Hammer’s fourth entry in their classic Frankenstein series has the revived doctor obsessing over a newly devised method of capturing a person’s soul immediately after death. He experiments on the remains of a recently (wrongly) executed young man, using the cadaver of a disfigured young girl who has committed suicide as a vessel for transplant. The results are surprising, as the girl returns with a new appearance and the shared memories of both her former unhappy life and that of the murdered man. Neither side is any less confused. Or vengeful. As usual, Cushing is brilliant as the ever-logical deranged, genius Doctor (many consider this to be among the strongest entries in the series), and the writing is sharp, philosophical, subtly political, and totally captivating – a stellar example of gothic Hammer Horror. Susan Denberg, a Polanski party mate just barely in her twenties, met a tragic drug-related end shortly after the film’s release. (MD)

Quatrième version de Frankenstein . Un docteur découvre une méthode scientifique qui lui permet s'emparer de l'âme d'humains récemment décédés. Lors d'une de ses expériences il réussit à capturer l'âme d'un homme et à la transplanter dans le corps d'une jeune femme mais la créature qui en résulte est très confuse. Scénario original.