. Things go awry when Hans' soul compels Christina to enact revenge on the three pompous aristocrats who falsely accused him.
I'll be honest with you, with a title like "Frankenstein Created Woman" I wasn't expecting much. I was expecting some unwanted goofiness but, no, this is a serious and moving piece of gothic horror. What a pleasant surprise.
The story hooks the viewer right away with the dilemma of both Christina and Hans. Anyone who's ever been teased for one reason or another when they were young will no doubt be able to relate to Christina. The only one who sees her true beauty and worth is the orphaned peasant, who is ostrasized because his father was guillotined for murder. By contrast the high-class mockers are brutal towards her. There's something about being poor in spirit that naturally creates true character and beauty; such is the case with both Christina and Hans. This is perhaps why Jesus said, "Blessed are the poor in spirit" in the Beattitudes. Humility is beautiful; arrogance is hideous.
Another potent piece is the entire sequence culminating in Hans being falsely accused and put to death. It effectively shows how easily someone can appear to be guilty even though the charges are false.
The film drives home the point that those who commit injustice and evil will reap what they sow sooner or later. The villains are good in a love-to-hate sense and the viewer can't help but rejoice when they get their comeuppance.
Of course Peter Cushing is excellent as Frankenstein. The story emphasizes his brillance and skill, which so exceeds that of his contempories that he's accused of witchcraft.
Some complain about the ending but actually it's a quite fitting way to end the storyline if you reflect on it.
The story's runtime is perfect at an hour and a half -- not too long and not too short.
FINAL ANALYSIS: I don't know about the other five films in the Hammer Frankenstein series, but both "Frankenstein Must Be Destroyed" and "Frankenstein Created Woman" are excellent pieces of gothic horror -- intelligent, creative, potent, moving.
PERSONAl GRADE: A-
 An entertaining entry in the Hammer Frankenstein canon March 28, 2008
Frankenstein Created Woman is one of the better of Hammer's Frankenstein sequels, an efficient programmer that sees Peter Cushing's Baron trapping the soul of his guillotined assistant and putting it in the body of his disfigured girlfriend, only for the wronged boy to use her to kill those who really done the crime he was executed for. There's more build-up than payoff, but its very sedateness (indeed, almost cosiness) is part of the pleasure, and it's hard not to warm to the Baron's arrogance and aloofness, whether it be reading in the witness box or casually answering a policeman's "Do you take us for fools?" with a simple "Yes." Still, it is remarkable just how well preserved that severed head is after six months...
The extras package is okay but not outstanding: trailer and TV spots (for its double-bill release with The Mummy's Shroud - "Beware the beat of the cloth-wrapped feet!") and an episode of the World of Hamer clip show.
 Classic horror December 26, 2007
Peter Cushing effortlessly dominates this very good Hammer film, which would prove to be the best of their late Frankenstein movies. What makes this film a cut above the average Hammer film is the fine script by Anthony Hinds, which gives the film the feel of a classic Victorian horror story. You could believe this was based on a book by Mary Shelley or Bram Stoker.
Cushing portrays Baron Frankenstein as a driven man, intent at all costs to prove that the soul lives on after death, and that the soul can be returned to the body if the body is brought back to life... You can see where this is going. Cushing plays the role with his usual authority and even has the opportunity to show the Barons superiority in a court room, which is a lovely scene. Even if you don't spot him in the credits you can't miss Derek Fowlds (Bernard in Yes Minister) as one of the three upper-class louts.
As a general rule of thumb Hammer films directed by Terence Fisher tend to be the better ones. Guess who this is directed by - yes Terence Fisher. Keeping my feet firmly on the ground I realise this film isn't up there with 'Citizen Kane' or 'The Godfather'. However, Martin Scorcese did pick this film to be shown in a season of his favourites at the NFT in London 1987 and is quoted as saying "If I single this one out it's because here they actually isolate the soul. The implied metaphysics are close to something sublime".
So this isn't Fellini, or even Scorcese, but its much better than the title might suggest and well worth adding to your collection.
 Just plain stupidity... July 7, 2005
0 out of 4 found this review helpful
The Baron relocates the soul of a wrongly accused executed boyfriend into the "freshly dead" body of his physically scarred girlfriend (with a surgical beauty makeover of course). It makes you wonder why the Baron spent so much time making ugly monsters when he had such superior talent as a maxilo-facial plastic surgeon! Imagine the number of Hammer bit players who could have had longer careers had they just turned their faces over to Doctor Frank! And then you got to ask the question if the Baron could transfer souls, why did he spend all that time and all those years and all those movies sewing up corpses and reanimating them with electricity? I guess he just used the other "inferior" method to set the eerie mood we should expect from a good "horror" film (not to mention Shelly's original novel). This film is neither eerie nor scary, it's just plain stupid.
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