Plot
The aged Baron Victor Frankenstein (Cushing) is housed at an insane asylum where he has been made a surgeon at the asylum, and has a number of privileges, as he holds secret information on the asylum's corrupt and perverted director (John Stratton). The Baron, under the alias of Dr. Carl Victor, uses his position to continue his experiments in the creation of man.
When Simon Helder (Briant), a young doctor and fan of the Baron's work, arrives as an inmate, the Baron takes him under his wing as an apprentice. Together they work on a new creature. Unbeknownst to Simon, however, Frankenstein is acquiring body parts by murdering his patients.
The Baron's new experiment is the hulking, ape-like Herr Schneider (Prowse), a homicidal inmate whom he has kept alive after a violent suicide attempt and on whom he has grafted the hands of a recently deceased sculptor (Bernard Lee). Since Frankenstein's hands were badly burned in the name of science (perhaps in either The Evil of Frankenstein or Frankenstein Must Be Destroyed), the shabby stitch-work was done by Sarah (Madeline Smith), a beautiful mute girl who assists the surgeon, and who is nicknamed "Angel". Simon tells the Baron that he is a surgeon, and the problem is solved.
Soon new eyes and a new brain are given to the creature in horror gore fashion. When the creature - lumbering, hirsute and dumb - is complete, it is bitter and intent on revenge. It ultimately runs amuck in the insane asylum, until it is eventually overpowered and destroyed by a mob of inmates. Simon is devastated by the loss of life and reports to Frankenstein; however, the Baron feels that it was the best that could happen to such a creature, and is already considering a new experiment with other involuntary donors.
Read more about this topic: Frankenstein And The Monster From Hell
Famous quotes containing the word plot:
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
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“The plot was most interesting. It belonged to no particular age, people, or country, and was perhaps the more delightful on that account, as nobody’s previous information could afford the remotest glimmering of what would ever come of it.”
—Charles Dickens (1812–1870)