The oversexed daughter of Dr. Frankenstein is more than a match for his rampaging monster, in this highly entertaining horror romp.
The film opens with Dr. Frankenstein getting ready to revive his first human subject after years of experimenting on animals. However, nobody said this was going to be easy. He must contend with a huge chip on his shoulder that was placed there by his fellow scientists, who mocked him all the way to the remote village where has set up shop. Then there is his overly moral and slightly disabled assistant, Charles, and the arrival of his hot-to-trot daughter, Tania.
Did I mention the hygienically challenged quartet of lowlifes he has hired to get him bodies? These guys are extra grimy with sauce and led by the repugnant Mr. Lynch. He is a piece of work but he also rocks a bad hairstyle and an uncanny sense of business acumen. I’m thinking Donald Trump can trace his lineage to this guy. Lynch is able to get his hand on a fresh specimen and delivers him to the doc but jacks up the price when he realizes that Senor Frankenstein is operating under a time constraint.
Charles balks at an abnormality in the corpse’s brain, which prompts the doctor to start raving about all the scientists who laughed at him. Charles gives in and soon we are off to the races with a typical revival scene that involves exposing the body to lightning, which jolts it so hard the face catches fire. Luckily, it all works, except the illusion is briefly shattered when observant viewers will notice a production assistant in the reflection of a mirror as they attempt to revive the corpse.
Turns out this monster is also highly ungrateful and it promptly makes the good doctor its first victim. Next, it busts out of the castle for a weeklong rampage that includes the graverobbers, assorted villages and a nude Swedish babe (which it tosses into a pond in a bizarre nod to the original film).
Meanwhile, Tania is convinced she can do it better. She quickly wraps Charles around her finger by claiming she is in love with him. Before you know it, Charles has dropped any pretense of ethics and is more than happy to help procure a mentally challenged servant as the next test subject. He is even happy to brain the poor dude while he is in the midst of ecstasy with Tania. He also gets to have his brain put in the servant’s body. So much for his moral compass.
Meanwhile, a constable gets suspicious but can’t link the murders to the lab. Then the monster gets proactive and decides to attack the villagers before they can organize and search for him with torches and dogs. The monster then heads back to the castle for a final battle but is soon at the mercy of Tania and her new creation. No mercy is given but the new monster does decide it has gone too far, so it strangles Tania, mid-coitus again, while the castle burns down around them. The end.
This one is pretty wild and definitely a 1970s baby. There is an accent on sex and violence that perks up the proceedings and that helps, since the dialogue is pretty horrible. the monster make up isn’t very good, either, though I like the lazy, oversized eye hanging out of the monster’s bulbous head.
The actors are pretty good, with Joseph Cotton appearing briefly as Dr. Frankenstein before relinquishing control to the gorgeous Sarah Bay ,as the titular scientist. I doubt this film will convince you to go to MIT, but it sure will kill 90 minutes in such a way as you will never get them back.
1972, rated R.
“I hope Mr. Morgan’s brain will be a little more cooperative.”
“I may be a woman, but I am also a doctor.”
“How do you talk to a corpse, Peter?”