While the cast is good, I've always found the story, about soul switching, to be lacking. For one thing, does the mind reside in the soul? Or is it a separate entity? That is a question for another day. This movie doesn't have a 'real' monster, just human looking ones seeking out vengeance. For me, one of the lesser entries.

For Peter Cushing's fourth appearance as Baron Frankenstein, Anthony Hinds, scripting under his pseudonym John Elder, came up with a saga involving soul transference: an interesting departure in the series that resulted in a much superior film to its predecessor, EVIL OF FRANKENSTEIN.The whole thing has a doom-laden aura of tragedy over it right from the start; in a powerful scene we see young Hans witness the guillotining of his father (Duncan Lamont). The adult Hans, well played by Robert Morris, is destined for the same fate, being falsely accused of the murder of his beau's father. Three obnoxious wealthy young gents are the real culprits. And they are about to receive their just rewards.The Baron actually displays some humanity in this one, trying his best to acquit Hans (who is his assistant) on the witness stand. But it's all to no good. Hans' disfigured lover Christine (Susan Denberg), drowns herself after his execution, and it isn't long before Frankenstein is up to his old tricks.This bleak, extremely watchable Hammer Horror never loses its footing thanks to Terence Fisher's assured handling, Peter Cushing's marvellous acting, and the gripping story. Thorley Walters is also excellent as Frankenstein's chief, befuddled assistant. He was a favourite of Fisher's and it's not hard to see why. Susan Denberg is also very good as Christine, even though she was dubbed. And if Frankenstein is on his best behaviour she's more than willing to come up with a few hatchet murders...In essence then, a very good movie, and for a third sequel nothing short of superb.

This movie had everything that Hammer and Corman are famous for the technical aspects.The color or tone and shading was a plus The locations were superb. The fact that the film was uninterrupted by svengoolie. In the early days of horror flicks the voices were always just a bit off like the old kungfoo films i really like that. today the horror film producers seem to think that blood and gore is what the audience craves.What about the story we have not had a good story in years for example jekyll and hyde,moby dick,Dracula,sure we have had adaptations of these classic films but no new idea's that takes the viewer's into a what if this did happen frame of mind.I will say that harry potter came close in the first film anything after that was just cashing in on the first one.I know we have the writer's .I believe the studio's the corporations wont give new idea's a chance .they have ruined it just as they have the music business.long story short IS WHATS OLD IS ACTUALLY NEW.

Sweet, but disfigured young Christina (a sympathetic portrayal by the luscious Susan Denberg) commits suicide after her lover Hans (a likable performance by the handsome Robert Morris) gets framed and executed for murder. Baron Victor Frankenstein (superbly played with conviction and dignity by the always reliable Peter Cushing) resurrects Christina from the dead by transforming Hans' soul into her body. However, the new woman created by Frankenstein longs for revenge against those who have wronged her. Director Terence Fisher relates the engrossing story at a stately pace, meticulously crafts a flavorsome period atmosphere, and keeps things classy and involving throughout. The smart script by Anthony Hinds offers an intriguing central debate on the morals and perils of man playing god. The characters are neatly delineated: Hans and Christina make for charming leads while the villains are appropriately mean and hateful. Christina's conflict about her identity adds a surprisingly poignant element of pathos. Thorley Walters contributes a stand-out turn as Frankenstein's kindly and bumbling assistant Dr. Hertz. Peter Blythe likewise excels as ruthless cad main bad guy Anton. Peter Madden makes the most out of his regrettably small part as a stern chief of police. Both Arthur Grant's sharp cinematography and James Bernard's robust score are up to speed. A worthy Hammer item.