Comparing Frankenstein And Hammer Studio's The Curse Of Frankenstein

After years of medical training, Tania Frankenstein (Rosalba Neri) returns to her ancestral home, eager to assist her father, the Baron (Joseph Cotten), in his most recent experiment. With the help of his crippled friend (and longtime lab assistant) Charles (Paul Muller), the Baron is ready to prove to the world that, under the right circumstances, dead tissue can be reanimated. Using cadavers that he purchased from Lynch (Herbert Fux), a professional grave robber, the Baron does, indeed, build a man out of spare parts and bring him to life. Unfortunately, his creation is a hideous monster (Peter Whiteman) that, after murdering the Baron, escapes into the nearby woods.
Distraught over the death of her father, yet at the same time anxious to prove his
For one, the set pieces are superb; the lab in which both of the Frankensteins perform their experiments looks as if it was lifted straight out of a 1930’s Universal film, while the castle that serves as their ancestral home is as eerie as it is extravagant. In addition to its sets, Lady Frankenstein relied on several actual locations to move its story along (its exterior scenes reminded me, in a way, of a Jean Rollin film, who was himself a master at incorporating real locales into his movies).
The film does have its weaknesses, chief among them the make-up effects (the Baron’s monster, with its protruding eye and scarred face, isn’t as creepy as it could have been), but with its gothic sensibilities, better-than-average production design, and unique approach to the time-honored story of man acting as God, Lady Frankenstein is a step or two above a typical Eurosleaze