Roger Corman’s “Frankenstein Unbound” (1990) is a fascinating work that deserves rediscovery, and not simply because we lost Corman this year and this was the last film he ever directed.
While Corman’s body of work is a tall stack of cheaply made independent films, most of which have been deemed “schlock” or B-movies, Corman’s shoot-fast-and-inexpensively mode of filmmaking not only resulted in many drive-in classics but also inspired and launched dozens of careers.
Under Corman’s mentorship and collaboration in front of and behind the camera, Corman gave early breaks and creative opportunities (and this is just a small list) Martin Scorsese, Francis Ford Coppola, Ron Howard and Jonathan Demme.
Corman made numerous films with Vincent Price and Peter Fonda, though he also gave Jack Nicholson the string of opportunities, in front of and behind the camera, that led to his breakthrough.
Corman died earlier this year at the age of 98 and directed about 54 movies (I say “about” because a few instances where he went uncredited but is still noted as being the maestro behind the camera).
Corman’s works were often defined by their low budget and sensational titles, ranging from exploitative creature features (such as “Attack of the Crab Monsters” in 1957), his series of Edgar Allen Poe adaptations (the best of which is “The Pit and the Pendulum” from 1961) and “hippie” features (the best is the Peter Fonda/ Dennis Hopper starring “The Trip,” released in 1967 and written by Nicholson!).
Most film aficionados know Corman directed the original black and white, dirt cheap and hilarious “The Little Shop of Horrors” (1960), which not only featured Nicholson in his first scene-stealing role but was reported shot in 48 hours.
Corman’s tireless work ethic and prolific body of work (which includes creating multiple companies and mini studios) remain legendary.
So why is Corman’s “Frankenstein Unbound” so remarkable? It brought Corman out of semi-retirement after a decade and was his only big-budget film, released by 20th Century Fox.
Based on Brian Aldiss’ imaginative 1973 novel and featuring the kind of all-star prestige cast that would be the envy of most mainstream films, “Frankenstein Unbound,” which was filmed in Italy and co-written by Corman and ex-movie critic F.X. Feeney, wound up being a footnote upon release.
Critics were mixed in their response and, in interviews, Corman sounded unhappy with the end result. Viewed today with a greater understanding of how it bookends Corman’s body of work and in proper context from the misleading promotional campaign, it feels like a lost gem.
John Hurt stars as Dr. Buchanan, a mad scientist in the 21st century who creates a time tunnel that sucks him from the year 2031 into 1817. Dr. Buchanan realizes he is now in Switzerland and has only his futuristic talking car (think Knight Rider, only much sleeker) to aid him.
After stumbling into a local pub Dr. Buchanan realizes that he is in the midst of Mary Shelley (Bridget Fonda), who is being wooed by Lord Byron (Jason Patric) and Percy Shelley (Michael Hutchence, the late lead singer of INXS!).
Stranger still, Dr. Buchanan meets Dr. Frankenstein (Raul Julia) and his Monster (Nick Brimble)- Mary Shelley is writing her book “Frankenstein- The Modern Prometheus,” based on the events that Buchanan witnesses.
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Corman’s enjoyable, weird sci-fi period piece is something of a Frankenstein’s Monster itself. Sometimes the sets look laughably cheap. Later, he cuts to gorgeous Italian exteriors and exquisite locations.
The special effects are also that way, ranging from jaw dropping (that time ribbon in the sky is awesome) to silly (the overuse of theatrical lighting during the climax is shameless).
The actors take this seriously and manage to keep it grounded, starting with Hurt, who was always game for anything and gives this total conviction. Likewise, Julia, a superb actor we lost too soon, whose haunted eyes make him ideal as Frankenstein.
As evidenced by what he contributes here, Hutchence could have been a character actor – it’s surreal watching him share a scene with Fonda, Hurt and Patric. Best of all is Brimble, a scene stealer as Little John in “Robin Hood: Prince of Thieves” (1991), who is great and formidable as The Monster.
John Hurt watching as Roger Corman directs FRANKENSTEIN UNBOUND. pic.twitter.com/7tfmhG4in0
— Peter Avellino (@PeterAPeel) May 12, 2024
Add Carl Davis’ grand score and some arresting visuals (like that killer closing shot) and you have an overachiever of a B-movie that somehow managed a dream cast and an $11 million budget. The screenplay is overstuffed with ideas about the monstrous possibilities of science and humankind, as Buchanan’s contribution to science is every bit as devastating as Frankenstein’s playing God.
Corman’s final film only stumbles when it tries to add genuine shock to an otherwise charming fantasy. The moments where The Monster yanks out a heart or appendage are clumsily handled and out of place.
In terms of tone and what “Frankenstein Unbound” feels like: this will sound like a backhanded compliment (and it’s not) but this feels like an all-star episode of “Quantum Leap.”
Unfortunately, “Frankenstein Unbound,” was advertised as an all-out horror movie, complete with a riveting trailer (set to Chris Young’s scary “The Fly II” score) that made it look much heavier than it is. Corman’s film was in theaters briefly and only flourished later on home video.
Corman’s best film remains the startling, ahead of its time “The Intruder” (1962) the searing drama with a riveting lead turn from William Shatner; it’s another hall-of-famer for Corman and Shatner but few have seen.
If cinephiles want to program a night of Corman’s greatest hits, I’d recommend “The Little Shop of Horrors,” “The Intruder,” “X-The Man with the X-Ray Eyes” (1963) and finishing off with the one where Julia’s Buchanan shows Fonda’s Shelley her face on the cover of the book she has yet to write.
Corman’s movies are akin to the tastiest, most buttered and crunchiest bag of popcorn you’ve ever had.
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