“We have to find the right head for this torso. It has to be of a man who strongly craves women — whose overriding urges are sensual.”
Baron Frankenstein (Udo Kier) and his loyal assistant Otto (Arno Juerging) attempt to create a new race of humans by mating the reconstructed bodies of a handsome man (Srdjan Zelenovic) and a beautiful woman (Dalia di Lazzaro). Meanwhile, Frankenstein’s sex-crazed wife (Monique Van Vooren) seduces her studly field worker (Joe Dallesandro), who was friends with the ill-fated Zelenovic.
Response to Peary’s Review:
Peary is subtle in his criticism of this satirical horror flick by director Paul Morrissey, noting that “the explicit violence in [the] film overwhelms the subtle humor and sex”, and that “the repetitive images and dialogue make [the] film tiresome.” What he neglects to mention is how hideously — indeed, distractingly — bad the acting is; while Morrissey apparently instructed his cast not to act “realistically”, the actors (with the possible exception of Kier) aren’t capable of achieving campy delivery (which might have been fun). Equally awful are the special effects — at a certain point, when Frankenstein is delving orgasmically into the innards of his “ideal woman”, he looks for all the world like he’s smearing red paint on her skin (which he probably was). Even the most diehard fans of Flesh for Frankenstein have noted that it isn’t for all tastes, and I guess I fall into this category; I greatly prefer its tongue-in-cheek companion piece, Blood for Dracula (released just a few months later); as Peary notes, the latter was “not as popular… but a much better film.”
Redeeming Qualities and Moments:
- Some amusingly campy moments — as when Frankenstein counsels Otto that “to know death, you have to fuck life in the gallbladder.”
Yes, simply due to its cult following.