After the death of Victor Frankenstein (Dennis Price) at the hands of perhaps immortal mystic wizard Cagliostro (Howard Vernon) and Melissa, his blood-thirsty blind bird woman (Anne Libert), the metallic monster of Frankenstein is torn between his master’s killer and the daughter who has inherited his mantle, Dr. Vera Frankenstein (Beatriz Savon).
Shot in the same time and place as Dracula, Prisoner Of Frankenstein — Franco reminds me of the friend that invites you to help him move, offers pizza and beer, and then also asks you to install all his new appliances and oh yeah, can you fix the hot water heater and help me paint while you’re here — this is the kind of movie where the villains power their plans with the whipped bodies of the young and beautiful because, well, they’re perfectly willing to admit that along with their evil aims that they have no shame in enjoying a little bit of violence — actually a lot — with their sex.
The plan is to find a mate for the monster and the perfect person may be village mystic Madame Orloff (Britt Nichols AKA Carmen Yazalde), but the chivalrous Dr. Seward hopes to save the day. This being a Franco movie, I don’t see that happening.
So many questions, like why Frankenstein is painted silver; why Cagliostro has the polymath power sheet of being near-eternal, a mentalist, a maker of human-animal hybrids, a lover of BDSM and orgies, and hypnotism, making him the kind of supervillain that Alex Jones might believe is a real person; and if this is the movie Franco saw in his head when he watched Universal and Hammer movies, because now I can’t unsee it when I watch those movies.
You can watch this on KinoCult.