LADY FRANKENSTEIN was originally released in 1971 as LA FIGLIA DI FRANKENSTEIN. This Italian production is inspired by the Hammer Frankenstein series. This means shadowy corridors, beautiful women with big breasts, and other gothic trappings (everything that makes for delectable drive-in fare). Though filmed in Italy, the film is directed by an American, Mel Welles, the man who played Mr. Mushnick in the original LITTLE SHOP OF HORRORS. LADY FRANKENSTEIN boasts an impressive international cast including Joseph Cotton as the Baron, Paul (VAMPYROS LESBOS) Muller, Mickey (HERCULES VS. THE HYDRA) Hargitay, and the luscious Rosalba CASTLE OF FU MANCHU) Neri as the Baron’s daughter. Roger Corman’s New World Pictures picked up the film for U.S. release, and LADY FRANKENSTEIN played on the exploitation circuit before fading into relative obscurity. Now in the digital age, these old classics are being given new life by the likes of Anchor Bay and Image. The aficionados at DVD-Drive-In are the latest to join the Euro-horror resurgence with their debut release of LADY FRANKENSTEIN. In terms of content and enthusiasm alone, the DVD-Drive-In version outshines similar efforts from those other two companies.

Baron Frankenstein (Cotten) and his faithful-but-questioning co-conspirator, Charles (Muller) is on the verge of fulfilling the Baron’s dream of breathing life into the dead. They have fashioned a suitable host body by purchasing human organs and limbs from some local ghouls (including a hunchback). Just when their plan is about to come together, the Baron’s seductive daughter, Tania (Neri) returns from medical school, now a full-fledged member of the surgeon’s trade. She reveals to the Baron that she has always had an interest in his work. Due to the illegal nature of his experiments, the Baron objects to Tania’s involvement in his ‘research’. After implanting the final pieces of the surgical puzzle--the brain and the heart--the two doctors bring the body to life via an electrical storm. However, the creature is not happy to be undead, and crushes the Baron before walking out of the castle. The monster proceeds to wreak havoc on the villagers traversing the countryside. This prompts the attention of Constable Harris (Hargitay) to investigate the murders.

Meanwhile, Tania plans to cover-up the circumstances surrounding her father’s death and the presence of the monster plaguing the countryside. To save her family’s name and honor, Tania enlists the aid of her father’s associate, Charles, to join her insane schemes. She seduces Charles and promises him her affections if he is willing to undergo an operation to make him the next member of the undead. She tasks Charles with killing the dumb manservant, so his oversized body will prove to be a worthy adversary for her father’s monstrous creation. As they get nearer and nearer to their goal, Constable Harris gets closer and closer to the truth. The villagers encounter the renegade monster and figure out that the ungodly creature is a product of the Frankenstein clan, so they form a lynch mob and head to the castle. The monster itself sets its sights on killing the inhabitants of Castle Frankenstein. Tania’s new creation (with the brain of Charles guiding it) revives just in time to combat the rampaging monster!

Mel Welles’ script addresses many issues including feminism, sexism, and God complexes. Basically, the character of Tania proves that a well-bred, intellectual woman can be just as sick, horny, and evil as us males. Initially, she is motivated to commit acts of heresy to save the name and honor of her family. But as soon as she gets deeply entrenched into the situation, she resorts to murder to get what she wants. And what she wants is a lover with the body of a handsome man with the mind of an intellectual. Her skills as a surgeon/scientist create a superior undead being in far less time than her father. But her desires eventually become her undoing. The script is not without some flaws however, such as the knack of not following up on plotlines or character motivations. At one point, Tania looks ready to accept the monster that killed her father; it is this brutal act of murder that sets her on a course to destroy her father’s creation, so why should she want to save it?

LADY FRANKENSTEIN aspires to Hammer Film quality, and reaches this in some capacity (the big breasts and gothic eccentricities, for example). The character portrayals and dialog are presented as nimbly as a Hammer production, and even the dubbing can’t take away from this. But the film suffers when it comes to the action sequences. When the monster first attacks Baron Frankenstein, it slips a weak-looking bear hug that wouldn’t fool a professional wrestling fan. Then we see the monster roving the countryside killing its victims. The direction during these scenes is amateurish and as a result the scenes that are supposed to terrify the audience just generate no tension whatsoever. This holds true for the climatic sequence later on when the villagers finally attack the creature—another badly staged action set piece. The monster itself is fearsome enough. The creature is a lanky seven feet tall, with a misshapen skull, and a ripped-up face (courtesy of the lightning storm that revived him). The monster kills most of his victims by grasping their throats and throttling them, which does not look very convincing, despite his supposed superhuman strength.

There are some fine performances by all the cast members. Joseph Cotton gets killed early, and probably only did the role for a quick paycheck (condo payment maybe?). Nevertheless, a nice showing as the Baron, just not as good as Peter Cushing (but better than Kenneth Branaugh). Mickey Hartigay gets a choice role as the investigator who keeps showing up at the most inopportune times, and his character is obviously patterned after Columbo. Paul Muller (who resembles Joe Flaherty here) is good as his character is continuously struggling with his conscience. Rosalda Neri steals the show, of course, as Frankenstein’s daughter. She is graceful, intelligent, and a manipulative bitch all at the same time--everything you could ask for in a femme fatale. Neri is even dubbed by a voice actress who adds style and class to her delivery. Neri is a true B movie goddess who has appeared in everything from Peblums, to Spaghetti Westerns, to Jess Franco epics.

DVD Drive-In’s disc contains a treasure trove of extras including a Euro-horror trailer collection that’ll knock your socks off. You’ find trailers for THE NIGHT EVELYN CAME OUT OF THE GRAVE, LEGEND OF THE WOLF WOMAN, BEYOND THE DOOR, BEYOND THE DARKNESS, THE NIGHT CHILD, and a cool triple bill showing of REVENGE OF THE LIVING DEAD, FANGS OF THE LIVING DEAD, and CURSE OF THE LIVING DEAD. There are talent bios for Mickey Hartigay, Joseph Cotton, Rosalba Neri, Paul Muller and Herbert Fux. The disc also features production stills from Mel Welles private collection, including some nude shots of sexy Rosalba Neri (guaranteed to get your pulse racing). Speaking of Neri, there is an interview with her as she reminisces about working on the film. Then you can witness director Mel Welles discuss the evolution of LADY FRANKENSTEIN. I don’t want to spoil the specifics, but the film has a very interesting history. The only thing missing is an commentary with Welles. But overall a great treatment of this cult title from DVD Drive-In.

- Phil Chandler

 BACK TO REVIEW INDEX