Hellen I like the storyline of this show,it attract me so much

Clevercell Very disappointing...

Dotsthavesp I wanted to but couldn't!

Maleeha Vincent It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

Jackson Booth-Millard The first Frankenstein film from British Hammer (Horror) Studios was very good, the second film was alright, and the third was terrible, this fourth film has been described as the best by fans of the series, directed by Terence Fisher (Dracula, The Hound of the Baskervilles, The Mummy). Basically Baron Victor Frankenstein (Peter Cushing) has been reanimated and awoken from a frozen state, he confirms with his colleague Dr. Hertz (Thorley Walters) he has proved with this experiment that the soul does not leave the body instantly after death. Frankenstein believes he can transfer the soul from a recently deceased body into another recently deceased body and restore it to life. Frankenstein's lab assistant Hans Werner (Robert Morris) is the lover of Christina (Susan Denberg), daughter of innkeeper Kleve Herr (Alan MacNaughtan), Christina's entire left side is disfigured and partly paralysed, she is constantly taunted by young dandies Anton (Peter Blythe), Johann (Derek Fowlds) and Karl (Barry Warren). Hans becomes angered by the three mocking Christina for her deformities, he fights with them and cuts Anton's face with a knife, Kleve later throws the the three men out for refusal to pay, they return to steal alcohol, and Kleve catching them is beaten to death by them. Hans, the son of a murderer notorious for his short temper, is convicted, despite Frankenstein and Hertz's defence against him, Hans is found guilty and sentenced to death by guillotine, the three are delighted, Frankenstein sees this as an opportunity to get hold of Hans' fresh corpse. Christina is devastated following Hans' execution, and feels guilty not defending him in court, she commits suicide and drowns jumping into a river from a bridge, her body is brought by peasants to Hertz, he and Frankenstein carry out the experiment, transferring Hans' soul into Christina's body, and following months of treatment they also cure her deformities. The result of the experiment is a physically healthy female with no memory, she keeps asking who she is, Frankenstein insists she is told nothing but her name and keeping her in the house, but she does eventually regain her memory of who she is, Christine is taken over by the vengeful spirit of Hans. Christina, driven mostly by the spiritual intentions Hans, kills Anton, Karl and Johann, Frankenstein and Hertz become suspicious of her behaviour and the killings, they believe she subconsciously has memories of her father's death, but it is too late when they realise it is Hans' soul controlling her. Christina goes to the where Hans was executed, upon holding Hans' severed head, his ghostly voice tells Christina to avenge his death, she is chased by Frankenstein who is willing to tell her the truth about her identity, but Christina has no one left to live for, and jumps from edge of a waterfall, Frankenstein is saddened and silently walks away. Also starring Duncan Lamont as The Prisoner, Peter Madden as Chief of Police, Philip Ray as Mayor, Ivan Beavis as Landlord and Colin Jeavons as Priest. Cushing remains dependable as the maddened scientist, the twist with this story is taking the mind of a wrongfully killed man and putting it in another reconstructed body, so it isn't quite the usual body put together to make a monster, it is a little slow in places, but there are gory moments and intrigue to keep you going, all in all it is an interesting horror film. Worth watching!

LeonLouisRicci Director Terence Fisher and Hammer Studios Deviate a bit from Format here with this the Fourth of Seven in the Frankenstein Series. Although Unorthodox and not what the Fans were Familiar with, the Talented Peter Cushing, Fisher, and the Hammer Crew made this one a welcome Diversion.It still Delivered the Standard Hammer Look, with its Color Template, always Interesting Mad Labs, Gore, and a Beautiful Woman in a very Low Cut Dress. Notable, in the Title Role, Susan Denberg (Playboy Playmate, Aug.1966) Shows Competent Acting beneath the Dubbing and Lights Up the Screen. The Story Drags somewhat here and there but always Manages to Return with something Interesting. This Time there is a Metaphysical Soul-Transference. The Details are Sketchy but the Horror-Sci-Fi-Fantasy Moves right Along.Cushing Shines once again as the Ultra-Focused Frankenstein who Quips "If they gave out a Ph.D in Witchcraft, I'm sure I would qualify." If They gave out Awards for B-Movie Excellence with Longevity, Hammer Films would more than Qualify.

TheLittleSongbird Not the best of the series, I do put Curse of Frankenstein, Revenge of Frankenstein and Frankenstein Must Be Destroyed above it, but it is much better than Evil of Frankenstein and Horror of Frankenstein(both of which are from personal opinion among Hammer House of Horror's weakest).Frankenstein Created Woman does take time to get going, like Evil and Horror except not as badly(Created Woman's story is actually interesting). More could have been done with Anton's death scene which is too brief and lacking in tension(again personal opinion), considering that out of the three men he's the one you hate the most.Frankenstein Created Woman is well made though, not as much as Curse, Revenge and Destroyed but the photography is top notch, having a beautifully dream-like and deliciously macabre quality to it(especially the shots of the guillotine, they gave me chills), the costumes are sumptuous and the sets do give off the appropriate Gothic atmosphere. Some say that it looks skimpier compared to Curse, Revenge and Destroyed, others will argue that it matches the grimmer tone compared to the other Hammer Frankenstein films, this viewer belongs in the latter camp. Terence Fisher shows that he is more than up to the job, it's a taut directing job that shows a mastery of mood and atmosphere with striking visuals to match, while the music score is appropriately eerie.The script explores several different elements(including psychological horror, sensuality, fear presented in a fairy-tale-like way and humour) and actually balances them very neatly. that was refreshing after seeing too many films with scripts and plots that try to do too much and come over as under-explained and muddled. The humour is very witty too, did get a good laugh at Frankenstein's very short and blunt answer to "Do you expect us to believe this childish rubbish, sir? Do you take us for fools?". The story is the most ambitious of the Hammer Frankensteins and is very different for them, the soul transference a really interesting concept and it was done more than adequately, though even more maybe could have been done with it. Even with the slow start, the story is always engaging and has enough suspense and excitement to keep one engrossed(the beginning is remarkably powerful and Christina's conversing with Hans's severed head is one Hammer's most chilling scenes), sure it does get very daft in places and has logic lapses galore but that is not unusual for Hammer and it's part of the charm.The characters carry the film very well, it is easy to feel sympathy for Christina and Hans and feel repulsion for Anton, Karl and Johann. Frankenstein as ever is entertaining and while he's clearly "evil" he does show a sympathetic side too. Peter Cushing is terrific as he always was as the definitive interpretation of the Baron and Thorley Walters gives amusing and sympathetic support. Of the supporting cast, faring the best were Susan Denberg who is a creepy and poignant(not to mention sexy) Christina and Peter Blythe who is chillingly vile as Anton. Robert Morris is movingly engaging as Hans, and while Johann is a very atypical role for Derek Fowlds he does do very well with the character. All in all, a solid as rocks fourth entry of the Hammer Frankenstein series and an example of being ambitious paying off. 8/10 Bethany Cox

Scott LeBrun The eternally driven Baron Frankenstein, once again played with utter conviction by the great Peter Cushing, gets resurrected in this entertaining sequel, thanks to the work of his associate Dr. Hertz (Thorley Walters) and their assistant Hans (Robert Morris). Never content to let time go to waste, the Baron soon sets about to experiment with life after death, this time focusing on what to do with the soul once a body has transpired. But tragedy intervenes: three loutish spoiled-brat rich boys kill Kleve (Alan MacNaughton), the proprietor of an inn and father to Christina (Susan Denberg), a young woman whose beauty is marred by deformity. Hans is convicted of the crime and beheaded, and a grief stricken Christina immediately commits suicide. So the Baron and Hertz swing into action quickly, appropriating the bodies of Hans *and* Christina and transferring Hans' soul to Christina's body. The twist there is that naturally Hans' soul isn't at rest and is hungry for revenge.Director Terence Fisher is in fine form with "Frankenstein Created Woman", making the most of the gimmick of a comely young female Frankenstein "monster", who is only made more beautiful by the surgery performed by the Baron and Hertz. The story by John Elder is engrossing and making it come to life are a fine group of actors who deliver memorable performances. Walters is delightful as a doddering old man with enough affection for his colleague that he allows himself to be manipulated, then proves himself quite capable of manipulation in one scene where he blackmails a jailer. Morris and Denberg are very appealing as the couple at the centre of the story. Denberg also does well at being seductive in the later portions of the film, even showing more leg than you'd expect to see in this sort of period piece. Peter Blythe is excellent as Anton, the nastiest of the three troublemakers who also include Karl (Barry Warren) and Johann (Derek Fowlds). Peter Madden, playing the Chief of Police, has a great character face.The usual Hammer suspects do their typically exemplary work: James Bernard as the composer, Arthur Grant as the cinematographer, Bernard Robinson as the production designer, and James Needs as the supervising editor. Creation of atmosphere and maintaining of pace are also up to par.Overall, fine entertainment for Hammer devotees.Seven out of 10.