Hooptober Neun (2022) - Film #17
6 countries (UK); 8 decades (1950s); 2 Christopher Lee films

When watching a classic like this, my biggest difficulty is often the unusual pacing. The Curse of Frankenstein starts out very slowly indeed, and doesn’t really speed up hugely throughout its runtime. That’s not entirely negative, as we see Frankenstein gradually lose his grip on morality in great detail, but it isn’t always the most engaging watch, and that had a significantly negative impact on my viewing enjoyment here.

The key strength here is the aesthetic. The brooding, gothic vibe mixed with that campy edge creates a wonderful mood. I simply love the acting style, the enunciation and the accent. It’s quite unclear how old Cushing’s Frankenstein is supposed to be here, as he appears older than his tutor, a man who was an adult during Frankenstein’s childhood. It’a a minor thing, and quite comical really, but I think it provide an insight into how these films were made. Christopher Lee and Peter Cushing are clearly the big names here, and it’s pretty obvious why Hammer used them time and time again.

The props are great too, in a low budget way - although the science equipment makes no sense at all, with random coloured liquids bubbling all over the place. I don’t think it’s a spoiler to say that what the viewer is anticipating is an appearance from ‘the Creature’, and when he finally shows his face the film picks up a little, but unfortunately not for long. Amusingly, he’s got a real sense of style, rocking up in a lovely peacoat.

So, it all boils down to the pace, and unfortunately film moves slower than the Creature himself. It’s not a super long film, but it feels far longer than it’s run time, simply because things are so drawn out. I’m looking forward to seeing more works in the Hammer style, although I really hope they move a little quicker.