Revue de presse :
...the biggest strength of Harmes writing is successfully finding fresh angles.... Harmes writes in an accessible, absorbing style, rarely slipping into dry academic mode, and his most pleasing achievement is in affording new-found respect and admiration for a movie that, although regarded as a landmark film in the evolution of Hammer, tends to be overshadowed by Hammer s swiftly generated adaptation of DRACULA in 1958 and by Fisher s admittedly outstanding, remarkably bleak sequels in the 60 s (with Scorsese being a particular fan of FRANKENSTEIN CREATED WOMAN). Harmes readdresses the balance by positioning Mary Shelley s book as an early sci-fi story, not a horror story suggesting Hammer s enduring achievement was to make it into a highly influential horror story that became, like the James Whale movie, a template for future versions. He also poignantly reassesses Terence Fisher s abilities after years of underestimation, conveying in particular his talent for using an oft-criticised static camera approach to achieve powerful set pieces that still hold up today. Concise and easy to digest in a single sitting at 100 pages, it adds up to a delicious read for Hammer fans. --Frightfest.co.uk
...ponder[s] the origins of Hammer s first colour film, its motivations, and its influence on British Gothic Cinema, previously the non-horror domain of J. Arthur Rank s Gainsborough studios. ...From there, Harmes examines the origins of the film expounding in detail on the paradigm of transgressive adaptation. ...It s an interesting and somewhat mind expanding paradigm, and does give the reader food for thought. --Starburst
University of Southern Queensland academic Marcus Harmes examines British gothic horror films through a detailed analysis of a single film, The Curse of Frankenstein, which brought together Christopher Lee and Peter Cushing for the first time. As well as documenting the 'transgressive adaptations' of Frankenstein, from Mary Shelley onwards, Harmes also reveals the cinematic inspiration of the Gainsborough costume melodramas of the late 1940s. Harmes follows, through contemporary reviews, the public 'sensation' following its cinema release in May 1957, and its subsequent influence on Hammer films. Harmes definitively establishes the decades-long impact of The Curse of Frankenstein on the gothic horror film genre. --Sydney Morning Herald
Présentation de l'éditeur :
Critics abhorred it, audiences loved it, and Hammer executives where thrilled with the box office returns: 1957's The Curse of Frankenstein was a big success and sent Hammer Films down a new and lucrative path. In his Devil's Advocate, Marcus Harmes goes back to where the Hammer horror production started, looking at the film from a variety of perspectives: as a loose literary adaptation of Mary Shelley s novel; as a film that had, for legal reasons, to avoid adapting from James Whale s 1931 film for Universal Pictures; and as one which found immediate sources of inspiration in the Gainsborough bodice rippers of the 1940s and the poverty row horrors of the 1950s.
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