I love Hammer movies. However, I came to them late in life and completely by chance. Coincidentally, I watched a movie starring Christopher Lee and/or Peter Cushing two or three days in a row. So, I decided to see how far I could continue, and before I knew it, I had become a Hummer fan.
The names Cushing and Lee are synonymous with the Hammer Gothic horror phenomenon, but so is the name Terence Fisher. Fisher directed many Hammer films, creating a look that belied the studio’s frugal finances, although his style emphasized economy over style. The first one was in 1957. frankenstein’s cursewas the first leading role in a film for the young Cushing, who had recently become famous for his role in the BBC’s adaptation of George Orwell’s novel. 1984 Adapted by Nigel Kneale.
It was adapted into a film by Jimmy Sangster, who later adapted and wrote many screenplays, including the Hammer sequel. dracula’s fear, frankenstein’s curse The interaction with Mary Shelley’s original story is noteworthy. This is mainly because, after hearing they were making the film, Universal warned Hammer that if there were any similarities between the films, they would sue and be forgotten.
Rather than seeing this as an obstacle, Sangster and Hammer Studios saw it as an opportunity to really enjoy the story. Gone is the grumpy Victor, who lives with regret for his creation. In his place is a spoiled child prodigy, played to stunning perfection by Melvin Hayes, who grows into the spoiled, almost sociopathic Cushing.
Cushing’s Baron Frankenstein is a cad, a murderer, and a madman. Sangster abandons the Victor-as-a-monster trope and simply makes him a monster, and it’s a cinematic joy to watch Cushing sink his teeth into the role. Cushing cuts a brave character as he plots, plots, and plots against his friends and loved ones.
frankenstein’s curse The story begins with Victor in prison for murdering three people. The story is told in flashbacks where he tells his harrowing story to a priest in hopes that someone will believe him. The genius of Sangster’s script is that even as Victor recounts the events, it never occurs to him that he is guilty of at least two murders. . Even though he tries to portray himself as a hero, he is too deluded to see that he is the real villain.
Cushing is one of the great actors of his time. An observant Letterboxd reviewer pointed out that Cushing plays the same role each time, but does it five times differently. Hyperbole has the advantage of being true. Cushing played every role with the same vigor and dedication to the bit. It always feels like Cushing, but it’s never the same Cushing.
Like many Hammer movies, curse of frankenstein It was made on a limited budget. But directors like Fisher, set designer Bernard Robinson, and cinematographer Jack Asher worked their cinematic magic to turn their weaknesses into strengths. Fisher and Usher accomplish a remarkable feat with so little that watching an old Hammer film is almost like taking a film school course.
Robinson’s set is extremely cramped with knick-knacks and furniture, skillfully faithfully recreating how small the rooms must have been at the time. However, if you look closely, you’ll notice how the actors move instead of being stationary because the set is so small. Robinso cleverly uses palace staircases and doorways to create the illusion of enormous proportions, which ultimately lead nowhere, or simply open onto another set.
the best jewel of frankenstein’s curseIn addition to Cushing’s energetic and fun sleazy performance, the film is a laboratory for Victor and his childhood tutor/friend Paul (Robert Urquhart). This laboratory setting is one of the best ever to appear in a movie, with test tubes filled with colorful liquids, beakers filled with strange smoke, and Victor and Paul as they perform terrifying tasks. There are other strange electrical devices installed that make buzzing noises and create sparks that can be dangerous. Science.
Paul is the moral center of the film and is known as a wet blanket. Urquhart is a killjoy, always trying to speak reason, and covets Victor’s fiancée and cousin Elizabeth (Hazel Court). To Court’s credit, she plays Elizabeth, who is at best ambivalent about both men. Her love for Victor is non-committal, and Paul seems to have a kinship with her.
Like all great Gothic stories, there are elements of the strange running through it. frankenstein’s curseVictor and Paul’s friendship. Despite being engaged to Elizabeth (Hazel Court), Victor is still having an affair with his maid, Justine (Valie Gaunt). Still, both women seem to exist as Victor’s beard, as they are the only ones Paul has ever sought out.
Paul is the only person whose opinion he wants to hear and the only person whose approval he sincerely seeks. The women in Victor’s life are just tools, people used to conquer his status or use him as a symbol. At times, Cushing even appears to possess Paul, especially when Paul is horrified by Victor’s actions.
The two men often share a gaze of secret understanding that is meant to be read as intellectual, but not as homosexual. In Sangster’s script, Paul says, “We can’t continue this experiment. We’re not here anyway. She might find out.”
In just 83 minutes, frankenstein’s curse A textbook sketchbook film is a type of film with a simple story supported by pure craftsmanship. Fischer is a director whose style isn’t often praised, but his and Usher’s work displays a keen economic eye. The camerawork may not be flashy, but it’s still effective and often evocative.
Fisher and Asher believe that the value of looking at leaves swaying in the cold autumn wind, the effect of a brooch perfectly placed between swaying breasts, and Cushing’s wild eyes at his work, are more than any special piece. I understand that it can also be persuasive. effect.
Speaking of this creature, he is played by Christopher Lee. The following year, he would star in Hammer’s version of Dracula. Dracul’s TerrorAlNext to him is Cushing, who plays the acrobatic Van Helsing. Make-up artist Philip Leakey was forced to improvise after attempts to cast a mold of Lee’s face failed. The result is the general, gory look of melted, burnt meat. Still, it works. Leakey’s work, like most of Hammer’s films, may not be groundbreaking, but it is effective.
As a creature, Lee has little to do, with make-up interfering with his ability to use his infamous face. However, through his body, he is able to convey a tragic figure, a wounded child-like creature confused and frightened by the new existence.
frankenstein’s curse It ends with Victor being led to the gallows. Fisher’s writhing cry of his innocence becomes a recurring theme throughout the Hammer films: the rich and powerful are morally bankrupt. I don’t think Cushing is spoiled enough to come out with four more. frankenstein movie. And anyone who goes to a Hammer movie for the story will be sorely disappointed. For everyone else too, frankenstein’s curse Breathe new life into classic stories.
Image courtesy of Warner Bros.
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