Posted by Kimberly Lindbergs on April 25, 2013
Film buffs tend to have obsessions. We fuss and fawn over particular actors and directors while attempting to see everything they ever appeared in or produced. One of my own personal obsessions isn’t an actor or a director but it’s a tale I enjoy seeing reimagined over and over again in different languages and in various settings. That tale is Mary Shelley’s Frankenstein; or, The Modern Prometheus and I’ve seen it retold in many movies of varying quality but I never get tired of it.
One of my favorite adaptations of Frankenstein happens to be the 1973 telefilm FRANKENSTEIN: THE TRUE STORY. This lush production runs more than 3 hours long and features a stellar cast of talented players including Michael Sarrazin, Leonard Whiting, James Mason, David McCallum, Jane Seymour, Nicola Pagett, Agnes Moorehead, Ralph Richardson, John Gielguld, and Margret Leighton. It was directed by Jack Smight (HARPER, KALEIDOSCOPE, THE ILLUSTRATED MAN, DAMNATION ALLEY, etc.) and based on a script written by the acclaimed British author Christopher Isherwood along with his partner Don Bachardy. Isherwood and Bachardy took creative liberties with the source material but their teleplay still managed to retain many of the timeless elements that have made Shelley’s story capable of capturing the imagination of readers like myself for nearly 200 years.
This two-part telefilm begins with young Dr. Frankenstein (Leonard Whitney ) witnessing the accidental drowning death of his brother. During the subsequent funeral, Frankenstein becomes so frustrated with the priest’s prayers that he storms out of the church while asking aloud, “Death, peace, God’s will! And all of us listening with pious faces. Why God’s will? Any fool with a sword or gun can give death. Why can’t we give life?”
Afterward he commits himself to finding a scientific means of creating life and returns to the hospital where he was educated. While there he meets Dr. Clerval (David McCallum) who shares his enthusiasms and the two men begin to successfully conduct experiments that animate dead insects and severed limbs. This eventually leads them to assemble a man out of body parts they’ve gathered but before they can reanimate the stitched together corpse, Dr. Clerval dies leaving Frankenstein to continue without him.
In an extremely modern twist, Dr. Frankenstein uses solar power to create his new “Adam.” At first the doctor is delighted by the attractive facade and child-like personality of the creature he’s born but things soon take a turn for the worst when it becomes apparent that the life giving process is reversing itself. The creature’s appearance eventually begins to decay and turn monstrous. He also becomes more aggressive and violent.
There are a number of reasons why I find FRANKENSTEIN: THE TRUE STORY such an effective retelling of Shelley’s classic tale. First and foremost, this is a great looking made-for-TV movie produced by Universal and was shot on location in the U.K. while making terrific use of Pinewood Studios. The laboratory scenes, full of pulsating lights, colorful fluids and massive man-made contraptions seething with life are particularly impressive. It also contains a number of noteworthy performances.
Michael Sarrazin makes a sympathetic monster and Leonard Whiting is an adequate Frankenstein but the real scene stealers are probably the peripheral cast members including James Mason who plays an evil Fu Manchu inspired Doctor called Polidori (named after the historic Doctor Polidori who befriended Mary Shelley and was present when she began her novel in Switzerland), David McCallum as the driven Doctor Clerval, Agnes Moorehead as Frankenstein’s nosy landlady and Jane Seymour as the monster’s would-be bride, Prima.
Seymour was just 21-years-old at the time and alongside Elsa Lanchester in THE BRIDE OF FRANKENSTEIN and Jennifer Beals in THE BRIDE, she’s one of the more interesting and effective female monsters. Seymour plays Prima as cold and calculating but equally naïve and manipulable under the tutelage of the malevolent Polidori and her natural beauty masks a violent streak, which is genuinely frightening to observe. FRANKENSTEIN: THE TRUE STORY also boasts a soundtrack by the talented jazz musician and composer Gil Melle (THE ANDROMEDA STRAIN, ROD SERLING’S NIGHT GALLERY, THE SIX MILLION DOLLAR MAN, KOLCHAK: THE NIGHT STALKER, etc.) that manages to be both eerie and moving at the same time.
As I mentioned earlier, the script by Christopher Isherwood and Don Bachardy’s takes liberties with the source material but the changes, omissions and additions are worth noting. Both Isherwood and his longtime companion Bachardy were avid film buffs so they included many references to previous Frankenstein films in their teleplay such as THE BRIDE OF FRANKENSTEIN (1935), THE CURSE OF FRANKENSTEIN(1957), THE REVENGE OF FRANKENSTEIN (1958) and FRANKENSTEIN CREATED WOMAN (1967).
Having the creature’s source of life come from solar power was an intelligent update to Shelley’s story and to my knowledge this was the first film that included a finale that takes place in the North Pole, which was an integral part of the original novel. This combining of opposite organic forces (the sun giving life and the icy cold signifying death) to give the creature life and eventually take it away was a brilliant nod to the Romantic obsession with nature. The script is also littered with biblical references, which mirror passages of John Milton’s Paradise Lost as they appeared in Frankenstein.
As artistic outsiders and gay men, Isherwood and Bachardy were keen to explore the creature’s confusion and isolation in an unaccepting world as well as the queer theories surrounding Shelley’s novel. This is evident in the way FRANKENSTEIN: A TRUE STORY emphasizes the affectionate and codependent relationships that the doctor has with the other men (and the monster) in his life. All of these elements can be found in Shelley’s original novel but they’re often underplayed or ignored in film adaptations. Queer theory was still new territory in 1973.
FRANKENSTEIN: A TRUE STORY was also exceptionally graphic and gory for a 1973 telefilm and included amputations, animated severed limbs, a decapitation and suggested nudity, which shocked television audiences and left an indelible impression on a generation of young horror fans. These elements were edited out of future airings and were missing from the video release but Universal finally issued an uncut version of the original broadcast on DVD in 2006. There are still some questions about scenes that may or may not have been omitted from the DVD but I believe the 2006 release is complete and intact and it even includes an introduction narrated by James Mason.
Whether you’re a Frankenstein buff or just a horror film buff I think there’s a lot to admire and enjoy about FRANKENSTEIN: THE TRUE STORY. It’s also a treat for classic film fans who appreciate seeing actors like James Mason and Agnes Moorehead in later roles. Critical reaction has been mixed over the years but now FRANKENSTEIN: THE TRUE STORY is generally considered one of the more interesting adaptations of Mary Shelley’s novel mainly due to the unique contributions of Christopher Isherwood and Don Bachardy.
MovieMorlocks.com is the official blog for TCM. No topic is too obscure or niche to be excluded from our film discussions. And we welcome your comments on our blogs and bloggers.
See more: facebook.com/tcmtv
See more: twitter.com/tcm
3-D Academy Awards Action Films Actors Actors' Endorsements Actresses animal stars Animation Anime Anthology Films Art Direction Art in Movies Asians in Hollywood Australian CInema Autobiography Avant-Garde Aviation Awards B-movies Beer in Film Behind the Scenes Best of the Year lists Biography Biopics Black Film Blu-Ray Books on Film Boxing films British Cinema Canadian Cinema Character Actors Chicago Film History Children Cinematography Classic Films College Life on Film Comedy Comic Book Movies Crime Czech Film Dance on Film Digital Cinema Directors Disaster Films Documentary Drama DVD Early Talkies Editing Educational Films European Influence on American Cinema Experimental Exploitation Fairy Tales on Film Faith or Christian-based Films Family Films Fantasy Movies Film Composers Film Criticism Film Festival 2015 film festivals Film History in Florida Film Noir Film Scholars Film titles Filmmaking Techniques Films About Gambling Films of the 1930s Films of the 1960s Films of the 1970s Films of the 1980s Food in Film Foreign Film French Film Gangster films Genre Genre spoofs HD & Blu-Ray Holiday Movies Hollywood history Hollywood lifestyles Horror Horror Film Hosts Horror Movies Icons independent film Italian Film Japanese Film Korean Film Literary Adaptations Martial Arts Melodramas Memorabilia Method Acting Mexican Cinema Moguls Monster Movies Movie Books Movie Costumes movie flops Movie locations Movie lovers Movie Magazines Movie Posters Movie Reviewers Movie settings Movie Stars Movie titles Movies about movies Music in Film Musicals New Releases Outdoor Cinema Paranoid Thrillers Parenting on film Pirate movies Polish film industry political thrillers Politics in Film Pornography Pre-Code Producers Race in American Film Remakes Revenge Road Movies Romance Romantic Comedies Russian Film Industry Satire Scandals Science Fiction Screenwriters Semi-documentaries Sequels Serials Set design/production design Short Films Silent Film silent films Social Problem Film Spaghetti Westerns Sports Sports on Film Stereotypes Steven Spielberg Straight-to-DVD Studio Politics Stunts and stuntmen Suspense thriller Swashbucklers TCM Classic Film Festival TCM Programming TCM Underground Telephones Television The British in Hollywood The Germans in Hollywood The Hungarians in Hollywood The Irish in Hollywood Theaters Thriller Trains in movies U.S.S. Indianapolis Underground Cinema VOD War film Westerns Women in the Film Industry Women's Weepies