Frankenstein Goes To Hollywood

Can’t seem to stop myself thinking up alternative Frankenstein plots now. I tried the Frankenstein in Vegas variant, TONY POLAR MEETS FRANKENSTEIN (AKA INTO THE VALLEY OF THE SHADOW OF THE DOLLS) and the Frankenstein in London one, FRANKENSTEIN HAS RISEN FROM BELGRAVIA, as well as being tickled by Douglas Noble’s suggestion of Frankenstein in Edinburgh, rubbing cadavers with Burke and Hare (after Burke is hanged, he’s horrified to wake up with his head grafted onto the body of a West Highland Terrier called Bobbie).

Frankenstein in the Future scenarios are always tempting. Since Hammer revived Dracula in A.D. 1972, and since the Baron was experimenting with freezing himself in CREATED WOMAN, why not have him come down with an incurable infection, put himself on ice, and be revived in a later age when simple antibiotics can knock his illness on the head?

FRANKENSTEIN, HITLER’S MADMAN emerges as one possibility. The quest to create the Superman has never seemed so… messy. Will the Baron save Hitler’s brain? I think he will. But horror fantasy around Third Reich themes has a tendency to get repulsively tasteless, so I shove this idea to one side.

What if the Baron revived in the ’70s, same as Dracula? But Frankenstein is on the continent, in the midst of the New German Cinema, so we get THE BITTER TEARS OF VICTOR VON FRANKENSTEIN (Fassbinder’s TV drama Pioneers in Ingolstadt also seems pertinent here). Fassbinder himself would make a great hunchbacked assistant.

I am totally up for further suggestions.

11 Responses to “Frankenstein Goes To Hollywood”

  1. Frankenstein Meets the Re-Animator

  2. Herbert West is certainly a close cousin of the Baron, psychologically. I can imagine West reanimating Frankenstein in order to probe his secrets, but finding the wily madman more than a match.

  3. Frankenstein In Space – “Igor catch those eyeballs, they’re floating off!”

    Frankenstein And The Monster From Hull?

    How about a post-apocalyptic Frankenstein where, in his half-destroyed castle laboratory (open to the elements for those all important thunder and lightning moments!) and with a half-missing face himself, he is experimenting on mutated survivors. He manages to create a beautiful woman (of course!) out of one of the mutants who he sends out to tempt various other monsters into his castle in order to create his new monster. Again he succeeds in creating the perfect male monster, who isn’t insane or homicidal. Then he realises that he has finally succeeded in fulfilling his ambitions only for it to dawn on him that there is nobody left to show his creations to and receive acclaim for. He commits suicide by opening the gates of his castle so that the mutants can enter and (of course) rip him apart in the manner of a Romero zombie film in his laboratory.

    While this is happening the male and female Adam and Eve have had a tentative romance, fallen in love and escape to an uncertain future.

  4. Frankenstein Must Destroy The NHS – An updated Britannia Hospital-style state of the nation film in which New Labour have hired him to revitalise the Health Service, giving patients the ‘choice’ over which limb they have removed in order to create a nightmarish patchwork of bureaucracy?

  5. Nice. Your apocalyptic scenario reminds me of Corman’s incoherent Frankenstein Unbound, where it looks for a brief moment as if the monster, having travelled back in time, might end up fathering the human race, which I thought would have been a BRILLIANT plot twist: Frankenstein indirectly creates us all, including himself. But the film blunders past the idea.

  6. Maybe, but I still like Roger Corman’s Frankenstein Unbound (full title) enormously. The practically uncastable Jason Patric (no one wants to work with him his such a ball of trouble) is quite good in it and the ice-covered climax makes it a fitting double feature with The Savage Innocents.

  7. How about Victor and Herbert Go Boating?

  8. Well, I DO love the line “Pull all remaining levers!” which seems like the one all Frankenstein movies aspire to contain.

    “The film came about because the studio did some marketing research a few years back, and found that a lot of people would go and see a film called Roger Corman’s Frankenstein. So they came to me and said, ‘Would you like to make a film called Roger Corman’s Frankenstein?’ And I said, ‘Funnily enough, as it turns out, I WOULDN’T.'” ~ Roger Corman.

  9. Well, given the combination of the names of Victor Frankenstein and Herbert West, you could always have a cinematic operetta called “Victor Herbert’s Toyland” — with Nathalie Dessay as the diva who suffers a thousand torments from being on the receiving end of these “toys.”

    Dario Argento could work on the screenplay, and Vanessa Redgrave could have a cameo as The Beggar Woman Who Once Had A Voice.

  10. Wow, a Frankenstein Operetta sounds utterly delirious! I naturally imagine such a thing happening in the ’30s, great era of filmed operetta and James Whale’s Frankenstein. Chevalier as the Baron, Carl Brisson as the Monster, Jeanette MacDonald as the Bride. Music by Rogers and Frankenstein.

  11. The Diary of Anne Frankenstein.

    Yup, I’m going to hell.

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