FRANKENSTEIN MUST BE DESTROYED. (1969) A GORY HAMMER FILM REVIEWED BY SANDRA HARRIS. ©

veronica carlson fr must be dyd

FRANKENSTEIN MUST BE DESTROYED. (1969)

DIRECTED BY TERENCE FISHER. MUSIC BY JAMES BERNARD.

STARRING PETER CUSHING, VERONICA CARLSON, SIMON WARD, THORLEY WALTERS, WINDSOR DAVIES, MAXINE AUDLEY AND FREDDIE JONES.

REVIEW BY SANDRA HARRIS. ©

‘He’s a better doctor than he is a painter…!’

Wow, this is a really dark addition to the Hammer-Frankenstein canon. Peter Cushing as the evil Baron Frankenstein actually rapes Veronica Carlson’s character in it, and I’ve never seen the gentlemanly Peter Cushing committing anything stronger than a little murder or grave-robbing as the old Baron Franky. At ninety-seven minutes, it’s longer than some other Hammer-Frankenstein outings too, and the plot gets quite complicated at times.

Let’s begin by saying that it’s a dark day for beautiful blonde landlady Anna Spengler (Veronica Carlson) when Peter Cushing’s Baron Frankenstein checks into her boarding-house, under the thinly veiled disguise of a Mr. Fenner.

He’s actually the notorious Baron Frankenstein who, several years ago, caused a scandal with another medic, a Dr. Brandt, for having the mad idea of transplanting one man’s brain into another man’s body. Wacky, huh?

It’s a change, anyway, from cobbling together a living being from the body parts of cadavers he’s dug up from graveyards or cut down from the gallows. Colin Clive as Henry Frankenstein did this in James Whale’s two brilliant old horror movies, FRANKENSTEIN (1931) and BRIDE OF FRANKENSTEIN (1935), and indeed Peter Cushing as Baron Frankenstein has done this himself before as well in various other Hammer-Frankenstein outings.

Baron Franky is determined to continue his gory researches and, what’s more, to complete the unfinished project this time. He’s very driven and nothing and no-one will stop him. He needs to get to Dr. Brandt, his old co-conspirator, because Dr. Brandt has a formula that Frankie desperately needs, in order to go all the way with his brain transplantation ideas. But Dr. Brandt is in the local mental asylum, his mind, to all intents and purposes, ruined. What’s poor Franky supposed to do?

Well, let me tell you exactly what he’s fixing to do. He blackmails the gorgeous Anna’s handsome young doctor fiancé Karl Holst, who rather conveniently works at the asylum, into helping him to kidnap Dr. Brandt and take him to the cellar at Anna’s house. Here, Baron Franky has rigged up a makeshift operating theatre. The only thing is, just who- or what- will he be operating on…?

Dr. Brandt is very close to death after a surprise heart attack. Franky proposes to whip out his brain, his lovely big juicy brain with the secret formula in it, and pop it all nice and fresh into the living body of… someone else.

That basically means that ‘someone else’ will have to be chosen, secretly abducted and operated on to have his brain removed, leaving his head all nice and empty for Dr. Brandt’s delicious, formula-filled brain.

Then, Dr. Brandt’s brain, by the way, will have to be cured of its insanity before it can be coaxed into giving up any of its scientific secrets. It’s Baron Frankenstein’s most ambitious, most complicated and undoubtedly most diabolical scheme yet. Have we any volunteers for the role of living accommodation for the brain of one Dr. Brandt? Come on now, folks, don’t all rush at once…!

Baron Frankenstein refers to these transplants as the next logical branch of surgery. People back then would have been superstitious about this kind of thing, calling it witchcraft and sorcery and the devil’s work and all that, but the Baron was actually quite right. Nowadays, we do transplant operations as almost a matter of routine, but I don’t know if we can just swap around brains willy-nilly quite yet…!

The décor and costumes in this one are just stunning. The blonde, angel-faced Anna Spengler (Veronica Carlson: Hammer’s DRACULA HAS RISEN FROM THE GRAVE, THE HORROR OF FRANKENSTEIN) is especially decorative in her pale pinks and blues and other pastel colours, and her dresses are really flattering.

I like that she’s not a stick insect either, but a really beautiful fuller-figured woman. Her boobs look utterly spectacular in the long pink nightie she’s wearing when the randy Baron Franky comes into her bedroom and rapes her, while her boyfriend Karl is off doing something else.

It’s really quite shocking to see perenially nice guy Peter Cushing in the role of a sexual aggressor, but he’s quite convincing in it too, let me tell you. He’s dripping with olde-worlde courtesy, sure, but he’s got grit and determination too and he lets nothing stand in the way of what he wants, whether that’s Anna Spengler’s watery coffee or her luscious body under that flimsy, diaphanous pink nightie…

Thorley Walters, as much a part of the Hammer scenery as Michael Ripper, plays a policeman here, the copper on the trail of the nefarious Baron Frankenstein. He’s played a Burgermeister in the Hammer films before (VAMPIRE CIRCUS), an acolyte of Dracula’s (DRACULA: PRINCE OF DARKNESS) and assistant to Peter Cushing’s Baron Franky (AND FRANKENSTEIN CREATED WOMAN), and he’s often seen as a kind of buffoon or rather comical character. His role in FRANKENSTEIN MUST BE DESTROYED doesn’t alter that status in any way, lol.

The scene in the back garden of Anna’s house with the burst water main is terrifically ghoulish. The shocking finale in the Brandt family mansion is superb too. And you needn’t think that Dr. Brandt is just going to roll over and play dead when he realises what Baron Franky has in ‘mind’ for his brain, pun definitely intended. There’s gonna be a helluva fight for the last piece of pudding, to quote Gemma Craven as author Polly Clarke in the FATHER TED episode entitled And God Created Woman.

FRANKENSTEIN MUST BE DESTROYED is an excellent example of Hammer-Frankenstein madness and mischief, and I strongly advise you lads and lassies to watch it. And if you run an olde-worlde boarding-house along the lines of Anna Spengler’s, beware of courteous gentlemen carrying doctor’s bags applying as potential boarders. It’s just not worth the hassle, and the back yard will never be the same again. Come on, guys, it’s not brain surgery…!

AUTHOR BIOGRAPHY OF SANDRA HARRIS.

Sandra Harris is a Dublin-based novelist, poet, short story writer and film and book blogger. She has studied Creative Writing and Film-Making. She has published a number of e-books on the following topics: horror film reviews, multi-genre film reviews, women’s fiction, erotic fiction, erotic horror fiction and erotic poetry. Several new books are currently in the pipeline. You can browse or buy any of Sandra’s books by following the link below straight to her Amazon Author Page:

http://www.amazon.com/-/e/B015GDE5RO

You can contact Sandra at:

sandrasandraharris@gmail.com

https://www.facebook.com/SandraHarrisPureFilthPoetry

https://sandrafirstruleoffilmclubharris.wordpress.com

HAMMER’S ‘DRACULA HAS RISEN FROM THE GRAVE.’ (1968) REVIEW BY SANDRA HARRIS.

drac risen zena

DRACULA HAS RISEN FROM THE GRAVE. (1968) BASED ON CHARACTERS CREATED BY BRAM STOKER. DIRECTED BY FREDDIE FRANCIS. PRODUCED BY AIDA YOUNG. SCREENPLAY BY JOHN ELDER.

STARRING CHRISTOPHER LEE, RUPERT DAVIES, MARION MATHIE, GEORGE A. COOPER, MICHAEL RIPPER, BARRY ANDREWS, EWAN HOOPER, NORMAN BACON, BARBARA EWING AND VERONICA CARLSON.

REVIEW BY SANDRA HARRIS. ©

This is a stunning addition to the Hammer Dracula canon. It’s the third in the series to feature Christopher Lee as the Count, coming after DRACULA (1958) and DRACULA: PRINCE OF DARKNESS (1965). Christopher Lee is in excellent form as the titular Dracula, or ‘the fanged undead,’ as he’s rather pithily described in the promotional material.

Very fine form indeed, especially considering he’s supposed to have spent the last several years frozen under the icy-cold waters that flow near his castle in the mountains. Still looking very good too, just waiting for a clumsy man of the cloth to lose his footing, crack the ice, under which Dracula slumbers uneasily, with his bonce and bleed his blood on to the sleeping vampire’s lips.

The first half hour is truly magnificent and super-exciting. A little village in the Hammer-created ‘Mitt-Europe’ that Hammer do so well has had its church horribly desecrated by Dracula. The Prince of Darkness has chosen to ravish and murder a beautiful and busty young woman in its little bell-tower, leading to one of the most spectacular ‘reveals’ of a victim’s blood-drained cadaver in the studio’s history.

A visiting Monsignor, name of Ernest Mueller, responsible for all the churches in the area, is distressed to see that a shadow cast by the vampire’s castle, even though the vampire himself is supposed to be dead, is preventing the superstitious locals from attending church services. Any excuse not to go to Mass, eh?

The Monsignor decides to climb up to the castle himself, reluctantly accompanied by the parish priest who will soon be enslaved by Dracula and forced to work as his lackey, and exorcise the damned place once and for all.

Dracula, however, accidentally revived by the terrified parish priest, is more than pissed off to discover that his home has been befouled by the Monsignor and his shimmering golden cross.

He determines to seek revenge against the poor old Monsignor, for which purpose the action moves to the Monsignor’s sweet little home village of Keinenberg, a picturesque wee place surrounded by the mountains.

The Monsignor lives very comfortably indeed there with his brother’s widow, a fine figure of a woman called Anna who does everything for him except warm his bed, and her beautiful daughter Maria, the Monsignor’s niece.

A less worthy man than the Monsignor might be tempted to take advantage and enjoy a little mother-daughter action, but the Monsignor’s motives are as pure as the driven snow. Even while his buxom sister-in-law is kneeling at his feet putting on his slippers when he arrives home after a hard day’s exorcising, not once, seemingly, does he feel the urge to say: ‘Um, while you’re down there, Anna…!’

Played by Hammer’s latest discovery of the time, the ravishing blonde-haired Veronica Carlson, Maria first bounces charmingly on to the screen dressed in a gorgeous dusky pink dress complete with Little Red Riding Hood cloak.

She’s looking for her boyfriend Paul, a college student, so she can bring him to dinner to meet her mother and uncle, the Monsignor. And where else would she look for him but in Max’s public-house, where he pulls pints and is training to be a pastry chef under the not-so-watchful eye of the endlessly good-humoured Max?

Max is played by Hammer stalwart Michael Ripper, who surely, more than anyone else living or dead, was born to pull pints in a Hammer-created ‘Mitt-European’ alehouse, Gawd bless ‘is little ‘eart.

The getting-to-know-you dinner at the Monsignor’s house goes tits-up, and Paul is ordered out of the house on the grounds that he has the audacity to admit to his girlfriend’s uncle that he’s an atheist, goddammit, but never mind all that for now.

The Monsignor and his family have bigger problems than the curly-headed, happy-go-lucky Paul, who actively encourages his goody-two-shoes girlfriend to visit him at night via the surprisingly dizzy rooftops of Keinenberg, if you can believe that. No true gentleman would ever permit his girlfriend to do such a dangerous thing, especially when she’s lacking in, shall we say, a little blood…? What an ungallant cad he is.

Anyway, Dracula has found the perfect way to get back at the Monsignor, and that’s through his lovely niece Maria. Maria’s seduction by the Count is not as knee-tremblingly sexy as Melissa Stribling’s in the 1958 DRACULA, but it’s a nice little scene nonetheless.

It involves open bedroom windows, pleasant terraces overlooking the mountains and another mesmerised woman walking hesitantly backwards towards her bed, while gazing up the whole time into red bloodshot eyes, like a rabbit fascinated by the snake that’s poised to pounce on it.

Dracula’s other girlfriend here, Max’s busty brunette barmaid Zena, has a bit more chutzpah and oomph, if you get me, than the rather prissy Maria, but Dracula treats poor Zena appallingly. Which only makes women like me fancy him all the more, heh-heh-heh. Women in these Dracula films are here for two reasons only, to be used and abused, and to damn well be the eye candy while they’re doing it, lol. Ah well, it’s nice, at least, to know where you stand.

Poor Maria gets dragged from pillar to post as well by the Count, in her bare feet and white nightie to boot, but at least Dracula doesn’t try to bury her alive like he does Melissa Stribling in the 1958 film.

It’s up to Paul, the not-very-swotty college student and would-be pastry chef, to save not only Maria from the evil clutches of Dracula, but the village of Keinenberg as well. Is the curly-headed one up to the task…?

In this film, a neat little addition to the folklore surrounding the fanged undead is included, in the form of a caveat that decrees that you can’t just stake Dracula through the heart and he’ll obligingly die. You’ve got to mumble Latin words from the Bible over him as well, or he won’t croak. Now I wonder where on God’s green earth we can find a padre to do the necessary at this hour of the night…?

I love the scene where Zena is being chased through the forest at night, by the mysterious black coach with the four black horses with the black plumes on their heads. Such a fearsome carriage could only belong to one man. The poor horses seem to get whipped a lot by the Count in this film, but I’m fairly certain that it’s only pretend-whipping, lol. I love George A. Cooper as the landlord of the tavern in the village with the cursed church, by the way. He’s a terrific actor.

This is a gorgeous-looking film. The forty-six-year-old Christopher Lee is still very much engaged in the series, and it really shows. (He was at his sexiest in his forties and fifties, and even his sixties, if you ask me.) Some people say that he zoned out a bit towards the end but I don’t know. Down in the murky, leaky basement of Max’s tavern (it’s a good job that Max never seems to go down there!), the centre of operations where his black coffin rests imposingly on blocks of wood, he’s very much the master of all he surveys.

He’s magnificent here as the Count, and his two chosen concubines, Zena and Maria, are très easy on the eye as well. Michael Ripper is behind the bar in the tavern, dispensing homespun wisdom along with the ale and sausage rolls and meat pies. God’s in his heaven, and all’s well with the world of Hammer.

AUTHOR BIOGRAPHY OF SANDRA HARRIS.

Sandra Harris is a Dublin-based novelist, poet, short story writer and film and book blogger. She has studied Creative Writing and Film-Making. She has published a number of e-books on the following topics: horror film reviews, multi-genre film reviews, women’s fiction, erotic fiction, erotic horror fiction and erotic poetry. Several new books are currently in the pipeline. You can browse or buy any of Sandra’s books by following the link below straight to her Amazon Author Page:

http://www.amazon.com/-/e/B015GDE5RO

You can contact Sandra at:

https://www.facebook.com/SandraHarrisPureFilthPoetry

https://sandrafirstruleoffilmclubharris.wordpress.com

http://sexysandieblog.wordpress.com

http://serenaharker.wordpress.com

sandrasandraharris@gmail.com

https://twitter.com/SandraAuthor