Curse of Frankenstein, The (4K UHD Review)

Reviewed by: Tim Salmons
Review Date: Oct 31, 2025
Format: 4K Ultra HD

Director

Terence Fisher

Release Date(s)

1957 (October 14, 2025)

Studio(s)

Hammer Film Productions/Warner Bros. (Warner Archive Collection)

Film/Program Grade: A
Video Grade: A+
Audio Grade: A
Extras Grade: A

Review

Rewriting the Gothic horror landscape in 1957, Hammer’s The Curse of Frankenstein was a massive success; not just for them, but for the genre as a whole. Influencing a number of suspense films that were released in its wake, it also gave Hammer a brand new direction—spawning sequel after sequel and forever associating them with a new kind of horror, full of vivid color, extensive art direction, lush orchestral scores, beautiful women with low-cut necklines, and occasional gore.

Taking place sometime during the nineteenth century, a priest is brought into a jail cell where Baron Frankenstein (Peter Cushing) has been arrested for murder, soon to meet his fate with the guillotine. Before he goes, he wishes to unburden himself with the events that led him here. He then proceeds to tell the tale of how he became friends with Paul (Robert Urquhart), a man who would tutor him at a young age (Melvyn Hayes) after the death of his mother, which left him wealthy and sole heir to the Frankenstein estate. Intensely interested in science, Frankenstein, with the help of Paul, begins with his experiments, eventually leading him to the idea of bringing dead human tissue back to life, even re-constructing various dead body parts into his own twisted image. Paul refuses to take part in this, which causes a rift between them, particularly after the arrival of Frankenstein’s cousin Elizabeth (Hazel Court). His unholy creation (Christopher Lee) is eventually brought to life, which comes back from the dead with a damaged brain and murderous intent, ultimately leading to Frankenstein’s deadly and disastrous downfall.

After taking the idea from Milton Subotsky of Amicus Films (and giving him no credit), producer Anthony Hinds and writer Jimmy Sangster were tasked with re-inventing the classic Mary Shelley tale without treading on Universal’s monster movie copyright, focusing instead on Frankenstein’s character and making him more of an unsympathetic protagonist of sorts. Referred to here as the “Creature,” Lee’s incarnation of the character was re-designed to appear more obviously monstrous, but in no way resembled Karloff’s flat-headed, bolt-adorned personification of the character. Cushing’s portrayal of Frankenstein as a human being who becomes more and more of a monster in the name of science as the film goes on made him a film star after spending much of his time on television.

Upon its release in the UK, The Curse of Frankenstein was a smash success with audiences, but nearly all critics tore it to shreds, not unlike what they would do to Michael Powell’s Peeping Tom three years later. The film also kicked off a cycle of films featuring either Peter Cushing, Christopher Lee, or both, but also heralded the arrival of Hammer’s in-house director extraordinaire, Terence Fisher, whom many would tout as one of the company’s finest assets, combined with the work of cinematographer Jack Asher, composer James Bernard, production designer Bernard Robinson, art director (Ted) Edward Marshall, costume designer Molly Arbuthnot, and special effects makeup artist Phil Leakey. Today, The Curse of Frankenstein is viewed as one of the masterpieces of the genre, as well as one of the greatest British films ever made.

The Curse of Frankenstein was shot by legendary cinematographer Jack Asher on 35mm film, finished photochemically, and depending upon where it was shown theatrically, presented in the aspect ratios of 1.85:1 (US) and 1.66:1 (UK). It was also later shown on television open matte at 1.37:1. The Warner Archive Collection, in conjunction with Hammer Films, brings all three versions of the film to Ultra HD in the US for the first time with a new 4K restoration from the original camera negative and preserved YCM color separation masters, which has been graded for High Dynamic Range in HDR10 and Dolby Vision, encoded by David Mackenzie of Fidelity in Motion, and presented on 2 triple-layered BD-100 discs. Disc One presents the film in 1.66:1 (UK theatrical) and 1.37:1 (open matter, while Disc Two presents the film in 1.85:1 (US theatrical).

Warner Archive’s 2020 restorations of the film were quite excellent, and these new restorations directly from Hammer are quite stunning. The opening credits have been sourced from the original camera negative, with the smoke on the red background more apparent than it’s ever been, while the rest of the restoration has come from the color separation masters since the original camera negative was apparently too faded to use entirely. The film doesn’t make the jump to 4K as dramatically as to Blu-ray since that was also a 4K restoration, but it’s nevertheless gorgeous with more precise levels of depth and detail, and a very healthy bitrate. Grain levels are much tighter, outside of optical transitions which are softer, but more natural than attempting to bridge the footage digitally (always a poor choice, in this reviewer’s opinion). The new HDR passes enrich the palette with new levels of deep color, which are most effective on costumes and lighting, including Hazel Court’s beautiful dresses. The interiors of Frankenstein’s home are more on the monochromatic side, but are nonetheless potent visually with bolder browns and deeper blacks, while the exteriors feature lush green foliage. Contrast is perfect and there’s nary an imperfection to be seen. The image is stable and clean throughout, free of any overt debris.

As for the varying aspect ratios, opinions differ on which aspect ratio represents the film the best. In 1.85:1, characters are a bit crunched in the frame, nearly cutting off the tops of their heads at times, while 1.37:1 provides an enormous amount of room above their heads, but at the same time giving matte paintings and sets much more room to breathe. The 1.66:1 is likely the most preferable as it best facilitates the composition of these shots, but each aspect ratio has its pros and cons when it comes to detail along the edges of the frame. Your mileage will vary, but Hammer and Warner Archive have maintained all three presentations without sacrificing anything.

Audio is included in English 2.0 mono LPCM and 5.1 DTS-HD Master Audio. The new 5.1 option was created used the original mono. Since the original dialogue and music and effects tracks couldn’t be found, Artificial Intelligence was used to separate them in order to mix them into the surrounding channels. Your preference on the use of AI for this task is your own, but as is, it certainly opens up James Bernard’s score and some of the more bombastic sound effects in the rear channels, while slamming dialogue straight into the front and center speakers. In other words, it’s not a revised soundtrack, just a larger one aurally. Thankfully, the original mono has also been included in a split container, and despite the lack of room to move around in, it’s a clean and precise track with excellent support for all of the elements without any major defects. Subtitle options include English SDH, French, Italian Spanish (Castilian), and German.

The Warner Archive Collection Region-Free 3-Disc 4K Ultra HD release of The Curse of Frankenstein sits in a black Amaray case with 2 triple-layered BD-100 UHDs and 1 dual-layered BD-25 Blu-ray, the latter containing extras only. The insert and slipcover feature new artwork by Greg Staples. Hammer Films have released their own version of The Curse of Frankenstein in the UK in a deluxe 6-Disc 4K Ultra HD and Blu-ray package, as well as a slimmed down 3-Disc release, with additional extras (more on that in a minute). Their hardbox/digipak packaging also includes a 168-page booklet containing various essays and film ephemera, 8 reproduction lobby cards from the film’s UK release, and a double-sided, fold-out poster. Take note that the Blu-rays included in that set are Region B-locked. As for the Warner Archive release, the following extras are included on each disc:

DISC ONE (1.66:1 UK & 1.37:1 OPEN MATTE VERSIONS – UHD)

Audio Commentary on the 1.66:1 Version with Kim Newman, Barry Forshaw, and Stephen Jones
Audio Commentary on the 1.37:1 Version with Marcus Hearn and Jonathan Rigby
Beside the Seaside: Wayne Kinsey and Madeleine Smith Remember Peter Cushing (HD – 50:17)
Reviving The Curse of Frankenstein (HD – 8:11)
Alternative Eyeball Scene (HD – 1:11)
Original UK Theatrical Trailer (HD – 2:19)
UK Censor Card (HD – :11)

The audio commentary on the 1.66:1 version featuring film historians Kim Newman, Barry Forshaw, and Stephen Jones is quite a tough conversation to get accustomed to as the three are mostly trying to steer and dominate the conversation. That said, it’s more of a free-flowing track, and certain subjects are acknowledged and passed over in favor of whatever topic is being discussed. It’s a lovely track between three very knowledgeable individuals, but if you have issues with recordings in which there are too many people in the room talking all at once, this one might be a problem for you. The audio commentary on the 1.37:1 version featuring film historians Marcus Hearn and Jonathan Rigby is a much more mannered discussion between the two men about the film in a more reactionary manner. They tend to focus on the actors and the performances most of the time, but also delve into the history of the project, the state of Hammer at the time of filming, and what the final film meant for British horror. They also read a number of scathing reviews in the UK from the film’s original release, which are baffling, to say the least.

Beside the Seaside features film historian Wayne Kinsey and actress Madeleine Smith at the Whitstable Museum who discuss Peter Cushing at length while also taking a tour of his memorabilia and ephemera, “Cushing’s View” by the seaside, his former home nearby, and Tudor Tea Rooms where he had his meals. Reviving The Curse of Frankenstein features an interview with head of restoration at Hammer Films, Mark Stanborough, head of restoration at Silver Salt Restoration, Anthony Badger, and colorist at Silver Salt Restoration, Ray King, about the technical challenges in restoring the film, frequently showing footage from the raw scans of the YCM color separation masters. The Alternative Eyeball Scene is the original version of the scene that doesn’t feature the close-up of the eyeball at all. Last is the original UK theatrical trailer and censor card, the latter of which is a lovely addition.

DISC TWO (1.85:1 US VERSION – UHD)

Audio Commentary by Constantine Nasr and Steve Haberman
Audio Commentary with Heidi Honeycutt and Toby Roan
Recreating the Creature (HD – 34:41)
A Fitting Vocation: Josephine Botting on Molly Arbuthnot (HD – 10:11)
Topped and Tailed: Costuming at Hammer (HD – 16:21)
Good or Tuesday?: Jimmy Sangster at Hammer (HD – 39:06)
Painting with Fine Brushes: Jack Asher on The Curse of Frankenstein (HD – 11:49)
A Gothic History of Frankenstein: As Told by Stephen Volk (HD – 24:15)
Image Gallery (HD – 335 in all – 13:48)

The audio commentary by film historian and filmmaker Constantine Nasr and film historian and screenwriter Steve Haberman is top notch, covering all aspects of the production, but also providing an enormous amount of context. They read from an earlier draft of the script and point out some key differences in regards to the final version, including a revelatory moment late in the film that would have toed the line of going too far with Frankenstein’s character. They discuss the genesis of the project, the film’s production, additional scenes that may or may not have been shot, dealing with the British censors, and the initial reaction from critics. The final audio commentary with film historians Heidi Honeycutt and Toby Roan was clearly recorded via Skype or Zoom as they tend to interrupt each other sometimes. It’s the most reactionary track overall, but still offering plenty of information about the film, as well as its cast and crew.

Recreating the Creature features makeup artist Dave Elsey of Igor Studios and actor James Swanton investigating and marvelously re-creating Phil Leakey’s iconic make-up for the Creature in the film, with audio comments from the original make-up artist himself, as well as an interview with his son Peter. A Fitting Vocation features historian and curator of 20th century fiction at the BFI National Archive, Josephine Botting, discussing the history of one of the unsung heroes of Hammer, costume designer Molly Arbuthnot. Topped and Tailed delves more specifically into the costumes of Hammer with Botting, professor Melanie Ball, and actor Melvin Hayes. Good or Tuesday? speaks to authors David Pirie, Stephen Laws, Wayne Kinsey, screenwriter and novelist Stephen Gallagher, magazine editor and publisher Richard Klemensen, and filmmaker and film historian Mark Gatiss about the life and work of screenwriter Jimmy Sangster. Painting with Fine Brushes sees Richard Klemensen introduce his audio recording of Jack Asher, one of the only, if not the only, interviews with the cinematographer. A Gothic History of Frankenstein features an interview with screenwriter Stephen Volk speaking about the history of the Frankenstein novel and its subsequent play and filmed versions. The Image Gallery contains 335 stills of posters, lobby cards, film programs, press materials, production photos, behind-the-scenes photos, and other miscellaneous items.

DISC THREE: SPECIAL FEATURES (BD)

Frankenstein Reborn: The Making of a Hammer Classic (Upscaled SD – 34:45)
Life With Sir (Upscaled SD – 12:31)
The Resurrection Men: Hammer, Frankenstein and the Rebirth of the Horror Film (HD – 21:51)
Hideous Progeny: The Curse of Frankenstein and the English Gothic Tradition (HD – 22:49)
Torrents of Light: The Art of Jack Asher (HD – 15:14)
Diabolus in Musica: James Bernard and the Sound of Hammer Horror (HD – 17:05)
8mm Cutdown (HD – 10:35)

Frankenstein Reborn is an archival documentary about the film with executive producer Michael Carreras, screenwriter Jimmy Sangster, actor Melvyn Hayes, authors David Miller, Jonathan Rigby, David Huckvale, the late Denis Meikle, and vice president of film and digital services at Deluxe 142, Paul Collard. Life With Sir speaks to Peter Cushing’s secretary Joyce Broughton who details her working relationship with the late actor. The Resurrection Men features an interview with magazine editor and publisher Richard Klemensen, who explores the era in which the film was made in detail; the people who crafted it, including Anthony Hinds, Terence Fisher, Bernard Robinson, Christopher Lee, and Peter Cushing; and the film’s long-lasting legacy on the genre. Hideous Progeny interviews author and cultural historian Sir Christopher Frayling about the history of Gothic horror in literature and how it influenced the film, as well as other films beyond it. Torrents of Light interviews director of photography David J. Miller who praises and analyzes the film’s artful composition. Diabolus in Musica interviews composer Christopher Drake who discusses the work of James Bernard and the music that he produced for Hammer’s films. Last is an 8mm Cutdown version of the film matched to the original acetate that was meant to go with it. It’s crude, but it nonetheless archives and preserves a piece of film history.

That’s certainly a wealth of materials, but there are several things not included from Hammer Films’ aforementioned 6-Disc 4K Ultra HD release in the UK. Festival of Fantastic Films, a 1997 interview with Jimmy Sangster by Stephen Laws; Hammer Horror for Hugh Harlow, a featurette containing a vintage interview with Harlow and a modern day interview with prop dresser Peter Allchorne; an expanded version of the 1994 documentary Flesh & Blood: The Hammer Heritage of Horror; the 1958 TV episode Tales of Frankenstein: The Face in the Tombstone Mirror; an audio commentary on Tales of Frankenstein with film historians Ted Newsom, Gary Smith, and Stuart Galbraith IV; the 1994 Mr. Cushing and Mr. Lee; outtakes from Flesh & Blood; and a revised version of The Tale of the Tales of Frankenstein... or “How to Un-Make a Monster” 2011 documentary. Also not included from the Region B Lionsgate Blu-ray and DVD release of the film is the The World of Hammer: The Curse of Frankenstein TV episode from 1990 and The Creator’s Spark: Hammer’s Frankenstein Begins, a set of liner notes that are accessible via DVD-ROM.

No matter which version you pick up, the massive 6-Disc Hammer Films release or the 3-Disc Warner Archive release, this is a stunning restoration of The Curse of Frankenstein with a mountain of bonus materials that is not to be missed. As far as I’m concerned, it’s an essential purchase. Highly recommended!

- Tim Salmons

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