Hammer's third film in the Frankenstein series and the first film to deviate away from the previous story – here, the Baron's given a separate, different back-story in an extended flashback sequence, so this is best viewed as stand alone. This is also the Frankenstein film that was co-funded by Universal, who distributed this along with seven other Hammer flicks in America. Previously, Hammer hadn't been allowed to copy the old Boris Karloff make up job which was copyrighted by Universal, but here, they go for a full-blown imitation. Sadly, the usually reliable Roy Ashton just isn't up to the job of recreating Jack Pierce's classic work on Karloff, and as a result the monster here looks ludicrous, a grey man with a massive slab of plaster glued to his forehead. The monster was played by the hulking wrestler Kiwi Kingston – who really was a Kiwi – but Kingston doesn't have any opportunity to act as only his eyes are (briefly) visible beneath the shoddy make up.Other than this fundamental flaw, THE EVIL OF FRANKENSTEIN is a pretty decent movie. Freddie Francis directs with visual flair and gives us some classic moments – the body snatcher stalking through the woods at the movie's opening and the excellent 'creation' scene in the lab are just two of them. Peter Cushing returns as the Baron, playing it a bit differently this time: Frankenstein is a bitter, hounded man, prone to violent outbursts and someone who snaps at other people quite a lot. Cushing is still great, of course, and it's a pleasure to watch him act as always. He's ably supported by the sleazy Peter Woodthorpe as a hypnotist with his own agenda, and Katy Wild, whose mute assistant is quite appealing. There aren't really many distinguished actors in the cast, which is more composed of TV people. One exception is a young Sandor Eles, familiar from COUNTESS Dracula, but his role here as the assistant Hans is very limited and he gets absolutely no characterisation.The story plays along well and there's always something going on to enjoy. The sets are decent-looking and the bit where the monster stalks through the village, bumping off enemies, is vintage Hammer, and reminded me of their mummy films. Things culminate in a good climax, utterly old-fashioned of course. The only thing working against THE EVIL OF FRANKENSTEIN – aside from the rubbish make up – is a sense of 'seen it all before' in terms of the action, and this is what makes it – along with FRANKENSTEIN CREATED WOMAN – one of the lesser entries in the series; there's none of the drama of THE REVENGE OF FRANKENSTEIN or the ruthlessness of FRANKENSTEIN MUST BE DESTROYED, for instance. Not bad, but not one of Hammer's classics.

This film like but not as well as parts 1, 2, and 5 of the Cushing Frankenstein series. It is a good film I just liked it a little less - it's the story of this film I liked a little less than the others. This film is a continuation of the story of Dr. Frankenstein, it pick up were part 2 left off.Everyone was good in this film -- but it was Peter Cushing that really carried this one all the way through more so than anything thing else.I definitely recommend this film to others that have enjoyed other Hammer Horror films and/or Peter Cushing's movies. It's worth it.7.5/10

Like many, Evil of Frankenstein is my least favourite of the Hammer Frankenstein films starring Peter Cushing and is a lesser entry of the Hammer horror films. But does that make it a bad film? No, in fact it is very watchable, just disappointing.Evil of Frankenstein has its flaws, the main one being some of the story which is like different elements from past Universal/Hammer films recycled and cobbled together to sometimes muddled and underdeveloped effect, there are though some interesting elements(I personally found the mute girl subplot quite touching). It also took a while to get going and there is a clumsy and contrived script with a number of contradictory elements compared to other Frankenstein films, as a standalone the film's okay but continuity-wise comparatively it just didn't seem to fit. The monster's make-up is poor this time round, wasn't crazy about it in Curse of Frankenstein(the only real criticism this viewer had of that film) but at least the make-up in that film didn't look like layers of out of date oatmeal being put on the actor's head and face like here, giving it a fake rather than freaky look. It was nice to see the Monster as a misunderstood creature again but Kiwi Kingston for personal tastes played the role rather lifelessly, the monster never felt menacing here and it wasn't easy to root for him either. Sandor Eles also does next to nothing with a very underwritten role.However, Evil of Frankstein looks great apart from one cheap back-screen projection. The cinematography is simply splendid with nice shadowy effects and the sets and costumes are wonderfully sumptuous and Gothic, who can't love the lab set. Freddie Francis had big shoes to fill and his direction was a respectable effort but there was a sense that he wasn't quite the right man for the job. Narratively and pacing-wise, his direction does have a tendency to lumber but when it comes to the visuals and creating an atmosphere Francis' experience as a cinematographer shines through. There are some effective scenes here, the opening scene is brilliantly creepy and the climax and monster-coming-to-life scene are exciting. One notable exception is Frankenstein's escape from the Burgomaster, clumsily done as well as a little cheap-looking and should have been excised(personal view of course). Don Banks' music score is enough to evoke chills. The cast are good on the whole. Peter Cushing comes out on top as a more sympathetic than usual Frankenstein, he gives an as always great performance and makes his lacking dialogue seem more than it actually is. Peter Woodthorpe plays an absolute slimeball and literally has a ball with it while Katy Wild is touching as Rena the mute beggar girl, conveying a good deal of emotions through eyes and facial expressions.Overall, very watchable but this is not Hammer at their best. 6/10 Bethany Cox

The third entry in Hammer Films' 7-movie Frankenstein cycle was the first (of two) to be helmed by a director other than their resident go-to-guy Terenece Fisher; in fact, it was passed on to Oscar-winning cinematographer-turned-director Freddie Francis – himself a Hammer veteran in their psychological thrillers vein via PARANOIAC (1963) and NIGHTMARE (1964) – after Fisher bowed out due to an automobile accident. As it turned out, both non-Fisher entries – the other being prime Hammer scribe Jimmy Sangster's offbeat directorial debut THE HORROR OF FRANKENSTEIN (1970) – did not go down well at all with fans of the celebrated British studio! Although I recall a couple of matinée screenings on Italian TV in the past. I eventually caught up with THE EVIL OF FRANKENSTEIN in late 2005 while on a 3-month sojourn in Hollywood via Universal's 4-Disc 8-movie DVD collection "The Hammer Horror Series"; incidentally, that set also included two movies which, like the one under review, was padded out with extra footage for TV syndication – namely Fisher's THE PHANTOM OF THE OPERA (1962) and Don Sharp's KISS OF THE VAMPIRE (1963; retitled KISS OF EVIL) – which I will be checking out later on during this month as part of my ongoing Halloween marathon.Hammer stalwart Peter Cushing reprises his signature role of Baron Victor Frankenstein but, although there is a reference here to his past crimes, the flashback in question is not imported footage from the original entry THE CURSE OF FRANKENSTEIN (1957) but one shot expressly for this film and featuring the actor playing The Creature here, namely professional wrestler Kiwi Kingston (at one point, shown munching ravenously on a flock of sheep and even suffering from debilitating migraine attacks)! Indeed, oddly enough, this entry discounts completely its predecessor – THE REVENGE OF FRANKENSTEIN (1958) – just as the above-mentioned Sangster film did the rest of the series!! As the film begins, Cushing is fleeing the village he has relocated to after the events of CURSE because of further grave-robbing antics and, with his new assistant Sandor Eles, returns secretively to his family mansion in Karlstaad with the intention of selling off its precious possessions in order to fund his future experiments in electrical reanimation of dead tissue. As it happens, Frankenstein's hometown is being visited by a circus troupe and, after falling foul of burgomaster David Hutcheson and Chief of Police Duncan Lamont, a masked Cushing and Eles find themselves "volunteering" for the act of hypnotist Peter Woodthorpe; taking refuge inside a cave along with deaf-mute Katy Wild (which was rendered thus by her meeting with The Creature during the aforementioned flashback), Cushing fortuitously stumbles on Kingston's body perfectly preserved in a glacier. Needless to say, the irrepressible scientist contrives to transport the body to his now-dilapidated mansion and engages Woodthorpe's services to reanimate it when the proverbial thunderstorm fails to do the trick. Unfortunately for him, the latter turns out to be the real villain of the piece – assaulting the deaf-mute girl and keeping her against her will in the dungeons, tormenting the chained monster and, worse still, ordering it to dispose of the local authority figures who had earlier humiliated him by stopping his public performance to apprehend Cushing and Eles! The film was a potentially momentous co-production with Universal Studios which, 30 years previously, had made its own classic versions of the tale with Boris Karloff; this allowed Hammer to utilize for the first time a variation on the iconic Jack Pierce make-up design for the Frankenstein monster which, despite the ubiquitous Roy Ashton's involvement, lends the resultant square-headed creature a decidedly ludicrous appearance. Similarly the screenplay penned by John Elder (a pseudonym for Hammer stalwart Anthony Hinds) is a subpar hodge-podge of old Universal themes: from drunken, embittered villagers bemoaning their kin's unkind fate at the hands of The Creature to pompous figures of authority harassing the titular aristocrat to vengeful travelling charlatans taking advantage of the latter's wandering creation.Unfortunately, despite good intentions all round, the full-blooded Hammer magic fails to strike here; perhaps this was the main reason why the film was eventually trimmed in spots but also had an additional 13 minutes interpolated into the narrative for its U.S. TV screenings. Even so, these extra scenes – notably featuring Hollywood character actor Steven Geray as a sympathetic doctor – add very little of substance or entertainment value that make one wonder who was actually responsible for them! Indeed, this "Extended TV version" is apparently so rare that I could only come across a hazy and wobbly copy culled from Australian TV!!