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For years I had heard very considerable summaries of this 1970 version of the classic fable of Frankenstein and the monster he creates out of stolen human body parts. Hammer Studios, long distinguished for their revivals of classic Universal Terror stories had their first astronomical success with their 1956 version of the outmoded Mary Shelley recent “Frankenstein”, which they titled “The Curse of Frankenstein”. Starring Peter Cushing as Baron Frankenstein and Christopher Lee as the Monster, this film provided the basis for a semi regular series over more than a decade of stories continuing Baron Frankenstein’s experiments in creating human life. Peter Cushing went on to play the role 6 times and became forever associated with the role of the indignant scientist experimenting with the very essence of life. For this version filmed in 1970 however Hammer decided to go befriend to the roots of the Frankenstein narrative and they cast up and coming actor Ralph Bates in the role of Victor Frankenstein. Great criticism was leveled at this casting decision as Peter Cushing had of course set his indelible label on the character over many years. In fact however it made sense as “Dismay of Frankenstein”, goes succor to the Baron’s school days before he began his experiments. Peter Cushing, for all his spacious expertise in playing the role was simply too faded in 1970 to play the earlier scenes in this particular version. To my surprise after reading of the critcial panning this film received on release I found it to be a very handsomely mounted and interesting version of this often filmed anecdote far from the grief that I was led to maintain. Ralph Bates makes a highly expedient Frankenstein in my idea and portrays the Baron as a considerable darker individual than audiences perhaps were accustomed to seeing in earlier versions. Bates’ Baron has few redeeming character traits and hides his execrable nature under a debonair facade that makes for an moving interpretation of the character.

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This version of the record takes us befriend to Frankestein’s youth where even at a young age the young nobleman’s self confidence and arrogance allows him to outsmart his teachers and in the case of one (Geoffrey Lumsden), he succeeds in convincing him that he is ill thus avoiding a punishment. Returning home to Castle Frankenstein believing he can learn more with his believe research Vicot comes into conflict with his dissolute father the Baron (George Belbin), who keeps him on a tight rein financially. Victor decides to assume matters into his beget hands to collect his inheritance ahead of time and arranges for one of th eBaron’s hunting rifles to attend fire thus clearing the procedure for Victor to become Baron Frankenstein and initiate enjoying all th epleasures of th eposition which include the graceful servant Alys (Kate O’Mara), who had also shared his father’s bed. Victor sets up an account for lab in the Castle and with the befriend of his friend Wilhelm (Graham Jones), he begins some rathe runusual experiements on life starting first with a turtle and then graduating to experimenting on creating a human. Wilhelm is revolted by Victor’s collecting of human body parts courtesy of the local grave robber (Dennis Tag), and when he threatens to display Victor he is murderd by his archaic friend who uses his hands in the creation of his creature. Childhood friend Elizabeth Heiss (Veronica Carlson), who composed is in treasure with Victor comes wait on into his life however Victor decides that Elizabeth’s father has the sort of brain he needs for his experiments and continues his killing spree by first poisoning him and when the graverobber has delivered the “item”, to Victor he also suffers a scandalous fate when Victor dumps him in a tank of acid. The creature is now complete and during an electrical storm Victor manages to bring it to life however it is not the placid creature expected but a murderous monster. Doing Victor’s bidding for him the creature first kills Alys and the grave robbers wife who are suspecting that Victor is responsible for the earlier murders breaks but then breaks loose and goes on a rampage. Attacking Elizabeth relieve at the Castle Victor hides the monster in the empty acid tank but when the police along with some of the vexed villagers reach one of the cramped girls accidently pulls the rope that fills the tank with acid thus destroying forever Victor’s man made monster.

Viewers expecting a classic version of the Frankenstein anecdote such as was seen in the Boris Karloff trilogy succor in the 1930’s are liable to be disappointed with “Panic of Frankenstein”, however there is worthy to love in this updated sage. Hammer Studios always had a diagram of creating worthy looking productions out of shrimp budgets and while this film does at times snort some short cuts they are not ones that detract from the tale. Ralph Bates, stepping into the shoes of the legendary Peter Cushing certainly had his work crop out for him here however he does a more than expedient job in his one outing in this celebrated role. His Victor Frankenstein is all charm and favorable looks on the surface which hides a very detestable and unsuitable character underneath that cares for neither family or friends. Ralph Bates was an extremely talented actor who was being groomed at this time for greater things with Hammer Productions unprejudiced as their prolific output of awe efforts was slowing down. His combination of ample looks, and talent for playing characters that were both generous and awful made him a natural for these type of panic stories. The supporting actors surrounding Bates in this exertion couldn’t be faulted and narrate a gorgeous school of performers that were typical of these tedious Hammer era productions. Actress Veronica Carlson had already appeared in one of the earlier Peter Cushing Frankenstein efforts for Hammer, “Frankenstein Must Be Destroyed!”, when she came on board here playing the role of Elizabeth Heiss, Baron Frankenstein’s childhood friend who serene carries a flame for him. Kate O’Mara really shines in the role of the seductive servant Alys who gets more than she bargains for when she tries to play Victor Frankenstein at his gain game for which she pays dearly. Being a epic about creating a human being out of outmoded body parts obviously means that grave robbers would naturally feature prominently in the memoir. Here Dennis Notice as the hard drinking grave robber of this epic who supplies Victor with the corpses he needs for his “work”, delivers an at times laughable perfomance and his scenes with his wife (Joan Rice), have a clear amount of macabre humour to them. Their best scene togethe ris when they are disturbing the current graves in the cemetary and the gentleman gets his awful wife to do the staunch digging while he discusses the fortune they will fabricate from a reported tragedy at sea that finds bodies being washed ashore along the cruise! Jon Finch as Victor’s childhood friend Lt. Becker who leads the investigation into the deaths and Bernard Archard as Elizabeth’s father who becomes Victor’s prey when a unique brain is needed also gather well in their respective parts. Considerable debate has always arisen over David Prowse as the Monster. Certainly his creature could never compete in appearance or personality with Boris Karloff’s classic interpretation of the character however with each screening of “Fear of Frankenstein”, I feel he makes an acceptable creature in his possess just if you dont try and compare him to Karloff. Certainly his scenes where he is trying to smash loose from his chains or is wandering around the countryside striking panic into the locals or tearing apart a bird to eat raw have their acquire horrific qualities. Visually “Dismay of Frankenstein”, could afford to be more explicit than many of the earlier versions given the year it was made. This is best illustrated in the ghastly scenes when Victor is assembling the creature from sawn off body parts and when he wipes his face with blood covered hands during the “operation”, which gives this film a far more raw quality than in previous Hammer efforts. Period detail in all respects is certainly a strong point of “Panic of Frankenstein”, with the splendid Victorian atmosphere well represented in costume and sets. Frankenstein’s lab where he conducts his experiments is one that we have reach to examine from Hammer Productions filled as it is with bubbling containers, test tubes and assorted wires, in short the classic angry scientist’s lab in bright colour.

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While it certainly is not the best Hammer version of the frankenstein legend “Anxiety of Frankenstein”, is also not the shoddy worry so often dismissed by the critics. Ralph Bates creates a quite different and intriguing Baron Frankenstein here that really does possess your interest. Often criticised for being dumb entertaining in particular in the first half of the film I feel that is vital in letting us know a bit more about Frankenstein’s character and what is motivating him to conduct such experiments that have him resorting to abolish to accomplish his aims. “Dread of Frankenstein”, is an enchanting slant on the classic chronicle and any fans of classic dread characters and Hammer Productions interpretation of them in general will want to include this version in their collection. Bask In!

I guess this movie really should’ve had only 3 stars, but I give it 4 because after all the terrible things I’d heard about it, it’s a grand surprise. O.k., it may not be scary, but no one watches early 70’s Hammer to be shrinking, anyway. -Same sets, same atmosphere, etc. This movie is more of a comedy. The cast is the first-rate thing about this film. Bates, in his largest role for Hammer, is fabulous. He’s brilliantly arrogant as Frankenstein; clearly enjoying the fragment. it also features a pre-”Frenzy” Jon Finch. The baron isn’t caught in the waste, revealing that Hammer wanted to gain more Frankensteins with Bates, but since the film flopped this concept was unfortunately dropped. It would’ve been inviting to see; it couldn’t possibly have turned out worse than remarkable of the studio’s later stuff. (P.S.-only downer: this tape is in the damn EP mode.)
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