In a small town in a vaguely defined area of middle Europe, Baron Frankenstein and his muddle headed assistant Dr Hertz (Thorley Walters)succeed in isolating the soul from the human body and transplanting it into another. When Frankenstein's young assistant Hans (Robert Morris) is wrongly executed for the murder of his girlfriend's father he steals the corpse. Hans' girlfriend Christina (Susan Denberg) is hideously deformed and is taunted by three young men (the real killers), in despair over Hans' death she drowns herself and Frankenstein acquires her corpse as well. Frankenstein then transforms Hans' soul into Christina's body which he has operated on transforming her into a blonde beauty. As a result Christina becomes a beautiful woman with a split personality, half Hans, half Christina and sets about avenging herself on her father's murderers by luring them to secluded spots with the promise of sex but butchering them instead.
Following the box-office disappointment of "The Evil Of Frankenstein" (1964), in which Hammer dropped Terence Fisher in favour of Freddie Francis, the former was duly brought back for the fourth entry in the company's series. The result was one of the most accomplished with Fisher taking the somewhat confused script by Anthony Hinds (written under his usual John Elder pseudonym) and turned it into a Gothic fairytale, much in the same vein as James Whale's "The Bride Of Frankenstein" (1935) even though the plot bares no resemblance to that movie and Fisher refused to watch the Universal originals in preparation for making his own. He got sympathetic performances from Susan Denberg as the tragic Christina and Thorley Walters as Dr Hertz while Cushing was exemplary as Baron Frankenstein. Cinematographer Arthur Grant was renowned for the speed in which he could light a set, but occasionally some of his shots looked as if they could of been improved. However, at times he turned out some superb work for the company and here he does perhaps his best ever job behind the camera giving Bernard Robinson's economical sets a beauty that contrasts with the more sinister aspects of the tale. For instance the beautiful evening sky against the guillotine in which a young man has just been wrongly executed for murder suggests that for all the beauty of the small town and the weather, it overshadows a cruel and pitiless society.
Frankenstein Created Woman was released on a double-bill with John Gilling's "The Mummy's Shroud" in 1967.
Following the box-office disappointment of "The Evil Of Frankenstein" (1964), in which Hammer dropped Terence Fisher in favour of Freddie Francis, the former was duly brought back for the fourth entry in the company's series. The result was one of the most accomplished with Fisher taking the somewhat confused script by Anthony Hinds (written under his usual John Elder pseudonym) and turned it into a Gothic fairytale, much in the same vein as James Whale's "The Bride Of Frankenstein" (1935) even though the plot bares no resemblance to that movie and Fisher refused to watch the Universal originals in preparation for making his own. He got sympathetic performances from Susan Denberg as the tragic Christina and Thorley Walters as Dr Hertz while Cushing was exemplary as Baron Frankenstein. Cinematographer Arthur Grant was renowned for the speed in which he could light a set, but occasionally some of his shots looked as if they could of been improved. However, at times he turned out some superb work for the company and here he does perhaps his best ever job behind the camera giving Bernard Robinson's economical sets a beauty that contrasts with the more sinister aspects of the tale. For instance the beautiful evening sky against the guillotine in which a young man has just been wrongly executed for murder suggests that for all the beauty of the small town and the weather, it overshadows a cruel and pitiless society.
Frankenstein Created Woman was released on a double-bill with John Gilling's "The Mummy's Shroud" in 1967.