This is easily my favorite Frankenstein film, and one of my favorite Hammer films. The acting, lead by Peter Cushing, can't be any better; Simon Ward, Maxine Audley, and Freddie Jones deserve special comment in this regard. (There is little point in praising Cushing as Frankenstein; he plays it with such depth and understanding that the role is his and always will be! I can't use any superlatives here that haven't already been used for Cushing's Baron.) And for once, a Frankenstein movie really gets to the key point Mary Shelley is making - by leaving the monster out entirely! Terence Fisher's direction doesn't miss a cue; with the conventionalization of the monster gone, Fisher can take the movie in new, unexpected directions, and does so with the steady hand of a master director. An unqualified success for all involved!
87 Reviews
One of the best of the Hammer Frankenstein films
TheLittleSongbird21 January 2015
For me the only two that are superior are Curse of Frankenstein and Revenge of Frankenstein(with the weakest being The Evil of Frankenstein). Frankenstein Must Be Destroyed is Peter Cushing's penultimate outing as Frankenstein and it's a very strong one.
I do have to agree with those saying that the rape scene wasn't all that necessary- it is clear that Frankenstein is depraved but the film did go a bit too far adding that in- and did seem in bad taste. The climax is very exciting and suspenseful but ends a little too hastily, and parts of the second half are a little padded. Frankenstein Must Be Destroyed as with most Hammer horrors is visually accomplished, love the sumptuous Gothic quality of the costume and set design, it's a very colourful film to look at and the film is photographed beautifully and atmospherically. Frankenstein Must Be Destroyed is hauntingly scored, with the music really complimenting the atmosphere well and even enhances it while also not over-powering.
The script is witty, nuanced and tense with no signs of irrelevant froth or juvenile misplaced humour, while the story has never a dull moment(even with the odd bit of padding in the second half and is always compelling, giving off a really suspenseful, creepy and occasionally violent atmosphere. Two scenes really stood out, the buried body bursting out of the earth is unsettlingly scary and there is a scene between Freddie Jones's character and his wife that genuinely brought tears to the eye. Terence Fisher's direction is taut and unflinching. The acting is very fine all round, with top honours going to a chillingly incisive Peter Cushing as a more evil Frankenstein this time round, an alluring and heartfelt Veronica Carlson(the gowns she wears here suited her) and especially a hauntingly powerful Freddie Jones. All in all, a very strong penultimate Hammer Frankenstein outing for Cushing and the third best of the series after Curse and Revenge. 8/10 Bethany Cox
I do have to agree with those saying that the rape scene wasn't all that necessary- it is clear that Frankenstein is depraved but the film did go a bit too far adding that in- and did seem in bad taste. The climax is very exciting and suspenseful but ends a little too hastily, and parts of the second half are a little padded. Frankenstein Must Be Destroyed as with most Hammer horrors is visually accomplished, love the sumptuous Gothic quality of the costume and set design, it's a very colourful film to look at and the film is photographed beautifully and atmospherically. Frankenstein Must Be Destroyed is hauntingly scored, with the music really complimenting the atmosphere well and even enhances it while also not over-powering.
The script is witty, nuanced and tense with no signs of irrelevant froth or juvenile misplaced humour, while the story has never a dull moment(even with the odd bit of padding in the second half and is always compelling, giving off a really suspenseful, creepy and occasionally violent atmosphere. Two scenes really stood out, the buried body bursting out of the earth is unsettlingly scary and there is a scene between Freddie Jones's character and his wife that genuinely brought tears to the eye. Terence Fisher's direction is taut and unflinching. The acting is very fine all round, with top honours going to a chillingly incisive Peter Cushing as a more evil Frankenstein this time round, an alluring and heartfelt Veronica Carlson(the gowns she wears here suited her) and especially a hauntingly powerful Freddie Jones. All in all, a very strong penultimate Hammer Frankenstein outing for Cushing and the third best of the series after Curse and Revenge. 8/10 Bethany Cox
Frankenstein must be worshiped!!
Coventry19 October 2004
Hooray! Here's another entry in the highly amusing Hammer Frankenstein franchise. Don't ever ask me to pick a 'best' or even favorite in this series because I instantly love every episode I can get my dirty little hands on :) And this fifth chapter is a true highlight as it has our Baron Frankenstein more and more evolving into a ruthless, cold villain. He blackmails a young couple; forcing them to assist him with his diabolical experiments (only he sees it as simple scientific evolution). Along with his new accomplices, Baron F. kidnaps a fellow mad scientist out of the asylum because he knows the skills to perform a flawless brain transplant. Unfortunately, Frankenstein's mad raving colleague has been drugged so much he now is a complete vegetable. Ingenious as he is, evil Victor transplants a few brains and commits a few murders to finally have the things the way he wants.
After 4 prequels, numberless others adaptations and several novels, Hammer Productions (and class-A director Terence Fisher in particular) still manages to present the Frankenstein films as original and innovative horror adventures. It's remarkable how Cushing and Fisher completely shifted the initial horror from Frankenstein's monster to Baron Frankenstein himself! In this film, the creature is a pathetic 'victim' while it's Cushing who's the criminal mastermind. Needless to say that Cushing is absolutely powerful in his loyal role of the Baron. He's actually so good in preaching his medical ambitions that you often sympathize with him, even though you witness with your own eyes he's bad to the bone! Cushing receives excellent feedback from the young actor Simon Ward and the exquisite Veronica Carlson. 'Frankenstein must be Destroyed' is an intriguing horror film for some other reason as well. Fisher inserts a healthy dose of Romanticism in this episode plus it's also one of the first Hammer films that feature the sexual content and undertones they'll use more and more in their 70's films. Hammer's popularity tempered a bit during the late 60's/ early 70's and they tried to make up for this by showing more ravishing meat (Carlson's cleavage) and sexual insinuations. In short, Frankenstein must be destroyed is essential horror viewing! It has loads of tension and exciting sequences, the film is professionally made, well-acted and it features a fair amount of bloodshed.
After 4 prequels, numberless others adaptations and several novels, Hammer Productions (and class-A director Terence Fisher in particular) still manages to present the Frankenstein films as original and innovative horror adventures. It's remarkable how Cushing and Fisher completely shifted the initial horror from Frankenstein's monster to Baron Frankenstein himself! In this film, the creature is a pathetic 'victim' while it's Cushing who's the criminal mastermind. Needless to say that Cushing is absolutely powerful in his loyal role of the Baron. He's actually so good in preaching his medical ambitions that you often sympathize with him, even though you witness with your own eyes he's bad to the bone! Cushing receives excellent feedback from the young actor Simon Ward and the exquisite Veronica Carlson. 'Frankenstein must be Destroyed' is an intriguing horror film for some other reason as well. Fisher inserts a healthy dose of Romanticism in this episode plus it's also one of the first Hammer films that feature the sexual content and undertones they'll use more and more in their 70's films. Hammer's popularity tempered a bit during the late 60's/ early 70's and they tried to make up for this by showing more ravishing meat (Carlson's cleavage) and sexual insinuations. In short, Frankenstein must be destroyed is essential horror viewing! It has loads of tension and exciting sequences, the film is professionally made, well-acted and it features a fair amount of bloodshed.
"Hammer's fifth Frankenstein presents the Baron as a totally irredeemable character."
jamesraeburn200331 March 2004
In order to continue his experiments, the Baron blackmails a young couple into helping him abduct Dr Brandt (a brilliant brain surgeon gone mad) from the lunatic asylum so that he can operate on him, cure his sanity and transplant the brain into another body. This he does by kidnapping and murdering Professor Richter and using the body to house Brandt's brain. This he does because he wants to learn Brandt's knowledge of brain transplants. However, when Brandt wakes up he escapes and plots revenge against Frankenstein.
The fifth Hammer Frankenstein presents the Baron as a totally irredeemable character, a cold calculating psychopath who will stop at nothing to get what he wants, even if it means destroying the young couple in the process. Cushing plays with his usual conviction and is aided by a reliable supporting cast including Simon Ward (in his first film appearance), Veronica Carlson and Freddie Jones as the creature. The direction of Terence Fisher is accomplished as is the lighting of Arthur Grant.
The fifth Hammer Frankenstein presents the Baron as a totally irredeemable character, a cold calculating psychopath who will stop at nothing to get what he wants, even if it means destroying the young couple in the process. Cushing plays with his usual conviction and is aided by a reliable supporting cast including Simon Ward (in his first film appearance), Veronica Carlson and Freddie Jones as the creature. The direction of Terence Fisher is accomplished as is the lighting of Arthur Grant.
because in the temporary absence of his fiancée he could
christopher-underwood11 January 2007
This is one of the most vigorous of the Hammer productions and features Peter Cushing being uncharacteristically nasty. Even though some of his transplant theories have a certain logic he remains mean and unpleasant throughout with the (again uncharacteristic) rape scene adding icing to the already surprisingly (and ironically) nihilist cake. All the rest of Cushing's violence is aimed at 'getting the job done' but the rape, preceded by it's sexy build is a seeming sideswipe justified simply because in the temporary absence of his fiancée he could. Well dressed, surprisingly well paced and eventful. Not your ponderous Hammer production at all, rather as if its some impostor. Well worth catching.
Did Cushing just *do* that?!
The_Secretive_Bus16 March 2005
Warning: Spoilers
This film can't really be talked about without spoilers regarding a certain infamous scene that happens about 45 minutes into the running time. However, this review contains no spoilers regarding the plot itself.
The 5th in Hammer's run of Frankenstein films starring Cushing, "Frankenstein Must be Destroyed" takes a few liberties with its central character, turning him from a vaguely amoral yet still likable enough dandy-doctor (sort of like Jon Pertwee without the gurning) into a complete bastard who it'd be impossible to like at all. And yet it still works.
Peter Cushing is the reason to watch this film. To be honest, the plot itself isn't one of the best of the series, for the most part seemingly rehashing the basic premise of the superior "Revenge of Frankenstein", with Frankenstein back to conventional brain swapping, working with a foppish aide in various cellars, and a "monster" with an identity crisis. There are several plot strands working at once and not all of them really work (a duo of police inspectors investigate proceedings for the first hour or so, decide to go and find the Baron, and then are seemingly forgotten, never appearing again), and the monster stuff seems to have been chucked in as an afterthought.
However, the development of the actual core character is far more interesting, and one doesn't really mind the plot taking a back seat. One thing that becomes increasingly clear when watching these Hammer Frankenstein films is that they do actually have clear progression for the character of Frankenstein himself, which surprised me quite a bit. From being a young, cold scientist, through to a slightly nicer, though still rather unethical, sort, and finally settling down to become nicer still, by the time of this film he's completely gone and lost his humanity. The real monster of this film is Frankenstein himself, colder, more cunning, more manipulative and nastier than ever before. He no longer smiles, he sneers. He seems to hate everybody, using people as puppets for as long as they are useful to him - compare his relationship with his assistant here to that he shared with Thorley Walters in "Created Woman". Though he's killed before, never has it seemed as off-hand and easy for him as it does here, with several stabbings and decapitations being put down to his handiwork. And then of course there's the infamous rape scene.
In the sort of scene which I would never have expected Peter Cushing to be a part of, Frankenstein spies on Anna, the girlfriend (if I remember rightly) of his unwilling assistant Karl, as she stands in her bedroom in her nightie, and then continues to walk in, lock the door, and, yes, rape her. Though the camera cuts away before the actual act itself, there's enough physical contact and such to know what the end result would have been. It's the most harrowing scene Cushing's ever had to perform, and the long stretch of time he spends just staring at Anna cranks up the tension more than any other Hammer horror has ever managed to do. Incidentally, this scene was added to the film as a complete afterthought when shooting had almost finished, as it was considered by the distributors that the film as it was didn't have enough sex in it. Quite why a rape scene was judged as an acceptable addition I don't know (rather than, say, a random spot of nudity or an appearance by a randy courting couple), but the inclusion of it, though making for uncomfortable viewing, really does advance the character of Frankenstein himself and shows how depraved he has become, and how much emotion he now lacks. Peter Cushing and Veronica Carlson understandably didn't want to do it at all. If I may nick a quote from Veronica Carlson in "The Peter Cushing Companion" -
"Peter didn't want to do it. He took me to dinner one evening to discuss it but it didn't make the scene any easier. I couldn't refuse to do it. Terence Fisher (the director) was very understanding but it was totally humiliating. Every alternative was more vulgar than the last... Terry just said 'Cut, that's it,' and turned away. Peter and I just stayed there and held on to each other."
This does explain why, after this scene, Anna doesn't seem to act any differently around Frankenstein compared to before the rape, as most subsequent scenes were filmed earlier on. I suppose the validity of the scene's inclusion depends upon each individual viewer. Ironically, the scene was cut from American prints.
Though the film is incredibly dark, there is some vague delight to be had at actor spotting. For your Doctor Who fans there's George Pravda (who appeared in three stories, best remembered as Spandrell in "The Deadly Assassin") and the chap who played Dr. Warlock from "Pyramids of Mars". Then there's also Windsor "It Ain't Half Hot Mum" Davies as a policeman, and Thorley Walters as the chief inspector with Geoffrey Bayldon as his wonderfully cynical aide. The latter partnership provides the only comedy to be had in the whole feature, and it's a shame that they have no bearing on the story at all.
There's not much more I can say about this film, really. It's a very good story, and I've left most of it for you to discover. Beware however that it's not a rosy-cheeked bit of "so bad it's good" fun, and may actually disturb and even frighten you to some extent. It should definitely be near the top of any Peter Cushing fans' list of films to see.
The 5th in Hammer's run of Frankenstein films starring Cushing, "Frankenstein Must be Destroyed" takes a few liberties with its central character, turning him from a vaguely amoral yet still likable enough dandy-doctor (sort of like Jon Pertwee without the gurning) into a complete bastard who it'd be impossible to like at all. And yet it still works.
Peter Cushing is the reason to watch this film. To be honest, the plot itself isn't one of the best of the series, for the most part seemingly rehashing the basic premise of the superior "Revenge of Frankenstein", with Frankenstein back to conventional brain swapping, working with a foppish aide in various cellars, and a "monster" with an identity crisis. There are several plot strands working at once and not all of them really work (a duo of police inspectors investigate proceedings for the first hour or so, decide to go and find the Baron, and then are seemingly forgotten, never appearing again), and the monster stuff seems to have been chucked in as an afterthought.
However, the development of the actual core character is far more interesting, and one doesn't really mind the plot taking a back seat. One thing that becomes increasingly clear when watching these Hammer Frankenstein films is that they do actually have clear progression for the character of Frankenstein himself, which surprised me quite a bit. From being a young, cold scientist, through to a slightly nicer, though still rather unethical, sort, and finally settling down to become nicer still, by the time of this film he's completely gone and lost his humanity. The real monster of this film is Frankenstein himself, colder, more cunning, more manipulative and nastier than ever before. He no longer smiles, he sneers. He seems to hate everybody, using people as puppets for as long as they are useful to him - compare his relationship with his assistant here to that he shared with Thorley Walters in "Created Woman". Though he's killed before, never has it seemed as off-hand and easy for him as it does here, with several stabbings and decapitations being put down to his handiwork. And then of course there's the infamous rape scene.
In the sort of scene which I would never have expected Peter Cushing to be a part of, Frankenstein spies on Anna, the girlfriend (if I remember rightly) of his unwilling assistant Karl, as she stands in her bedroom in her nightie, and then continues to walk in, lock the door, and, yes, rape her. Though the camera cuts away before the actual act itself, there's enough physical contact and such to know what the end result would have been. It's the most harrowing scene Cushing's ever had to perform, and the long stretch of time he spends just staring at Anna cranks up the tension more than any other Hammer horror has ever managed to do. Incidentally, this scene was added to the film as a complete afterthought when shooting had almost finished, as it was considered by the distributors that the film as it was didn't have enough sex in it. Quite why a rape scene was judged as an acceptable addition I don't know (rather than, say, a random spot of nudity or an appearance by a randy courting couple), but the inclusion of it, though making for uncomfortable viewing, really does advance the character of Frankenstein himself and shows how depraved he has become, and how much emotion he now lacks. Peter Cushing and Veronica Carlson understandably didn't want to do it at all. If I may nick a quote from Veronica Carlson in "The Peter Cushing Companion" -
"Peter didn't want to do it. He took me to dinner one evening to discuss it but it didn't make the scene any easier. I couldn't refuse to do it. Terence Fisher (the director) was very understanding but it was totally humiliating. Every alternative was more vulgar than the last... Terry just said 'Cut, that's it,' and turned away. Peter and I just stayed there and held on to each other."
This does explain why, after this scene, Anna doesn't seem to act any differently around Frankenstein compared to before the rape, as most subsequent scenes were filmed earlier on. I suppose the validity of the scene's inclusion depends upon each individual viewer. Ironically, the scene was cut from American prints.
Though the film is incredibly dark, there is some vague delight to be had at actor spotting. For your Doctor Who fans there's George Pravda (who appeared in three stories, best remembered as Spandrell in "The Deadly Assassin") and the chap who played Dr. Warlock from "Pyramids of Mars". Then there's also Windsor "It Ain't Half Hot Mum" Davies as a policeman, and Thorley Walters as the chief inspector with Geoffrey Bayldon as his wonderfully cynical aide. The latter partnership provides the only comedy to be had in the whole feature, and it's a shame that they have no bearing on the story at all.
There's not much more I can say about this film, really. It's a very good story, and I've left most of it for you to discover. Beware however that it's not a rosy-cheeked bit of "so bad it's good" fun, and may actually disturb and even frighten you to some extent. It should definitely be near the top of any Peter Cushing fans' list of films to see.
The second best Hammer Frankenstein film
preppy-322 October 2012
Dr. Frankenstein is at it again. With the unwilling assistance of a young doctor (Simon Ward) and his beautiful fiancée (Veronica Carlson) he attempts to transfer the brain of a man into another's body. Naturally everything goes wrong.
"Frankenstein Created Women" has my vote for the best Hammer Frankenstein but this runs a close second. It has an interesting plot, moves pretty quick, has one of Hammer's most beautiful actresses ever (Carlson) and has a few nice gruesome scenes (but all within a PG-13 rating). There's an especially horrifying sequence involving Carlson and a broken water main. Cushing gives another great performance as the doctor. This is the one when he gets REAL mean and he's the monster not his creation. Ward is given nothing to do and neither is Carlson who gets attacked by Cushing in a particularly sick scene that Cushing didn't want to do. The only real faults here are it's a little too long and I hate how Carlson's character was treated. That aside this is one of the best Frankenstein. Worth catching.
"Frankenstein Created Women" has my vote for the best Hammer Frankenstein but this runs a close second. It has an interesting plot, moves pretty quick, has one of Hammer's most beautiful actresses ever (Carlson) and has a few nice gruesome scenes (but all within a PG-13 rating). There's an especially horrifying sequence involving Carlson and a broken water main. Cushing gives another great performance as the doctor. This is the one when he gets REAL mean and he's the monster not his creation. Ward is given nothing to do and neither is Carlson who gets attacked by Cushing in a particularly sick scene that Cushing didn't want to do. The only real faults here are it's a little too long and I hate how Carlson's character was treated. That aside this is one of the best Frankenstein. Worth catching.
Frankenstein Must Be Destroyed
Scarecrow-8816 June 2007
Warning: Spoilers
Baron Victor Frankenstein(Cushing never more sadistic or cruel as the Baron;he's completely evil)forces an asylum Doctor, Karl Holst(Simon Ward)assist him in his efforts to secure a certain formula from the insane mind of a patient, Frederick Brandt(George Pravda), once a great doctor driven crazy essentially from his own experiments with brain transplantation. Baron had eavesdropped on Karl's conversation with his lover Anna(the beautiful Veronica Carlson)about robbing his asylum of certain medical items and uses this corrupt info for black-mailing purposes. In other words, Baron has Karl caught between a rock and a hard place for the asylum doctor just was helping Anna's sick mother due to their lack of monetary funds in retrieving medicine. Baron first has Karl steal various equipment so that he can re-start a lab in Anna's hotel cellar while also planning to kidnap Brandt from the asylum. The kidnapping goes awry when Brandt reacts violently trying to escape Baron and Karl's clutches as another mental patient, who sees hallucinatory spiders crawling on her skin, roars with terror which can be heard very well. During their struggle to regain Brandt, he has a heart-attack leaving the body severely damaged and dying. So Baron decides to kidnap Professor Richter(Freddie Jones), a renowned medical mind who often sought after for advice regarding the mentally handicapped, and transplant Brandt's brain to his body..which means Richter's imminent death. Burying the corpse of Brandt in the flower garden outside, they are successful at transplanting his brain to Richter's skull while also eliminating the insanities pressuring proper function. Things begin to unravel as Frederick's wife, Ella(Maxine Audley)will not cease to search for her husband's body, Inspector Frisch(Thorly Walters)gruffly pursues the person responsible for a series of crimes in his district by following Baron's trail to his new locale, the water main near where Frederick's body was buried busts, and the sleeping body of Richter's awakens while Baron is away.
Sadistic, cruel sequel in the Hammer franchise leaves a rather sour taste because Baron is presented as a cold-hearted bastard. Seeing Cushing's Baron viciously attack poor Anna, subsequently raping her, is quite horrifying. Not only that but just watching Baron torment Karl, constantly forcing him to do his bidding. We see Baron's twisted obsession to retrieve the secret formula at all costs. Anna's tragic fate at the hands of Baron leaves a foul feeling of distaste where you just hearken in disbelief that the man portraying him is the same person that was the heroic Van Helsing in the Dracula pictures. Freddie Jones is terrific at displaying the haunted person behind the new body..seeing Brandt in anguish at what Baron has done to him, and later confronting his wife only to be threatened by her as well, he shows so much in his limited screen time. You have the tragic helpless victim, Karl Host, portrayed by Simon Ward as weighed and burdened with guilt of what he's been a reluctant part of. The film itself is quite well made, and paced..but so harsh and vile, many might be dismayed at it.
Sadistic, cruel sequel in the Hammer franchise leaves a rather sour taste because Baron is presented as a cold-hearted bastard. Seeing Cushing's Baron viciously attack poor Anna, subsequently raping her, is quite horrifying. Not only that but just watching Baron torment Karl, constantly forcing him to do his bidding. We see Baron's twisted obsession to retrieve the secret formula at all costs. Anna's tragic fate at the hands of Baron leaves a foul feeling of distaste where you just hearken in disbelief that the man portraying him is the same person that was the heroic Van Helsing in the Dracula pictures. Freddie Jones is terrific at displaying the haunted person behind the new body..seeing Brandt in anguish at what Baron has done to him, and later confronting his wife only to be threatened by her as well, he shows so much in his limited screen time. You have the tragic helpless victim, Karl Host, portrayed by Simon Ward as weighed and burdened with guilt of what he's been a reluctant part of. The film itself is quite well made, and paced..but so harsh and vile, many might be dismayed at it.
Excellent variation on the classic story
The_Void6 September 2004
Frankenstein must be Destroyed is one of the best of the hammer horror series; and that is saying something, as the studio has produced a lot of horror highlights. Peter Cushing stars as Baron Frankenstein, the mad doctor whom everyone and their dog will recognise instantly from the classic novel. This film is an interesting variation on the classic story, and it sees Baron Frankenstein involving himself in the practice of brain transplant surgery. The film doesn't have anything to do with the classic novel; it doesn't make reference to it at any time, and it's only notable similarity to that from which it is based is the character of Baron Frankenstein. Saying that; it doesn't really matter, as this film stands on it's own from the original story.
The character of Frankenstein has been changed a lot from the one that we all know and love. The original Frankenstein was an over-ambitious scientist that got in over his head and later found redemption. The one here, however, is pure evil. He has no remorse for any of what he has done, and he treats murder only as an obstacle that is in his way. He is cold, calculating and overall; not a nice man. The story really takes off when Frankenstein blackmails Karl, a young scientist, into helping him perform the first brain transplant. The two kidnap Dr Brandt, a fellow mad-scientist who has gone insane and is being held in a mental asylum. A lot of the film's horror is drawn from the character of Frankenstein, who is expertly portrayed by Peter Cushing.
Peter Cushing is a great actor, and is more than up there on the illustrious list of horror legends. He's not as pronounced as fellow legend Vincent Price, or as malevolent as fellow legend Christopher Lee; but Peter Cushing has a niche all of his own. His persona is extremely creepy, especially in this film. He's not evil like you would imagine evil to be; he has a much more intelligent, more calculating presence; and that is far more scary than any man in a monster suit. Peter Cushing's screen presence is in his authority; he isn't a big and strong man, but he's not the sort of person that you would want to upset because you just KNOW that something bad will happen to anyone who does. The acting in Frankenstein Must be Destroyed is surprisingly good, actually; from Hammer films, you don't tend to expect great acting, but this one delivers. Simon Ward stars (almost!) opposite Peter Cushing as the young scientist blackmailed by Frankenstein. He's definitely second fiddle to the awesome Peter Cushing, but he performs admirably. Freddie Jones is the real star besides Cushing; although no Boris Karloff, his performance as the man turned into a monster is perfectly tragic. Veronica Carlson is the lady of the film, and she does just fine; and some credit must go to Thorley Walters, too; the man that plays the hazardously idiotic police inspector.
The ending of the movie is great, and draws parallels with that of the original novel, in that it's exciting, flame-ridden and everyone gets their comeuppance. Credit must go to Terrence Fisher; he has directed a number of Frankenstein (and Dracula) films, and following up on a classic novel and doing it well is no easy feat. Frankenstein Must be Destroyed is a horror highlight, and a must for fans of the genre.
The character of Frankenstein has been changed a lot from the one that we all know and love. The original Frankenstein was an over-ambitious scientist that got in over his head and later found redemption. The one here, however, is pure evil. He has no remorse for any of what he has done, and he treats murder only as an obstacle that is in his way. He is cold, calculating and overall; not a nice man. The story really takes off when Frankenstein blackmails Karl, a young scientist, into helping him perform the first brain transplant. The two kidnap Dr Brandt, a fellow mad-scientist who has gone insane and is being held in a mental asylum. A lot of the film's horror is drawn from the character of Frankenstein, who is expertly portrayed by Peter Cushing.
Peter Cushing is a great actor, and is more than up there on the illustrious list of horror legends. He's not as pronounced as fellow legend Vincent Price, or as malevolent as fellow legend Christopher Lee; but Peter Cushing has a niche all of his own. His persona is extremely creepy, especially in this film. He's not evil like you would imagine evil to be; he has a much more intelligent, more calculating presence; and that is far more scary than any man in a monster suit. Peter Cushing's screen presence is in his authority; he isn't a big and strong man, but he's not the sort of person that you would want to upset because you just KNOW that something bad will happen to anyone who does. The acting in Frankenstein Must be Destroyed is surprisingly good, actually; from Hammer films, you don't tend to expect great acting, but this one delivers. Simon Ward stars (almost!) opposite Peter Cushing as the young scientist blackmailed by Frankenstein. He's definitely second fiddle to the awesome Peter Cushing, but he performs admirably. Freddie Jones is the real star besides Cushing; although no Boris Karloff, his performance as the man turned into a monster is perfectly tragic. Veronica Carlson is the lady of the film, and she does just fine; and some credit must go to Thorley Walters, too; the man that plays the hazardously idiotic police inspector.
The ending of the movie is great, and draws parallels with that of the original novel, in that it's exciting, flame-ridden and everyone gets their comeuppance. Credit must go to Terrence Fisher; he has directed a number of Frankenstein (and Dracula) films, and following up on a classic novel and doing it well is no easy feat. Frankenstein Must be Destroyed is a horror highlight, and a must for fans of the genre.
Using The Ol' Noggin
ferbs543 April 2009
Warning: Spoilers
The fifth of an eventual seven Frankenstein pictures from Hammer Studios, 1969's "Frankenstein Must Be Destroyed" has a reputation of being one of the best of the bunch, with Peter Cushing's Baron particularly nasty this go-round. And it turns out that the rep is well deserved, too. This time, the Baron, having been driven out of his native Bohemia, blackmails a young couple (ridiculously beautiful housekeeper Veronica Carlson and her fiancé who works in a mental asylum) to assist him in his scientific experiments. In perhaps the film's most suspenseful sequence, they liberate a former associate of the Baron's from the asylum and put his living brain into the noggin of the head doctor there. This procedure is accomplished during a fun, not overly gory operating scene, although why the Baron feels the necessity to cut and paste (oops...I mean saw and stitch) at this stage of the game, after having perfected a seemingly more advanced spirit-into-body procedure in 1967's fourth installment, "Frankenstein Created Woman," is beyond me! Anyway, Terence Fisher directs his picture (his fourth of an eventual five Franky films) with a good bit of style, and the film has been given Hammer's typically fine production values. The scene in which the Baron rapes Veronica is an astonishing one, and very uncharacteristic; it was inserted as an afterthought on the insistence of Hammer bigwig Sir James Carreras. Fans of the 1960 Cushing film "The Flesh and the Fiends" should get a nice chuckle when the Baron invokes Dr. Knox and the Burke & Hare case, just as fans of the 1990s Britcom "As Time Goes By" will delight in seeing Frank Middlemass, the perpetually "rocking on" octogenarian on that program, here almost 30 years younger (but sounding exactly the same). So yes, the fifth time IS the charm for this fun series indeed. Oh...another great-looking Warner Bros. DVD here, too.
One of the most unpleasant entries in the Frankenstein canon...
moonspinner554 July 2016
Plodding, occasionally queasy screamer from Hammer Films set in Victorian England. Baron Frankenstein blackmails a young doctor and his fiancée into helping him kidnap a mental patient from an asylum in order to transplant the brain of a professor into the patient's noggin. Beginning with some whiplash bloodletting--and carrying on through a messy surgery sequence (not to mention a violent rape)--this is one of the most distasteful of the Hammer horrors. Peter Cushing, the possessor of the finest cheekbones ever to grace a blood-spattered monster movie, retains his cool, detached dignity in the lead, and there are a handful of well-directed moments, including a fiery finale. *1/2 from ****
A superlative Hammer Horror
Leofwine_draca6 November 2015
FRANKENSTEIN MUST BE DESTROYED is one of the later entries in the long running Hammer Horror Series, which sees Peter Cushing reprising his famous role of the ruthless mad doctor. This is undoubtedly one of the highlights in what remains a very strong series, because the emphasis isn't on scientific apparatus or Universal stylings (as in the slightly disappointing previous two entries, THE EVIL OF FRANKENSTEIN and FRANKENSTEIN CREATED WOMAN). Here, the villain of the piece is Frankenstein himself, and he's never been so ruthless.
The gory, blood-drenched murder scene which opens the film reveals just what a monster the doctor has become, but somehow Cushing still holds it all together and makes his Frankenstein a fresh and spellbinding creation. Watching him upset the local gentry is just as enjoyable as watching him performance his brain experiments. Director Terence Fisher is at his best here, creating a lush and colourful masterpiece loaded with ghoulish delights - the set-piece involving the burst water main is straight out of a Hitchcock film.
The supporting cast are strong indeed, with Simon Ward taking on the apprentice role, and Veronica Carlson a fitting damsel in distress. Freddie Jones gives the best performance as the Creature in any of Hammer's Frankenstein movies, a truly sympathetic portrayal of a man who has quite literally lost his mind. There are a couple of minor problems with this film, namely the tacked-on rape scene (unnecessary) and the sub-plot involving detective Thorley Walters and his sidekick Geoffrey Bayldon, which goes nowhere and seems to have been added in to pad out the running time. Nevertheless this remains a Hammer Horror highlight and a delightfully dark slice of English Gothic.
The gory, blood-drenched murder scene which opens the film reveals just what a monster the doctor has become, but somehow Cushing still holds it all together and makes his Frankenstein a fresh and spellbinding creation. Watching him upset the local gentry is just as enjoyable as watching him performance his brain experiments. Director Terence Fisher is at his best here, creating a lush and colourful masterpiece loaded with ghoulish delights - the set-piece involving the burst water main is straight out of a Hitchcock film.
The supporting cast are strong indeed, with Simon Ward taking on the apprentice role, and Veronica Carlson a fitting damsel in distress. Freddie Jones gives the best performance as the Creature in any of Hammer's Frankenstein movies, a truly sympathetic portrayal of a man who has quite literally lost his mind. There are a couple of minor problems with this film, namely the tacked-on rape scene (unnecessary) and the sub-plot involving detective Thorley Walters and his sidekick Geoffrey Bayldon, which goes nowhere and seems to have been added in to pad out the running time. Nevertheless this remains a Hammer Horror highlight and a delightfully dark slice of English Gothic.
Well acted but film has serious flaws
baronlibra25 February 2002
While a lot of Hammer fans seem to feel this the best of the Hammer Frankenstein films, I think it one of the worst in terms of plot. Would you make a Dracula film and not have him be a vampire? Or a Sherlock Holmes movie and turn him into an ordinary detective? I think not, yet this film turns the Baron into an ordinary "mad scientist" interested in brain transplants instead of creating life. You could have left the name Frankenstein out entirely, used DR. SMITH MUST BE DESTROYED as the title, and had the same movie. Then the character of Baron Frankenstein is never consistent. In CURSE OF FRANKENSTEIN, the Baron kills an old scientist to get his brain (the rest of his "materials" are from grave robbing and charnel houses). I think this was a bad idea from the scriptwriter. Now in REVENGE, EVIL and CREATED WOMAN, the Baron is more a misunderstood, more human character who is so intent on creating life, he doesn't see the evil he is doing and can't understand why he is being persecuted by the townspeople and authorities. He doesn't go out and kill people, his creatures do that. Now comes MUST BE DESTROYED, which starts with the Baron, wearing a mask, decapitating a rival scientist, and being an overall evil person who blackmails, rapes and does a simple brain transplant instead of trying to create another monster. Hardly the stuff of classic Frankenstein films. Hammer does redeem itself in AND THE MOSNTER FORM HELL, where the Baron is again portrayed as the misunderstood Baron again trying to create another creature. (BTW: HORROR OF FRANKENSTEIN was a remake of CURSE played for black comedy and not part of the actual series.) It is a well acted film with Peter Cushing always in fine form, and has all the usual Hammer atmosphere, but is just not that great a film. REVENGE OF FRANKENSTEIN is a much better film.
Hammer's Frankenstein Strays Too Far in this Gory Mess
Cineanalyst25 August 2018
The fifth film in Hammer's Frankenstein series, "Frankenstein Must Be Destroyed" has little to do with Mary Shelley's novel, nor the film adaptations before it, including those by Hammer. Only the first two Hammer Frankenstein films have any real continuity with each other, but even "The Evil of Frankenstein" (1964) is a pastiche of the classic Universal monster movies and "Frankenstein Created Woman" (1967), my favorite in the series, is an interesting twist on Shelley's story. "Frankenstein Must Be Destroyed" also departs in design--being a slicker production in some ways--, and it has more gore, including a rape scene among the more-expected murder, corpses and medical procedures. None of this is necessarily a bad diversion in itself, but the problem is there's nothing else that animates this monster of a film above gruesome horror for its own sake, and the story is also uneven and overly padded in parts.
Although the opening sequence contains some of the film's best photography with tracking shots that obscure a character's face, and they provide a glimpse of a typical-looking Frankenstein lab, as well as quite a bit of violence, they're of little consequence to the rest of the plot. Worse still is the police investigation that follows, which is also ultimately inconsequential and feels tacked on. Had this introduction, the investigation and the rape scene, which has entirely no effect on the rest of the picture, been removed, then "Frankenstein Must Be Destroyed" would, at least, be a concise piece of filmmaking. There would still be the scene of a corpse being emerged from a broken water main, too, which I think is the best gory scene here. Once again, Hammer also provides an appropriate score, which adds tension, especially for some scenes that would otherwise be rather tedious (the police searching the house, e.g.).
I'm fine with Baron Frankenstein being a villain, his rap sheet including, besides the usual robbery and illegal medical practices, extortion, burglary and abduction, rape and murders. And, the film has only villains and victims among its main cast of characters, with the couple being extorted by the Baron, by them already being a thieving cocaine dealer and a co-conspirator, and they and Frankenstein's patient (as he can't be properly called a "creature" or "monster" this time) all end up with blood on their hands, too, by the end. I dislike, however, the lack of scientific imagination this outing. Granted, the brain transplants are out there enough to be science fiction, but it's a big step down from creating a new life--even a new species. Moreover, in "Frankenstein Created Woman," he was transplanting souls, as well as reanimating corpses. You'd think putting living brains in different bodies would've been a cakewalk for such a mad scientist. Instead, "Frankenstein Must Be Destroyed" is laborious.
Although the opening sequence contains some of the film's best photography with tracking shots that obscure a character's face, and they provide a glimpse of a typical-looking Frankenstein lab, as well as quite a bit of violence, they're of little consequence to the rest of the plot. Worse still is the police investigation that follows, which is also ultimately inconsequential and feels tacked on. Had this introduction, the investigation and the rape scene, which has entirely no effect on the rest of the picture, been removed, then "Frankenstein Must Be Destroyed" would, at least, be a concise piece of filmmaking. There would still be the scene of a corpse being emerged from a broken water main, too, which I think is the best gory scene here. Once again, Hammer also provides an appropriate score, which adds tension, especially for some scenes that would otherwise be rather tedious (the police searching the house, e.g.).
I'm fine with Baron Frankenstein being a villain, his rap sheet including, besides the usual robbery and illegal medical practices, extortion, burglary and abduction, rape and murders. And, the film has only villains and victims among its main cast of characters, with the couple being extorted by the Baron, by them already being a thieving cocaine dealer and a co-conspirator, and they and Frankenstein's patient (as he can't be properly called a "creature" or "monster" this time) all end up with blood on their hands, too, by the end. I dislike, however, the lack of scientific imagination this outing. Granted, the brain transplants are out there enough to be science fiction, but it's a big step down from creating a new life--even a new species. Moreover, in "Frankenstein Created Woman," he was transplanting souls, as well as reanimating corpses. You'd think putting living brains in different bodies would've been a cakewalk for such a mad scientist. Instead, "Frankenstein Must Be Destroyed" is laborious.
Hammer's 5th Frankenstein film is proof positive of the fine work of Cushing/Fisher.
A. Bates23 October 1998
Peter Cushing will always be THE final word on the role of Baron Frankenstein. Cunning, arrogant, relentless and above all else,charming. It could also be said that Terence Fisher is the final word on not only directing Hammer's Frankenstein series but Hammer films in general. This is not a new theory by any stretch regarding Fisher. His was the style by which all who played for Hammer's team would in some way emulate. It is no surprise, therefore, that FRANKENSTEIN MUST BE DESTROYED would be so good. Both actor and director had become pretty familiar with this material but rather than go through the motions something high above the expectation mark occurs. A good script certainly helps and indeed this time around there is. It is the relished performance of Peter Cushing and the carefully executed direction of Fisher which gives this film it's tasty Gothic flavor. Never seen a Hammer film? Here's your chance to sink your teeth into a good one.
Fun, if not Classic
Vornoff-322 April 2011
This is a really cynical tale of obsession, corruption, and revenge. All of Dr. F's noble qualities are expunged at this point of the series, and he has become an archetype of brilliant degradation. He blackmails a young couple by discoveri...ng they have been using the boy's job at a hospital to steal and sell illegal drugs (19th century hippies, apparently). He wants to rescue his former assistant from the mental ward to find out the results of some diabolical experiment from a previous installment. It all goes awry, of course, and the doc once again uses his brain-swapping talents to turn his former employee into his latest creation. This is a fun one, if not quite a classic.
"I'm afraid that stupidity always brings out the worst in me."
classicsoncall31 October 2015
Warning: Spoilers
There was a pretty good description of Baron Frankenstein (Peter Cushing) early in the picture when someone called him a 'highly dangerous medical adventurer'. The Baron proceeds to live up to that reputation as a murderer, blackmailer, hostage taker and did I actually witness this - a rapist? Hammer Films really took the Frankenstein character here and made him even more monstrous than a creature one could patch together from spare body parts.
You know, for a horror film, you'd have to agree that the locations used for filming were really quite elegant and ornate. The Spengler boarding house and Brandt's home were exquisitely appointed and furnished, and all the while I kept thinking that they would have been a pretty nice place to live. Which made it all the more tragic that Dr. Brandt (George Pravda) in Professor Richter's (Freddie Jones) body acted just a bit too harshly when he torched it at the finale. Gee, you would think he'd have a little more compassion for his wife after what she went through, and now she wouldn't even have a place to live.
As far as the creepy brain transplant business goes, the story and Baron Frankenstein's patient persistence in getting the job done almost made it seem believable. Except of course for that nasty sawing of the forehead; man that could really give you a headache. Seems like Brandt/Richter should have complained about that, but I guess he had a bigger concern.
Probably the scariest thing here had to do with the Richter body being planted in the backyard garden and then having a water main break directly underneath. I couldn't decide whether that flapping arm coming out of the makeshift grave was more comical or horrifying. But then, with all that mud and water flying around, one would have to agree that Anna (Veronica Carlson) was probably the most ingenious character in the story - she didn't get a speck of dirt on her!
You know, for a horror film, you'd have to agree that the locations used for filming were really quite elegant and ornate. The Spengler boarding house and Brandt's home were exquisitely appointed and furnished, and all the while I kept thinking that they would have been a pretty nice place to live. Which made it all the more tragic that Dr. Brandt (George Pravda) in Professor Richter's (Freddie Jones) body acted just a bit too harshly when he torched it at the finale. Gee, you would think he'd have a little more compassion for his wife after what she went through, and now she wouldn't even have a place to live.
As far as the creepy brain transplant business goes, the story and Baron Frankenstein's patient persistence in getting the job done almost made it seem believable. Except of course for that nasty sawing of the forehead; man that could really give you a headache. Seems like Brandt/Richter should have complained about that, but I guess he had a bigger concern.
Probably the scariest thing here had to do with the Richter body being planted in the backyard garden and then having a water main break directly underneath. I couldn't decide whether that flapping arm coming out of the makeshift grave was more comical or horrifying. But then, with all that mud and water flying around, one would have to agree that Anna (Veronica Carlson) was probably the most ingenious character in the story - she didn't get a speck of dirt on her!
A More Cruel and Evil Baron Frankenstein
Uriah4321 February 2017
When a burglar breaks into his house, "Baron Frankenstein" (Peter Cushing) is forced to leave town immediately due to some rather disturbing items he had placed inside the cellar. To that end, when he finally reaches his destination he rents a room at a boarding house and proceeds to resume his experiments from there. To further his work he blackmails a young physician named "Karl" (Simon Ward) and his lovely fiancé "Anna" (Veronica Carlson) into helping him. And part of his plan involves kidnapping a colleague named "Dr. Brandt" (George Pravda) who has gone completely insane and is locked up in a well-guarded asylum. Now rather than reveal any more I will just say that this particular movie put Baron Frankenstein in a much more cruel and evil light than any of the other preceding films of the Frankenstein legacy. At least, that is how it seemed to me. Yet, having said that, I thought this sinister depiction actually helped from a horror aspect and Peter Cushing was certainly able to use this diabolical change to his advantage. Likewise, having a beautiful actress like Veronica Carlson certainly didn't hurt this movie in any way either. In any case, I thought that this was a pretty good horror movie and I have rated it accordingly. Above average.
In some ways, the grimmest of the Cushing/Frankenstein series
lemon_magic22 June 2016
Warning: Spoilers
All right...it's Cushing acting, it's Fisher directing, it's Hammer Studios, it's Frankenstein. I should have had a great time with this...and I was glad I saw it. But...
Here's my problem. This 5th chapter of the series takes the story in the only direction it could really go without becoming stale: it becomes less and less about the Monster, and more and more about the utterly ruthless and despicable bastard that Frankenstein himself turns into in his pursuit of the mastery of life after death.
This makes perfect sense...but it's no fun to watch. Without the lightning storms, with city rooming houses replacing the castles, without the villagers and the burgermeister, with casual murder replacing the grave robbing, with blackmail replacing the friendship turning to alienation and fear, with pathetic victims and brain transplant cases replacing the patchwork monster...this fifth film just replaced too many of the story elements that made the earlier films such a blast to watch.
That's not to say this isn't a well made film. It's very well made, one of Fisher's best. The setups are perfect, the dialog is lively, the actors work it like it's Shakespeare, the music punches things up, and everything looks great.(The final fiery scene of destruction in which Frankenstein finally meets his end (?) is excellent.)
But it just isn't fun any more, and I just don't want to see Cushing's Frankenstein in action anymore because he's completely lost his charm and likability.
There may well be another in the series, and if I find it, I will watch it...but I'm not sanguine about it.
Here's my problem. This 5th chapter of the series takes the story in the only direction it could really go without becoming stale: it becomes less and less about the Monster, and more and more about the utterly ruthless and despicable bastard that Frankenstein himself turns into in his pursuit of the mastery of life after death.
This makes perfect sense...but it's no fun to watch. Without the lightning storms, with city rooming houses replacing the castles, without the villagers and the burgermeister, with casual murder replacing the grave robbing, with blackmail replacing the friendship turning to alienation and fear, with pathetic victims and brain transplant cases replacing the patchwork monster...this fifth film just replaced too many of the story elements that made the earlier films such a blast to watch.
That's not to say this isn't a well made film. It's very well made, one of Fisher's best. The setups are perfect, the dialog is lively, the actors work it like it's Shakespeare, the music punches things up, and everything looks great.(The final fiery scene of destruction in which Frankenstein finally meets his end (?) is excellent.)
But it just isn't fun any more, and I just don't want to see Cushing's Frankenstein in action anymore because he's completely lost his charm and likability.
There may well be another in the series, and if I find it, I will watch it...but I'm not sanguine about it.
Hammer's Finest Hour
steven-22224 January 2011
Warning: Spoilers
A tragic story of fiendish moral complexity, the direction of Terence Fisher at the peak of his powers, exemplary Gothic atmosphere and a splendid ensemble of performers anchored by the great Peter Cushing in his most powerful turn as Frankenstein raise this movie to the pinnacle of Hammer horror.
The doctor's god complex drives the plot; this is a man who believes utterly in his infallibility, who practices murder and blackmail without blinking an eye. Into his clutches fall the two "innocents" played by Simon Ward and Veronica Carlson. But how innocent are they? And how innocent can they remain? This is a story of precipitous moral descent, utterly bleak, softened only by familiar genre trappings that reassure us this is "merely" a horror movie, "merely" an entertainment.
There is much discussion among fans about the rape scene. Supposedly producer James Carerras came up with the scene late in production with a glib comment about the movie needing more sex, and both actors objected to what they considered a gratuitous and distasteful scene. But whether he made the glib comment or not, I think Carerras's instincts were on target. The sexual trauma suffered by Carlson goes a long way to explaining why she impulsively stabs the harmless "monster" later; that act of violence seals her moral downfall; and Frankenstein's subsequent act of stabbing her reiterates his previous sexual penetration of her and marks his own moral nadir. He cannot sink lower.
Director Terence Fisher delivers flawless atmosphere and pacing. I'll comment on only one sequence, the eruption of the water main behind Carlson's house, which is carried out with Hitchcockian gusto, from the grotesque humor of the nosy, "helpful" neighbor at the back gate to the nightmarish image of a bedraggled, miserable Carlson stiffly gesturing to let Frankenstein know where the body is. It's unforgettable.
Aristotle said that great art evokes terror and pity. The terror here is obvious; the pathos is generated by Carlson, but also by Freddie Jones as the monster. His fate is tragic, but he, too, is far from innocent. Some complain that this is a Frankenstein movie without a monster, but when Frankenstein himself is a fiend, the monster must become the tragic hero. In this brilliant reversal of an oft-told tale, there can be only one outcome: Frankenstein must be destroyed.
The doctor's god complex drives the plot; this is a man who believes utterly in his infallibility, who practices murder and blackmail without blinking an eye. Into his clutches fall the two "innocents" played by Simon Ward and Veronica Carlson. But how innocent are they? And how innocent can they remain? This is a story of precipitous moral descent, utterly bleak, softened only by familiar genre trappings that reassure us this is "merely" a horror movie, "merely" an entertainment.
There is much discussion among fans about the rape scene. Supposedly producer James Carerras came up with the scene late in production with a glib comment about the movie needing more sex, and both actors objected to what they considered a gratuitous and distasteful scene. But whether he made the glib comment or not, I think Carerras's instincts were on target. The sexual trauma suffered by Carlson goes a long way to explaining why she impulsively stabs the harmless "monster" later; that act of violence seals her moral downfall; and Frankenstein's subsequent act of stabbing her reiterates his previous sexual penetration of her and marks his own moral nadir. He cannot sink lower.
Director Terence Fisher delivers flawless atmosphere and pacing. I'll comment on only one sequence, the eruption of the water main behind Carlson's house, which is carried out with Hitchcockian gusto, from the grotesque humor of the nosy, "helpful" neighbor at the back gate to the nightmarish image of a bedraggled, miserable Carlson stiffly gesturing to let Frankenstein know where the body is. It's unforgettable.
Aristotle said that great art evokes terror and pity. The terror here is obvious; the pathos is generated by Carlson, but also by Freddie Jones as the monster. His fate is tragic, but he, too, is far from innocent. Some complain that this is a Frankenstein movie without a monster, but when Frankenstein himself is a fiend, the monster must become the tragic hero. In this brilliant reversal of an oft-told tale, there can be only one outcome: Frankenstein must be destroyed.
Solid Hammer horror film.
poolandrews2 December 2004
Warning: Spoilers
When a burglar (Harold Goodwin) breaks into Dr. Baron Victor Frankenstein's (Peter Cushing) lab, and unexpectedly discovers Frankenstein's experiments and a severed head Frankenstein realizes he must leave all his work behind and leave for fear of being caught by the police. Frankenstein still hasn't quite perfected the art of human brain transplantation yet and was on his way to see Dr. Frederick Brandt (George Pravda), who had somewhat more success than himself. However shortly before the two were due to meet Brandt went insane and was committed to an asylum. With the London constabulary headed up by Inspector Frisch (Thorley Walters) hot on his trail Frankenstein decides to stay at a guest house run by the rather fine looking Anna Spengler (Veronica Carlson) and her boyfriend Dr. Karl Holst (Simon Ward) who, luckily for Frankenstein, works at the mental asylum that holds Dr. Brandt. After overhearing a conversation in which Karl discusses with Anna stealing cocaine from the asylum where he works, Frankenstein uses this information to blackmail both, Karl to help him with his experiments and Anna to make the coffee, or so it seems anyway. Soon after with Karl's help Frankenstein has stolen all the equipment he needs to set another lab up in the basement of the guest house, and they kidnap Brandt from the asylum. Unfortunately Brandt suffers a fatal coronary, since Frankenstein only needs Brandt's brain, together with Karl he transplants it into another body, that of Professor Richter (Freddie Jones). The transplant is an apparent success. However, Dr. Brandt's wife Ella (Maxine Audley) recognizes Frankenstein on a street corner and starts to ask questions. The police are also sniffing around. Frankenstein decides to disappear again, just as his creation is starting to regain consciousness. Can anyone finally put an end to Dr. Frankensteins ungodly experiments once and for all? Directed by Terence Fisher this was the fifth installment in Hammers series of Frankenstein films, made between Frankenstein Created Woman (1967) and the Horror of Frankenstein (1970). The script by Bert Batt portrays Cushing's Frankenstein as the real monster in this film. He rapes, murders, blackmails, lies and use anyone and everyone for his own ends. Frankenstein's monster is depicted as a scared pathetic creature with strong feelings and who wants revenge on Frankenstein for what he has done. The ending of the film is somewhat weak, and seems a bit rushed. Acting is strong from everyone involved, as you would expect. The production design is great, I love the Victorian feel of these Hammer films, the sets are lush, colourful and very detailed, fine work. There's very little blood or gore, just a severed head, a few stabbings, a brain in a fish tank, some mostly off screen surgical operations and a few splashes of blood here and there. While no explicit nudity is involved, the rape of Anna by Frankenstein is unsettling. Overall a good solid period Frankenstein from Hammer, you could do a lot worse.
Bring Back The "Curse"!!
ashew24 October 2006
Warning: Spoilers
I loved "The Curse of Frankenstein" so much that I rushed out to get "Frankenstein Must Be Destroyed" to see Cushing at it again...even if it was without Chistopher Lee this time. To my great disappointment, this movie not only does without Lee, but it does without Frankenstein's Monster altogether! Was it a case of "If we can't get Lee, we won't have a monster at all"? Why would they do that? The monster is half the fun of the whole thing!! This film is dedicated solely to the study of Baron Frankenstein and his quest to finish experiments he had begun in brain transplants before ending up in an asylum. I found the script extremely weak, with the need to suspend disbelief forced upon the audience a little too much. I'm willing to suspend a fair amount, but this movie got fairly ridiculous, which took me out of the film rather than immersing me in it.
Peter Cushing, though, is absolutely brilliant playing pure evil in this film. For being one of the most beloved actors and notoriously sweet men, he sure could play menacing and malevolent extremely well. The supporting cast is competent, but has little to do, even the young doctor and his fiancée blackmailed into helping Frankenstein. A bumbling police chief is introduced, along with his put-upon sidekick, to generate some comic relief, then they are completely dropped from the movie! Why? We are led to believe that the police chief will be the main nemesis of the Baron, then we are led to believe it will be the young doctor, and then it ends up being the victim of Frankenstein's brain transplant experiment. There was no tension, we weren't invested in the "creature", and the ending was left so ambiguous as to leave one unsatisfied because it is so clear they are setting up another sequel.
Also, there are virtually no "horror" elements. Yes, there is a beheading in the beginning (off-camera), and we are treated to the sounds of Cushing cutting the tops of two men's skulls off (again, off camera), and there is the most unsettling and thoroughly unnecessary rape scene (90% of which is, again, off-camera). I understand that there is a love of "letting the audience imagine it all, for their imaginations are far worse than what we can show", but come on, if you're not going to give us a Monster, then at least let us SEE the few "horrific" elements you do choose to include. Showing us a skeleton in the lab lit with a green light is just not scary.
On top of a weak script, I thought the directing was mostly flat. There were a couple of nice shots, but otherwise no excitement, atmosphere, or suspense was generated. The same director did "Curse" back in 1958 and I thought it was brilliantly directed...guess he was as uninspired by this film as I was.
The movie gets a 4 out of 10 from me strictly for Peter Cushing's powerful, nuanced performance...beyond that, I found little in this movie worth recommending. Instead, my suggestion is to watch "The Curse of Frankenstein" and see a truly great Hammer horror film.
Peter Cushing, though, is absolutely brilliant playing pure evil in this film. For being one of the most beloved actors and notoriously sweet men, he sure could play menacing and malevolent extremely well. The supporting cast is competent, but has little to do, even the young doctor and his fiancée blackmailed into helping Frankenstein. A bumbling police chief is introduced, along with his put-upon sidekick, to generate some comic relief, then they are completely dropped from the movie! Why? We are led to believe that the police chief will be the main nemesis of the Baron, then we are led to believe it will be the young doctor, and then it ends up being the victim of Frankenstein's brain transplant experiment. There was no tension, we weren't invested in the "creature", and the ending was left so ambiguous as to leave one unsatisfied because it is so clear they are setting up another sequel.
Also, there are virtually no "horror" elements. Yes, there is a beheading in the beginning (off-camera), and we are treated to the sounds of Cushing cutting the tops of two men's skulls off (again, off camera), and there is the most unsettling and thoroughly unnecessary rape scene (90% of which is, again, off-camera). I understand that there is a love of "letting the audience imagine it all, for their imaginations are far worse than what we can show", but come on, if you're not going to give us a Monster, then at least let us SEE the few "horrific" elements you do choose to include. Showing us a skeleton in the lab lit with a green light is just not scary.
On top of a weak script, I thought the directing was mostly flat. There were a couple of nice shots, but otherwise no excitement, atmosphere, or suspense was generated. The same director did "Curse" back in 1958 and I thought it was brilliantly directed...guess he was as uninspired by this film as I was.
The movie gets a 4 out of 10 from me strictly for Peter Cushing's powerful, nuanced performance...beyond that, I found little in this movie worth recommending. Instead, my suggestion is to watch "The Curse of Frankenstein" and see a truly great Hammer horror film.
A masterpiece, the peak of Hammer's output
Libretio30 December 2004
Warning: Spoilers
FRANKENSTEIN MUST BE DESTROYED
Aspect ratio: 1.85:1
Sound format: Mono
Following a long period of cheap-looking productions designed to play as double-features on their home turf, Hammer returned to premium quality horror with FRANKENSTEIN MUST BE DESTROYED, arguably the company's finest hour, and certainly Peter Cushing's definitive portrayal of the monstrous Baron. Here, he blackmails medical student Simon Ward (making his feature debut) and his lovely fiancée Veronica Carlson into helping him with a brain transplant which - naturally - goes horribly wrong. Instead of the misguided adventurer depicted in previous films, screenwriter Bert Batt emphasizes the Baron's ruthless pursuit of knowledge and power, culminating in an unexpected sequence in which Cushing's domination of Carlson segues from mere tyranny to rape, a scene which Cushing reportedly found distasteful. Overall, however, Batt's script allows the characters to evolve via a skilfully constructed plot which employs levels of drama and emotion largely absent from much of Hammer's output at the time, alongside the usual elements of horror and suspense.
Director Terence Fisher rises to the occasion with remarkable dexterity, orchestrating set-pieces which have been compared to Hitchcock in some quarters, especially the opening sequence in which a petty thief (Harold Goodwin) breaks into the wrong house and has a truly hair-raising confrontation with its volatile owner (leading to a memorable 'reveal'); and the traumatic moment in the back garden of Carlson's boarding house, when she's forced to deal with a corpse (one of Frankenstein's cast-offs) ejected from its makeshift grave by a burst water pipe. Freddie Jones adds pathos to the proceedings as the helpless victim of Frankenstein's latest experiment, his brain transplanted into another man's body against his will, traumatizing his incredulous wife (Maxine Audley) who refuses to accept his new identity (a scenario echoed by a similar plot line in John Woo's FACE/OFF in 1997). The period décor may look a little cramped and cut-price in places, but this is Hammer/Fisher/Cushing at the very height of their creative powers, and the film is a small masterpiece of British Gothic.
Aspect ratio: 1.85:1
Sound format: Mono
Following a long period of cheap-looking productions designed to play as double-features on their home turf, Hammer returned to premium quality horror with FRANKENSTEIN MUST BE DESTROYED, arguably the company's finest hour, and certainly Peter Cushing's definitive portrayal of the monstrous Baron. Here, he blackmails medical student Simon Ward (making his feature debut) and his lovely fiancée Veronica Carlson into helping him with a brain transplant which - naturally - goes horribly wrong. Instead of the misguided adventurer depicted in previous films, screenwriter Bert Batt emphasizes the Baron's ruthless pursuit of knowledge and power, culminating in an unexpected sequence in which Cushing's domination of Carlson segues from mere tyranny to rape, a scene which Cushing reportedly found distasteful. Overall, however, Batt's script allows the characters to evolve via a skilfully constructed plot which employs levels of drama and emotion largely absent from much of Hammer's output at the time, alongside the usual elements of horror and suspense.
Director Terence Fisher rises to the occasion with remarkable dexterity, orchestrating set-pieces which have been compared to Hitchcock in some quarters, especially the opening sequence in which a petty thief (Harold Goodwin) breaks into the wrong house and has a truly hair-raising confrontation with its volatile owner (leading to a memorable 'reveal'); and the traumatic moment in the back garden of Carlson's boarding house, when she's forced to deal with a corpse (one of Frankenstein's cast-offs) ejected from its makeshift grave by a burst water pipe. Freddie Jones adds pathos to the proceedings as the helpless victim of Frankenstein's latest experiment, his brain transplanted into another man's body against his will, traumatizing his incredulous wife (Maxine Audley) who refuses to accept his new identity (a scenario echoed by a similar plot line in John Woo's FACE/OFF in 1997). The period décor may look a little cramped and cut-price in places, but this is Hammer/Fisher/Cushing at the very height of their creative powers, and the film is a small masterpiece of British Gothic.
Frankenstein Must Be Destroyed
jboothmillard12 January 2017
Warning: Spoilers
This was the fifth entry in this British Hammer (Horror) Studios series of Frankenstein movies, based on the classic Mary Shelley story, it was already up and down with the previous three sequels, so I hoped this one would be good, directed by Terence Fisher (Dracula, The Hound of the Baskervilles, The Mummy). Basically Baron Victor Frankenstein (Peter Cushing) has moved to a new town and formed a laboratory for his illegal experimentation, he has obtained a new brain for his next experiment. But a thief surprises him, he is forced to destroy the evidence and move on, also Police Inspector Frisch (Thorley Walters) is on his trail. Frankenstein finds a room at a boarding house run by Anna Spengler (Veronica Carlson), her fiancé is Dr. Karl Holst (Simon Ward), who works at the local insane asylum, where the Baron's former scientific collaborator Dr. Brandt (George Pravda) now resides, having lost his mind. Frankenstein discovers Karl is stealing narcotics to help her sick mother, the Baron tells him and Anna the consequences and blackmails them to help him. Frankenstein wants to kidnap the now insane Dr. Brandt, he wants to operate on Brandt, to cure his insanity, the Baron also seeks Brandt's knowledge of brain transplantation. The Baron and Karl go to the asylum, but Brandt suffers a heart attack during the break out, forcing Frankenstein to operate, to transfer his brain into another body, they kidnap asylum director Professor Richter (Freddie Jones) and transfer Brandt's brain into his body. Brandt's now useless body is buried in the garden, but it almost discovered when a water main bursts and unearths it, the police are searching the area following the break out of the insane doctor, Anna manages to cover up these instances, she is much more fearful of Frankenstein after he forced himself upon her. Brandt's wife Ella (Maxine Audley) sees Frankenstein walking the street and recognises him, she confronts him, but he persuades her that he has cured her husband of his insanity, the near conscious body he has created, under bandages, is responding, the Baron asks for time. After Mrs. Brandt leaves, Frankenstein forces Karl and Anna to help him escape with the "Creature", they relocate to a deserted manor house. While Frankenstein is away, he is unaware that the Creature has awoken, the cured mind of Brandt is horrified by his new appearance, he scares Anna walking about, she stabs him with a scalpel, he escapes, Frankenstein returns and is angered by the escape and Anna's actions, he kills her in rage. The Creature goes to its former home, Mrs. Brandt does not recognise the voice or appearance of the Creature claiming to be her husband and refuses to accept him. The Creature lets his wife go free, he seeks revenge and pours flammable liquid around the house, Frankenstein arrives, with Karl following him, the fight between the Creature and Frankenstein causes a fire, the Creature knocks out Karl, and the end sees the Creature carrying Frankenstein into the burning house, to be engulfed by the inferno. Also starring Worzel Gummidge's Geoffrey Bayldon as Police Doctor, Harold Goodwin as Burglar and Colette O'Neil as Mad Woman. Cushing remains impeccable as the mad doctor, and Jones is fantastic as the victim of his terrifying experiment, this is one of the most well crafted of the sequels, the gory sequences are disturbing, and the rape sequence is shocking, all in all it is a satisfying and worthwhile horror film. Good!
Another poor entry, which ruins the Doctor forever
mhorg201817 August 2018
Turning the Baron into a brutal, hateful character, rather than one who is consumed with scientific curiosity, this is another poor entry in the series. While I've always enjoyed Hammer for their (now light) gore, I also liked the characters. Yes, in Curse the Baron was willing to do anything to forward science, but here he's a brutal, mean character rather than a dismissive one. This story really should have been more thought about.
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