I had relatively low expectations for this film, as I thought that there wasn't much reason to make a sequel to the Christopher Lee/Peter Cushing version of the Frankenstein story made just a short time earlier by Hammer films (THE CURSE OF FRANKENSTEIN). However, just like the case with the original Universal FRANKENSTEIN and BRIDE OF FRANKENSTEIN, this sequel is actually a bit better than the previous film.

So why is THE REVENGE OF FRANKENSTEIN a better film than THE CURSE OF FRANKENSTEIN? Well, the biggest reason is the plot. The first film was a simple retelling of the older story and really added nothing especially notable to the Karloff tale of 1931. However, in this sequel, it follows the evil Baron as he creates a new identity (though he sure should have chosen a better alias!). In this new identity, Frankenstein is seen as a bit of a saint and is beloved be everyone but the established doctors in this new town (they are jealous because everybody loves "Dr. Stein" and they lose customers to him). However, while he sure seems like a changed man, it's not too surprising that he's up to no good and the creation of yet another monster.

Now the creation of the monster is really different this time and why it all goes wrong is interesting, because at least at first his creation is a smashing success (and I mean that in a good way). But, an odd series of events conspire against the project and in the end there is a super-creative and wonderful twist that actually makes further sequels make sense--and in fact, necessary.

A very exciting film due to great writing, good acting, nice special effects and a real reason to have a sequel in the first place. Watch this one if you love the genre!

That is saying a lot, because I was underwhelmed- but did not hate- Evil of Frankenstein and Horror of Frankenstein, both of which were very well made and acted but both of which also had some lacklustre pacing, stories that took too long to set up, bad make-up for the monster and the monsters in both were lifelessly and un-menacingly acted. Evil of Frankenstein was guilty also of feeling like pre-existing plot lines(from Hammer) recycled and cobbled together and in a way that was muddled and was also contradictory, and Horror of Frankenstein being dialogue heavy and action starved and unfortunately the dialogue clumsily utilised some juvenile and misplaced humour.

The Revenge of Frankenstein however was a wonderful sequel and quite easily the best of the Hammer Frankenstein sequels. It also comes very close to outshining its predecessor The Curse of Frankenstein, which this viewer considers one of Hammer's finest hours(as well as their first) and does things different that comes off successfully with focusing more on Frankenstein than the monster and not making the monster misunderstood. Comparing the two together, I put them on the same level, something that is not achieved with most sequels. Like Curse there is very little wrong with Revenge, it's not as chillingly scary as Curse and once again(though nowhere near as fake as that of Evil and Horror) the make-up for the monster is not convincing, too normal-looking.

Like all of the Hammer Frankenstein and most of Hammer's filmography, Revenge looks absolutely great with typically outstanding Gothic set design, some of the richest uses of colour for any Hammer film, strikingly shadowy lighting and photography that is both handsome and atmosphere. Revenge also boasts a haunting score that compliments the atmosphere adeptly and is terrifically directed by Terence Fisher(who directed Curse as well),the only director of all four films to be fully up to the job; Freddie Francis for Evil and Jimmy Sangster for Horror have strengths elsewhere(Francis as cinematographer and Sangster as script-writer) but being out of their comfort zone. The script is on the same level in quality than that of Curse, there are no contradictory elements, it's not too talky and the humour is better used and of better quality. The script here is intriguing, witty and one of the most nuanced of any Hammer film and the humour is thankfully the very opposite of juvenile, instead it is of the darkly macabre and ironic kind and some of Frankenstein's lines were a real treat.

Revenge also has a completely engrossing story, it feels swiftly paced, has a lot of suspense and excitement, is filled with surprises and unexpected twists without being convoluted and gets to the point quicker than the sequels after it. While the film is never scary, it manages to be creepy. Like Curse(and Evil and Horror) it does focus more on Frankenstein than the monster, but that came off wonders because Frankenstein is a well-written and interesting character and the monster has more screen-time than the other three and is written in a more sympathetic way than the others as well. Not only is it compelling and atmosphere, but it also has heart and an emotional core, which Curse had but Evil and Horror didn't. The ending is brilliant and certainly not the anti-climax that was in Horror. And there is some excellent acting, with a once-again remarkable Peter Cushing in the definitive interpretation of Frankenstein. Francis Matthews is loyally impressionable and Michael Gwynn is astonishingly good as a poignant but subtly menacing monster, not as imposing of that of Christopher Lee in Curse but he brings more nuances and brings much more feeling and personality than Kiwi Kingston and David Prowse did for Evil and Horror.

Overall, a wonderful and almost superior sequel to one of Hammer Horror's best films, also ranking in the better half of their filmography. 9/10 Bethany Cox

Hammer's successful sequel to their classic CURSE OF FRANKENSTEIN is a nearly-as-good follow-up, packed full of intriguing plot, interesting (and dastardly) characters and a nicely ghoulish touch which is offset with dashings of comedy here and there. The film is a visual feast and technically superior to other product of the period. The best scenes are those in the Baron's underground laboratory, an area packed full of pseudo-scientific apparatus which is still great fun when seen today – I love the tanks with the eyeballs and severed arm in them! Although the plot is fairly slow moving and there is little in the way of action until the end of the story, we still find ourselves caught up in a tale of severed limbs, brain transplants, and intrigue as Frankenstein (saved by a whisker from the guillotine) goes about his business in reviving the dead.

The results are typically tragic, but this time the human aspect of the monster is heightened by the actor portraying him – stand up Michael Gwynn, an underrated performer here putting in one of his very best turns as the creature, who goes from being "normal" into a crippled, cannibalistic murderer. The scenes with Gwynn are very well handled and strike a fine line between Gwynn as victim and monster. Of course, Peter Cushing is superb in the leading role and ably supported by fresh-faced Francis Matthews as his new assistant. A cast of veterans including Charles Lloyd Pack and George Woodbridge create some memorable pompous and sinister characters and the team of Lionel Jeffries and Michael Ripper provide brief but welcome comic relief as grave robbers.

There are a few really memorable moments that this film offers which come close to the power and impact of the first movie. The scene where the Creature bursts into the dinner party at the end of the film with a great line of dialogue ("Frankenstein… Frankenstein… help me!") is unforgettable and the memorably nasty conclusion sees Cushing beaten to death by his own patients. In a twist conclusion, Cushing himself goes under the blade and survives thanks to a brain transplant, but bizarrely retains his own face on his return to London. Sadly this plot development was forgotten in the '60s sequels. With commendable acting from Cushing and Matthews as the cold but dedicated doctors, an emoting Gwynn as a surprisingly sympathetic monster, and vivid splashes of blood, sheep's brains, and animated body parts suspended in tanks, THE REVENGE OF FRANKENSTEIN is an example of top-notch Hammer Horror in the making and a classic from the studio. Highly engaging viewing.