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UK 1984
produced by
Yorkshire Television
directed by James Ormerod
starring Robert Powell, David Warner, Michael Cochrane, Carrie Fisher, John Gielgud, Terence Alexander, Susan Wooldridge, Graham McGrath, Edward Judd
screenplay by Victor Gialanella, based on the novel by Mary W. Shelley, special makeup effects by Jim Gillespie


review by
Mike Haberfelner

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Elizabeth (Carrie Fisher) is worried about her fiancé Victor Frankenstein (Robert Powell), who spends way too much time in his lab and way too little time with her. So she invites his best friend, Henry (Michael Cochrane) around to the castle to check up on Victor - but Victor has no problems making Henry, a brilliant surgeon, an ally in his experiments, which are - raising the dead of course. They really bring a dead man with a new brain back to life, but when the laboratory goes up in a series of explosions, the creature (David Warner) vanishes and is presumed dead - but of course it isn't, it finds shelter at and a friend in a blind man (John Gielgud), who teaches him to talk, to read, to quote the bible and the like, before he is killed by two cutthroats ... which makes the creature very angry.

The creature runs across Frankensteins little brother (Graham McGrath), and kills him trying to befriend him, then he meets up with Frankenstein himself, asking him to make him a companion, just like God made Eve for Adam. Frankenstein outright refuses, even though the creature has brought him a female corpse to start working on immediately. So the creature goes after Elizabeth and kills her to make his master suffer like he suffers. Frankenstein arrives on the scene - his lab, actually - just when Elizabeth breathes her last, and he blows up the place, to kill his creature as well as himself and put an end to the whole horror.


This made-for-television movie from 1984 is a rather faithful adaptation of Mary W.Shelley's famous novel that has up until then been the victim of rather free interpretations. However, in this case, a faithful adaptation is not necessarily a good thing, as the book in itself isn't too cinematic to begin with, and many of its early 19th century sentiments are not too easily adaptable with late 20th century views. But that's not even the main problem of this version of Frankenstein, the main problem is the film is simply dead boring, there is no tension, no suspense, no action, no atmosphere, no macabre details, and even the creation scene and the finale are underwhelming. The whole thing is just a rather stagey and talky retelling of some of the books main passages, with nothing added to make them work in the context of a movie. This is also mirrored in the cast, with everybody giving competent but a bit dull performances, with nobody ever pushing for greatness.

Rather a disappointment, actually.


review © by Mike Haberfelner


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Robots and rats,
demons and potholes,
cuddly toys and
shopping mall Santas,
love and death and everything in between,
Tales to Chill
Your Bones to

is all of that.


Tales to Chill
Your Bones to
a collection of short stories and mini-plays
ranging from the horrific to the darkly humourous,
from the post-apocalyptic
to the weirdly romantic,
tales that will give you a chill and maybe a chuckle, all thought up by
the twisted mind of
screenwriter and film reviewer
Michael Haberfelner.


Tales to Chill
Your Bones to

the new anthology by
Michael Haberfelner


Out now from




On the same day
a Burglar wants to kill you
and your Ex wants
to make up ...
... and for the life of it,
you can't decide


A Killer Conversation

produced by and starring
Melanie Denholme
directed by
David V.G. Davies
written by
Michael Haberfelner
Ryan Hunter and
Rudy Barrow

out now on DVD