Watch Frankenstein 1970 For Free

Excellent, Without a doubt!!

Best movie of this year hands down!

It's an amazing and heartbreaking story.

I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

I thought it might have been my imagination, but another reviewer on this board confirms what I thought I saw - as the story moves along, the scar on Boris Karloff's face gets progressively worse from scene to scene. Even after I had it figured out, his face still kept changing!Well there's really only one reason to catch this flick and that's for the presence of the master, Boris Karloff himself. The story itself gets kind of schlocky and the supporting players, who don't come with a background in horror films per se, don't add a lot of tension or menace to the proceedings. There is however a smidgeon of that great pseudo-scientific babble of the Thirties and Forties offered up as part of Baron Victor von Frankenstein's operating procedure, utilizing an atomic reactor!!! to produce rebirth, along with the idea of fusing real and synthetic skin together. That's worth something to horror film fans like myself, always on the lookout for clever and unique ideas to enhance those lab experiments.If you're going to complain about how hokey the feature creature in this picture looks, do keep one thing in mind. This was an opportunity for Karloff to parlay his reputation as the icon of Universal horror by bringing two of his creations to the screen, The Frankenstein Monster and the Mummy. I don't know if that was on the filmmakers' minds when they put this thing together, but that's what I got out of it. For Karloff fans, that has to be a good thing.

WILLIAM HENRY PRATT had a long and highly prolific career in both the Legitimate Theatre, as well as in Film. His was an immense talent, which was somewhat under-appreciated for his successes in the Horror Film Genre. This is quite unfair, as his on-screen and on-stage characterizations embraced just about every type.IT IS OF course no secret that the English born thespian changed his professional name while touring Canada in theatrical companies. The chosen moniker was (Drum Roll!!) Boris Karloff. This then was a name that would become synonymous with the fright film and even up to this day, some 75 years after its original release, is so closely identified with the Monster in FRANKENSTEIN & sequels.UPON COMPLETION AND release of FRANKENSTEIN 1970 in 1958*, it was the veteran actor himself who commented that we have forgotten how to make Horror Movies. Having witnessed an early showing of the movie on WNBQ TV, Channel 5 in Chicago. It was this NBC wholly owned subsidiary and local outlet that screened the picture circa 1962, being a scant 4 years or so after its release. (This is perhaps a testimonial to the level of the movie's content) IN MUCH THE same manner as the productions of the British company, Hammer Films, the danger and horror of the Monster is given a secondary role to that of a truly evil, very mad scientist. In this case, it's one Victor Frankenstein XXVII, last of the von Frankenstein descendants.THE MOVIE TRULY misses those excellent pseudo-scientific electrical instruments of Kenneth Strickfadden, which added so much to the original Universal FRANKENSTEIN pictures. The were reprised in Mel Brooks' YOUNG FRANKENSTEIN (1974).AS TO THE supporting cast, we have Don "Red" Barry, Jana Lund, Charlotte Austin, Rudolph Anders and Tom Duggan.** Pro Wrestler, Mike Lane, is seen in a dual-role as both servant/victim Hans Himmler and as the Monster, not that one could tell; as he wore some super-gauze wrap mummy type costume that looks much like a huge tampon.*** THE OVERALL LOOK of the production is that of a 1930's "B" Picture; for which it was perfectly situated. It was an Allied Artists Productoion, which had formerly been poverty row studio, Monogram. Its main tenet about the Dr. Frankenstein wanting to continue his family's image is an element that would be at home in an old, 1930's detective story or an "Old Dark House" type of potboiler.SHOT IN A SORT of retro-futuristic motif, the story is and was disappointing to us, even as kids in the early 1960's. But it did have its moments of even a flirtation with being worthwhile.AT LEAST OUR buddy Schultz and myself saw it that way. "Was you there, Charlie?" NOTE * This makes it one of those movies & TV series where the seemingly long in the future date looses its appeal with the passing of time. Consider if you will: ROLLERBALL, 2001: A SPACE ODYSEY, 1984, SPACE 1999, etc. (No Schultz, not THE JETSONS!)NOTE ** Tom Duggan had been a crusading newsman in Chicago, who had built up a great following in that City (including our Dad, Clem Ryan, 1914-74). He had relocated to the West Coast and took jobs like this as a means of earning extra $$$$.NOTE *** Big Mike Lane, ex Footballer & Pro Grappler was fresh from his great role as Boxer Toro Moreno in THE HARDER THEY FALL (Columbia, 1956); which was Bogart's last picture.

Boris Karloff as a descendant of the mad doctor who is trying to bring the creature back to life with atomic energy.To get the money he opens his castle to a movie crew and mayhem results.Uneven horror film is very good in the Karloff monster scenes and rather poor in the soapy movie crew scenes. I don't think I'd ever really seen the whole film until Monsters HD has put it into the current rotation. I like the movie in a nostalgic sort of way and think its perfect for a dark and stormy night when a creaky black and white film (more silly then scary) is on the menu. Just keep in mind its a film from a bygone time and you'll enjoy it

This film has only ever been shown once in my neck of the woods and on a minor Sicilian TV channel at that so, despite its negative reputation, I've always wanted to see it. After all, it does have Boris Karloff playing the Baron for once…even if, for some strange reason, he is named Victor here while his notorious ancestor is called Richard!!The film's pre-credit sequence, in which a German fraulein is being pursued through the forest by a barely-glimpsed fiend is promising enough but, as it turns out, it's also the best sequence in the whole film…which ought to give you an idea about the worthiness of the whole enterprise. However, even from this first sequence, one is made aware of the sheer ineptness of the direction: it not only cuts away from one character to another with a boring regularity but the sequence is framed in such a way as to cut the creature's head off! This factor cannot be attributed to watching a pan-and-scan version because, surprisingly enough, the film was being shown in the correct widescreen ratio. This is exacerbated as the film goes along by the director's apparent refusal (in some sequences, at least) to move the camera in any way; I don't know if this was an attempt on his part to satirize the TV medium (given that it is, after all, a TV crew which impounds on the Baron's home ground) but I'd be surprised if the thought had occurred to the director in the first place. Coming hot on the heels of Hammer's full-blooded color version, it would have been a daunting task for anyone I presume… Of course, it goes without saying that Karloff gives it his all (particularly during a rehearsal for the upcoming TV show in which he narrates straight to the camera his ancestor's diabolical deeds) and sometimes it's hard to watch him simply walking around the castle as the evident strain this is having on his legs is palpable and there were a couple of times where I could have sworn he lost his footing! Even so, apparently this does not detain him from creating the monster and installing the all-important atomic reactor (which is barely glimpsed in the film anyhow) single-handedly. It's incredible to note that, despite his failing health, some of Karloff's best work - Roger Corman's THE RAVEN (1963), Mario Bava's BLACK SABBATH (1963) and Peter Bogdanovich's TARGETS (1968) - was yet ahead of him! Still, even here - with the haphazard appearance of the Baron, whose misshapen face apparently gets "lifted" every once in a while! – the film's limitations make themselves felt. And why is it that every mad scientist out there has to be an accomplished pianist as well? Why not try your hand at an electric guitar, Herr Baron…after all, we're in the age of Chuck Berry here, aren't we? Er…no - make that 1970: "Monster making is for me, like…you know…outta sight, man"!! And how about that deadening monotone music during the laboratory sequences? Also, the less said about the goofy mummy…er…monster, the better! To top it all, there's an execrable attempt at an echo but the dialogue spoken in the cavern (the site of the Doc's lab) is totally all over the place and overlaps ad infinitum!I know Joe Karlosi (if he's still around, that is) won't be too pleased with my review of this one as I know this is one of his guilty pleasures…but I have to say that my negative impressions were certainly amplified by the abysmal state (correct aspect ratio notwithstanding) of the print I watched which was replete with print damage and missing frames which not only managed to shorten the film to around 70 minutes (against the official 83!!) but also made the parts of the narrative and the revelatory climax particularly incoherent! Recently, there's been some talk of an upcoming Warners DVD of this one and, strange as it may sound, I hope it does materialize as I wouldn't put it past me to give this clunker another chance under more ideal circumstances. For the moment, however, I suppose even LADY FRANKENSTEIN (1971) is preferable…!