FRANKENSTEIN: THE TRUE STORY (1973), is a two-part TV miniseries (similar to SALEM'S LOT) whose title suggests a riposte to the wealth of looser Frankenstein adaptations that were proliferating at the time, particularly European efforts like LADY FRANKENSTEIN. Even so, this adapts and changes the material as much as any other version, for example introducing and fictionalising Dr. Polidori, a real-life acquaintance of Mary Shelley, who James Mason plays as an important character in the story. Those of us au fait with the Hammer films will find much to enjoy here too with an adaptation which is less salacious, more serious, more prim and proper in many respects, more like a period drama than a full-blooded horror feature. The production values are high and the visuals are very well handled, particularly the impressive locations.
The horror is implied rather than explicit here, although there are some choice moments and one horrific beheading which is perhaps all the more harrowing when we don't physically see the act. Leonard Whiting's rather shallow Victor is a weak point - he's young and good-looking, but lacks the gravitas of a Cushing or Clive - but others like the aforementioned Mason alongside David McCallum and Jane Seymour are decent and Michael Sarrazin's Creature is handled in a welcome non-exploitative way. At three hours in length it's an undeniable slow-mover, but I enjoyed this all the way through, particularly a gatecrashing set-piece that eclipses the one in THE REVENGE OF FRANKENSTEIN. The writers also go out of their way to avoid the old lightning/electrical tropes, coming up with solar power and flammable liquid (!) as novel methods of creating life. This isn't as entertaining as the better films in the Hammer Frankenstein cycle but it holds its own well enough and I rather liked it.
The horror is implied rather than explicit here, although there are some choice moments and one horrific beheading which is perhaps all the more harrowing when we don't physically see the act. Leonard Whiting's rather shallow Victor is a weak point - he's young and good-looking, but lacks the gravitas of a Cushing or Clive - but others like the aforementioned Mason alongside David McCallum and Jane Seymour are decent and Michael Sarrazin's Creature is handled in a welcome non-exploitative way. At three hours in length it's an undeniable slow-mover, but I enjoyed this all the way through, particularly a gatecrashing set-piece that eclipses the one in THE REVENGE OF FRANKENSTEIN. The writers also go out of their way to avoid the old lightning/electrical tropes, coming up with solar power and flammable liquid (!) as novel methods of creating life. This isn't as entertaining as the better films in the Hammer Frankenstein cycle but it holds its own well enough and I rather liked it.