Frankenstein Meets the Wolf Man (1943)

“He is not insane; he simply wants to die.”

Synopsis:
Werewolf Larry Talbot (Lon Chaney, Jr.) is accidentally brought back to life by gravediggers, and embarks on a quest to “truly” die once and for all. In hopes of locating Dr. Frankenstein’s research journals — which possess the secret to life and death — he awakens Frankenstein’s monster (Bela Lugosi), and seeks out Frankenstein’s grown daughter (Ilona Massey).

Genres:

Review:
More a Wolf Man tale than a sequel about Frankenstein’s monster (who only plays a relatively important role during the final 15 minutes of the film, when he infamously does battle with the Wolf Man), this sixth entry in Universal’s “Frankenstein” series is, like so many of the others, only must-see for fans of the genre. The storyline basically rehashes the central conceit of The Wolf Man (1941), with poor, hapless Chaney forced to once again seek permanent escape from his lycanthropy through death. Massey is pretty and charming but merely serves as a convenient female presence in the film; meanwhile, the rapid change of heart undergone by young Dr. Mannering (Patric Knowles) defies all logical belief, highlighting the screenplay’s already paper-thin premise. Enjoy the reliably atmospheric cinematography and sets, but don’t expect much else from this one.

Redeeming Qualities and Moments:

  • Creative opening titles
  • Effectively spooky sets
  • Fine cinematography

Must See?
No; this one is only must-see for fans of the series.

Links:

2 Responses to “Frankenstein Meets the Wolf Man (1943)”

  1. First viewing. Not a must.

    This sequel moves like a dog chasing its tail There’s really nothing new added to the series mix. It’s simply a movie nicely produced with that dark Universal flair but made to capitalize on what preceded it. Strangely inert.

    Knowles is cute, though. 😉

  2. ⭐️⭐️⭐️

    This is actually copyrighted 1942.

    Another enjoyable ‘B’ entry in the series (#5) that mashes several monsters together but is hamstrung (to a point) by the fact the film was ruthlessly edited in post production to remove all references to the fact that Lugosi’s Frankenstein’s Monster is actually blind. Consequently, Lugosi’s performance seems much more melodramatic that it ought to be. Silly fun.

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