Roger Corman’s “Frankenstein Unbound” (1990) is a fascinating work that deserves to be rediscovered, and not simply because we lost Corman this year and this was the last film he directed.
While Corman’s work is a large pile of cheaply made independent films, most of which have been deemed “trashy” or B-movies, Corman’s way of filmmaking, of shooting quickly and cheaply, 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 exposure and creative opportunities (and this is just a small list) to Martin Scorsese, Francis Ford Coppola, Ron Howard and Jonathan Demme.
Corman made numerous films with Vincent Price and Peter Fonda, but also gave Jack Nicholson a number of opportunities, in front of and behind the camera, that led to his great success.
Corman died earlier this year at the age of 98, having directed around 54 films (I say “around” because there were a few times when he was uncredited but still recognized as the master behind the camera).
Corman’s works were often defined by their low budgets and sensational titles, ranging from exploitative creature features (such as 1957’s “Attack of the Crab Monsters”) to his series of Edgar Allen Poe adaptations (the best of which is 1961’s “The Pit and the Pendulum”) to “hippie” films (the best of which is 1967’s “The Trip,” starring Peter Fonda and Dennis Hopper, written by Nicholson).
Most film buffs know that Corman directed the original cheap, fun, black-and-white Little Shop of Horrors (1960), which not only featured Nicholson in his scene-stealing first role, but was reportedly filmed in 48 hours.
Corman’s tireless work ethic and prolific body of work (which included the creation of 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’s imaginative 1973 novel and featuring an all-star cast that would be the envy of most mainstream films, “Frankenstein Unbound,” which was filmed in Italy and co-written by Corman and former film critic FX Feeney, ended up as a footnote upon its release.
Critics reacted mixed, and in interviews Corman seemed unhappy with the final result. Viewed today with a greater understanding of how Corman frames his work and in the proper context of the misleading promotional campaign, it seems like a lost gem.
John Hurt stars as Dr. Buchanan, a 21st-century mad scientist who creates a time warp that transports him from the year 2031 to 1817. Dr. Buchanan realizes he’s now in Switzerland and only has his futuristic talking car (think Knight Rider, only a lot fancier) to help him.
After stumbling into a local pub, Dr. Buchanan realizes he’s in the middle of Mary Shelley (Bridget Fonda), who is being courted by Lord Byron (Jason Patric) and Percy Shelley (Michael Hutchence, the late lead singer of INXS).
Even stranger, 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 Buchanan witnesses.
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Corman’s funny and strange sci-fi film is something of a Frankenstein’s monster. At times, the sets look ridiculously cheap. Later, it moves on to beautiful Italian exteriors and exquisite locations.
The special effects are also like that, ranging from amazing (that ribbon in the sky is impressive) to silly (the overuse of theatrical lighting during the climax is blatant).
The actors take this seriously and manage to keep their cool, starting with Hurt, who was always up for anything and offers total conviction. The same goes for Julia, a superb actress we lost too soon, whose haunted gaze makes her the ideal character to play Frankenstein.
As his contribution here shows, Hutchence could easily have been a supporting actor: it’s surreal to see him sharing the screen with Fonda, Hurt and Patric. Best of all is Brimble, a scene-stealing actor as Little John in Robin Hood: Prince of Thieves (1991), who is terrific and formidable as The Monster.
John Hurt watching Roger Corman direct FRANKENSTEIN UNBOUND. photo.twitter.com/7tfmhG4in0
– Pedro Avellino (@PeterAPeel) May 12, 2024
Add to that a gorgeous score by Carl Davis and some dazzling visual effects (like that killer final shot), and you have a B-movie that has exceeded all expectations and somehow managed to land a dream cast and an $11 million budget. The script is packed with ideas about the monstrous possibilities of science and humanity, as Buchanan’s contribution to science is as devastating as Frankenstein’s role as God.
Corman’s latest film only stumbles when it attempts to add genuine impact to an otherwise charming fantasy. Moments where the Monster rips out a heart or an appendage are clumsily handled and out of place.
In terms of tone and the feel of “Frankenstein Unbound,” this will sound like a backhanded compliment (and it isn’t), but it feels like a stellar episode of “Quantum Leap.”
Unfortunately, “Frankenstein Unbound” was marketed as a horror film, with a mesmerizing trailer (featuring Chris Young’s “The Fly II” soundtrack) that made it seem much heavier than it was. Corman’s film was briefly released in theaters and only later made it to home video.
Corman’s best film remains the startling, ahead-of-its-time “The Intruder” (1962), a searing drama with a riveting lead performance by William Shatner; it’s another hall-of-fame film for Corman and Shatner, but few have seen it.
If movie buffs want to schedule an evening with Corman’s greatest hits, I recommend “Little Shop of Horrors,” “The Intruder,” “X-The Man with the X-Ray Eyes” (1963) and ending with the one in which Buchanan (Julia) shows Shelley (Fonda) his face on the cover of the book he has yet to write.
Corman’s films are like the tastiest, butteriest, crunchiest bag of popcorn you’ve ever tasted.