Frankenstein 90 (1984) - film review

A scientist Victor, a direct descendent of the infamous Baron Frankenstein, assembles bodies parts to create a new kind of human being, animated with an electronic brain.  The creature, Frank, is well-mannered and affectionate, but is occasionally prone to acts of unintended violence.  Seeing that his creation is strongly attracted towards women, Victor creates a female companion for him.  But then, like his legendary forebear, humankind turns against Victor.  Distraught and alone, the creature takes sanctuary in the home of his ancestors, Castle Frankenstein...

Frankenstein 90 is one of the most unusual remakes of the original Hollywood Frankenstein films of the 1930s (it is far nearer to these films than to the original Mary Shelley novel).  For one thing, it is French black comedy, quite different to the kind of comedy an American would be use to.  There is plenty of horror in the film, and a few genuine shocks (for example, the bodies of some night club dancers hung up in a refrigerator), but this nearly always has the effect of heightening the comedy rather than attempting frighten.

The film is not without its faults, it has to be said.  The action is a little directionless in places, the attempts to follow the original, familiar Frankenstein story occasionally appear contrived and artificial, and the surreal ending is completely baffling.  However, all this must be set against some very strong pluses.  The story of the creature is told with genuine pathos, perhaps more effectively than the original Frankenstein films, and there are some very poignant moments.  This is down largely to a remarkable performance from Eddy Mitchell who, a charismatic actor and international sex symbol, is probably the last person you would expect to see playing Frankenstein’s monster.  Mitchell not only has the right physique, dominating ever scene he appears in, but he brings surprising sympathy and humanity to a very unusual role.  This is arguably among his best film appearances to date.

Unfortunately, Michell’s noteworthy performance is not matched by his co-stars, whose own characters desperately lack depth and impact.  What rescues the film, apart from Eddy Mitchell, is the updated laboratory scenes.  The science is unashamed gobbledegook, but the flashing lights and array of scientific paraphernalia, filmed through what resembles the voyeuristic lens of a Hammer horror film from the 1960s, is nonetheless quite impressive.

© James Travers 2000

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