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Frankenstein 1970

USA 1958
produced by
Aubrey Schenck for Allied Artists
directed by Howard W. Koch
starring Boris Karloff, Tom Duggan, Jana Lund, Don 'Red' Barry, Charlotte Austin, Irwin Berke, Rudolph Anders, Norbert Schiller, John Dennis, Mike Lane, Jack Kenney, Joe Ploski, Otto Reichow, Franz Roehn
story by Charles A. Moses, Aubrey Schenck, screenplay by Richard H. Landau, George Worthing Yates, based on characters created by Mary W. Shelley, music by Paul Dunlap


review by
Mike Haberfelner

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Times have been tough for Baron Victor (Boris Karloff), last of the Frankensteins: Having been forced to perform human experiments under the Nazi regime pretty much broke him, his family fortune has over the years diminished to such an extent that he's facing bankruptcy, and to afford the nuclear generator he needs (nobody seems to wonder what for), he had to invite a TV team into his family mansion to film a horror TV show hosted by him. Suffice to say, he doesn't enjoy this very much.

But to answer the question as to why he needs a nuclear generator - of course he has a hidden lab in which he performs experiments to create an artificial human. And while he uses the body of his own loyal servant (Norbert Schiller) as a framework for his creature, he soon turns on the film crew for spareparts.

Now the film crew is full of love triangles though: The director (Don 'Red' Barry) loves his leading lady (Jana Lund), but is still married to his personal assistant (Charlotte Austin), who hasn't given up on him despite the fact he has made it very clear he doesn't love her no more. But his best buddy (Tom Duggan) is in love with the personal assistant, even though she pushes him away. The baron though is drawn to the leading lady ... as was his servant. Not sure if your head's spinning right now or not, but in the end, after the film crew has been decimated in numbers, the baron orders his creature to abduct the leading lady, but she has some power over the creature's mind, and ultimately the creature and the baron are killed in an exploding lab ...


The main attraction of this film is of course to see Boris Karloff play Frankenstein himself rather than the monster, plus to modernize the story is at least a nice angle - and the film starts pretty well, too, contrasting a decidedly old-worldly and delightfully hammy performance by Karloff with the very "American" film crew, which creates good laughs and a nice tension - which soon falls by the wayside though for a typical formulaic plot that fails to bring the premise to full effect and is further marred by a rather lame monster (which is kept under wraps until the finale.

You still might like it as a fun example of 1950's drive-in cinema (I know I do), but the film certainly falls short of its expectations.


review © by Mike Haberfelner


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Robots and rats,
demons and potholes,
cuddly toys and
shopping mall Santas,
love and death and everything in between,
Tales to Chill
Your Bones to

is all of that.


Tales to Chill
Your Bones to
a collection of short stories and mini-plays
ranging from the horrific to the darkly humourous,
from the post-apocalyptic
to the weirdly romantic,
tales that will give you a chill and maybe a chuckle, all thought up by
the twisted mind of
screenwriter and film reviewer
Michael Haberfelner.


Tales to Chill
Your Bones to

the new anthology by
Michael Haberfelner


Out now from




On the same day
a Burglar wants to kill you
and your Ex wants
to make up ...
... and for the life of it,
you can't decide


A Killer Conversation

produced by and starring
Melanie Denholme
directed by
David V.G. Davies
written by
Michael Haberfelner
Ryan Hunter and
Rudy Barrow

out now on DVD