HOUSE OF FRANKENSTEIN (Universal, 1944), directed by Erle C. Kenton, returns Boris Karloff to the "Frankenstein" series, but not as the Monster, the role he immortalized in FRANKENSTEIN (1931); BRIDE OF FRANKENSTEIN (1935) and SON OF FRANKENSTEIN (1939). Instead, he stars as Doctor Gustav Nieman, a semi-mad scientist serving time in prison, accompanied by his hunchback assistant, Daniel (J. Carroll Naish). Nieman. Neimann is a follower of the late scientist who created a fiendish monster from dead bodies years ago, and plans on following through with Frankenstein's experiments. With a stroke of luck, lightning strikes over the prison, breaking down the wall, causing Niemann and Daniel to be set free. The two men soon happen upon a traveling sideshow consisting of a museum of horrors. After doing away with the carnival owner, Professor Bruno Lampini (George Zucco), they take control of his wagon consisting the body of Count Dracula (John Carradine). Nieman removes the stake from his heart and the skeleton remains of Dracula transforms itself into human form, resurrecting the vampire from the dead of eternal condemnation. Nieman then uses Dracula to help him kill the men responsible for sending him to prison, particularly Burgomaster Hussman (Sig Rumann). After doing his evil deeds, Dracula meets his doom when unable to return to his coffin by sunset. Next Niemann and Daniel find themselves taking in an abused gypsy girl, Ilonka (Elena Verdugo), whom Daniel cares for and loves. After locating the remains of Frankenstein's Monster (Glenn Strange), frozen beneath the ice of the Frankenstein castle, along with the Wolf Man (Lon Chaney Jr.), thus picking up where FRANKENSTEIN AND THE WOLF MAN has left off, Niemann sets them free. Neimann promises to end Lawrence Talbot's werewolf curse through the operation of a new brain but is in need of locating Frankenstein's thesis, "The Secret of Life and Death." After it is found, Niemann shows more interest in reviving the unconscious monster than helping Talbot. More conflicts arise when Ilonka shows more interest in Talbot than with Daniel, leading to his jealousy and madness.
HOUSE OF FRANKENSTEIN repeats the formula used in the previous Monster feast, FRANKENSTEIN MEETS THE WOLF MAN (1943), in which the story brings together legendary monsters into one single film, this time combining the elements of Count Dracula, The Wolf Man and Frankenstein's Monster. However, instead of featuring them all together in one set plot, which could have worked a whole lot better, this production is actually three separate stories in one with Doctor Niemann as the focal point. Although HOUSE OF FRANKENSTEIN does have the makings of a great horror film, in many ways, probably looked better in script form. The biggest weakness is cramming so many incidents into 70 minutes, leaving no time for plot development and character study. The best segment is one involving Count Dracula. For reasons only known to Universal, John Carradine steps in as the Count rather than its originator, Bela Lugosi. Carradine, however, makes a good substitute, giving a new dimensional look to the Dracula legend: tall, thin, supporting a mustache, creepy eyes, and no Hungarian accent. Carradine's Dracula walks about with top hat and cane under the alias of Baron LaToes.
As for Chaney, his transformation scenes from wolf man to Talbot, etc., and special effects that go with it, are still first rate. Along with Dracula, the Wolf Man isn't given much to do, and neither does the Monster. Of the actors chosen to play Frankenstein's Monster, Glenn Strange is probably the worst, playing him more like an imbecile, leaving nothing to the character created by Karloff. By this time, the stories contradict the previous films. (Wasn't Ygor's brain placed in the Monster's head in THE GHOST OF FRANKENSTEIN? Now, what happened to Ygor?). Why can't the Monster talk?
Although HOUSE OF FRANKENSTEIN relatively belongs to Karloff and Naish, Naish comes off best. Regardless that his character kills as ordered by his master (Karloff), Naish's Daniel is a sympathetic portrayal, naive and caring, in the way Lon Chaney Sr. might have played him had assumed this particular role. His Daniel also continues to care for the gypsy girl knowing that she has lost interest in him.
In spite of its title, there are no characters in the film bearing the Frankenstein name, and if the name Frankenstein is associated with the Monster, he's hardly there. This is also the only known film in which Lawrence Talbot is referred to as The Wolf Man. Lionel Atwill, who previously appeared in earlier Frankenstein segments starting with THE SON (1939), returns once more, and again, in a different portrayal, this time as Inspector Arnz in the earlier portion involving Dracula. His scenes, too, are brief.
The supporting cast also includes the Universal stock company of Anne Gwynne as Rita Hussman Peter Coe as her husband, Carl; Brandon Hurst as Doctor Geissler; with Philip Van Zandt as Inspector Muller; Frank Reicher as Ullman; and Brandon Hurst as Doctor Geissler.
Contrary to the outcome of HOUSE OF FRANKENSTEIN, Universal would repeat this formula again in its next sequel, HOUSE OF Dracula (1945). And after running out of houses, Universal would end it all by having their studio monsters meeting up with Abbott and Costello before the end of the decade.
HOUSE OF FRANKENSTEIN, which is available on video cassette, did enjoy frequent revivals and resurrections on local commercial television stations for many years starting from the late 1950s before heading over on cable channels where they were shown on the Sci-Fi Channel, American Movie Classics (prior to 2001) or Turner Classic Movies (TCM premiere: October 9, 2016). To really enjoy HOUSE OF FRANKENSTEIN is to not take it too seriously, accepting it for what it is, a campy horror film. (**1/2)
HOUSE OF FRANKENSTEIN repeats the formula used in the previous Monster feast, FRANKENSTEIN MEETS THE WOLF MAN (1943), in which the story brings together legendary monsters into one single film, this time combining the elements of Count Dracula, The Wolf Man and Frankenstein's Monster. However, instead of featuring them all together in one set plot, which could have worked a whole lot better, this production is actually three separate stories in one with Doctor Niemann as the focal point. Although HOUSE OF FRANKENSTEIN does have the makings of a great horror film, in many ways, probably looked better in script form. The biggest weakness is cramming so many incidents into 70 minutes, leaving no time for plot development and character study. The best segment is one involving Count Dracula. For reasons only known to Universal, John Carradine steps in as the Count rather than its originator, Bela Lugosi. Carradine, however, makes a good substitute, giving a new dimensional look to the Dracula legend: tall, thin, supporting a mustache, creepy eyes, and no Hungarian accent. Carradine's Dracula walks about with top hat and cane under the alias of Baron LaToes.
As for Chaney, his transformation scenes from wolf man to Talbot, etc., and special effects that go with it, are still first rate. Along with Dracula, the Wolf Man isn't given much to do, and neither does the Monster. Of the actors chosen to play Frankenstein's Monster, Glenn Strange is probably the worst, playing him more like an imbecile, leaving nothing to the character created by Karloff. By this time, the stories contradict the previous films. (Wasn't Ygor's brain placed in the Monster's head in THE GHOST OF FRANKENSTEIN? Now, what happened to Ygor?). Why can't the Monster talk?
Although HOUSE OF FRANKENSTEIN relatively belongs to Karloff and Naish, Naish comes off best. Regardless that his character kills as ordered by his master (Karloff), Naish's Daniel is a sympathetic portrayal, naive and caring, in the way Lon Chaney Sr. might have played him had assumed this particular role. His Daniel also continues to care for the gypsy girl knowing that she has lost interest in him.
In spite of its title, there are no characters in the film bearing the Frankenstein name, and if the name Frankenstein is associated with the Monster, he's hardly there. This is also the only known film in which Lawrence Talbot is referred to as The Wolf Man. Lionel Atwill, who previously appeared in earlier Frankenstein segments starting with THE SON (1939), returns once more, and again, in a different portrayal, this time as Inspector Arnz in the earlier portion involving Dracula. His scenes, too, are brief.
The supporting cast also includes the Universal stock company of Anne Gwynne as Rita Hussman Peter Coe as her husband, Carl; Brandon Hurst as Doctor Geissler; with Philip Van Zandt as Inspector Muller; Frank Reicher as Ullman; and Brandon Hurst as Doctor Geissler.
Contrary to the outcome of HOUSE OF FRANKENSTEIN, Universal would repeat this formula again in its next sequel, HOUSE OF Dracula (1945). And after running out of houses, Universal would end it all by having their studio monsters meeting up with Abbott and Costello before the end of the decade.
HOUSE OF FRANKENSTEIN, which is available on video cassette, did enjoy frequent revivals and resurrections on local commercial television stations for many years starting from the late 1950s before heading over on cable channels where they were shown on the Sci-Fi Channel, American Movie Classics (prior to 2001) or Turner Classic Movies (TCM premiere: October 9, 2016). To really enjoy HOUSE OF FRANKENSTEIN is to not take it too seriously, accepting it for what it is, a campy horror film. (**1/2)