Forget the previous films - again. This time the Baron is not the villain, only a chilled cat in the mood for some soul.
In Frankenstein Created Woman, once again the idea of Hammer's Frankenstein films forming a
coherent series is challenged. Cushing's Baron is an altogether less malevolent
and ruthless figure here, apparently more concerned with the consequences of
his experimentation. Not only that, but he seems to have gone a bit 'emo', now fixated
upon metaphysics and the human soul rather then the charnal house raw material
of his usual stock and trade.
And full marks to Hammer for trying something new. The Frankenstein series may be far less
consistent in over-arching narrative their Dracula sequence, but turn this to
their advantage by telling a greater variety and style of stories.
The Baron also appears to have lost the use of his hands,
which remain gloved throughout the whole film (and even while carrying Susan
Denberg around in those iconic but mendacious publicity shots). Frustratingly, a single line of dialogue
could have explained this sudden disability, and the climax of the next film
certainly does, but it's a major plot point simply left hanging.
The justification for it is clear enough, however:
Frankenstein wouldn't need to rely on Thorley Walter's bumbling Dr Hertz if he
was physically whole, and he certainly wouldn't need someone else's Hans.
The real surprise is the way that the production treats Polish-born
Susan Denberg. Despite those bandage-bikini promotional images, Hammer had yet to
hit it's early 70s exploitation period, and they actually give the August 1966 Playmate a challenging acting role - a dual role, no less. Not only that, but
the supposed physical unattractiveness of her initial character is also
intrinsic to the plot of the film - refreshingly unpredictable writing for a
beautiful up-and-coming actress. As the disfigured Christina, Denberg is an
extremely sympathetic figure and her relationship with Hans is touching but ultimately
tragic.
The vile intercession of three proto-Clockwork Orange privileged thugs (one
of them played by a young Derek Fowlds prior to Basil Brush) begins a series of
events leading to the deaths of the two innocent lovers. It also provides the
Baron with a fresh female cadaver, and access to the guillotined Han's soul.
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| Hans regards the three sadistic Toffs warily. Basil Brush's friend Mr Derek is on the far left. |
The Baron takes care of the tricky soul transmigration
business, while Hertz is able to surgically cure Christina of her previous physical
ailments (which quite naturally has the side-effect of turning the previously
dark-haired girl blonde.)
The result is a revived and child-like woman who
unfortunately shares her perfect body with the vengeful soul of her unjustly-executed
boyfriend.
Seduction and gruesome murder soon follow ...
So, there is far more to this story than the simple
'Frankenstein creates a female monster' direction which the publicity
encouraged us to expect. Of all the films in this series, this one sidelines
the Baron the most, the major villains being the trio who earn Christina/Han's
bloody revenge, but Cushing does get a brilliant entrance and then proceeds to
enliven and enrich any scene he appears in, as usual.
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| The Baron finds himself having to depend upon Thorley Walter's Dr Hertz. |
Famously, Martin Scorsese picked
Frankenstein Created Woman as part of a 1987 National Film Theatre season of
his favourite films, saying:
"I like all Hammer films. If I singled this
one out, it's not because I like it the best - it's a sadistic film, very
difficult to watch - but because, here, they actually isolate the soul: a
bright blue shining translucent ball. The implied metaphysics are close to
something sublime".
Quentin Tarantino is obviously also a fan, owning one of the
only 16mm prints of Frankenstein Created Woman.
This was to be not only Susan Denberg's only role for
Hammer, but her last film. A victim of
early show business success and late sixties drug culture, she suffered a major
breakdown and was hospitalised shortly before she was to star in the film which
made replacement Marianne Faithful famous: Girl on a Motorcycle.
Avoiding attention and publicity to this day, Susan Denberg's
iconic association with this film has never-the-less given her lasting fame in
the Hammer house of horror.
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| Susan Denberg with her co-star in happier times. |
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