As I watch more Hammer films, it strikes me just how sad so many of them are.

Innocents and lost souls find themselves in a similar place in the afterlife, and it never ends happily for them there either. Here you have Susan Denberg, born with a facial disfigurement, taunted by the local toffs, who then sees her boyfriend executed. And that's just the start of her problems before an inevitable downbeat ending.

Hammer horror films, these days, are usually remembered mostly for Peter Cushing and Christopher Lee, and also quite often for their campness. But they're almost always quite serious-minded horror tales that rarely have the get-out of a joke or a comedy character. They're also surprisingly aware in terms of societal issues. I can just imagine the three upper-class blokes who taunt Denberg here being members of the Bullingdon Club or something.

Certainly one of the better or even best Hammer films that I've seen.

Frankenstein Created Woman is a Hammer Films production that is directed by Terence Fisher. Written by Anthony Hinds under the alias of John Elder, it stars Peter Cushing, Susan Denberg, Thorley Walters, Robert Morris & Derek Fowlds. Cinematography is by Arthur Grant and the music score by James Bernard.

Baron Frankenstein (Cushing) is dabbling with transference of the soul, when Christina (Denberg), a disfigured local who girl commits suicide after her lover Hans (Morris) is wrongfully executed, comes his way for revival, it sets the wheels in motion for violent and bloody revenge.

Bonkers plot and bonkers movie, but one that's well regarded in critical circles and by fans of Hammer Horror in general, and even one Martin Scorsese has it on his favourite movies list. Reworking Bride Of Frankenstein into a metaphysical based tale is close to being a genius idea, even if at times it's difficult to know if it's meant to be funny or not. The thematics most certainly are intelligent and well played out, not just the notion of transferring a peasant boy's soul into that of a former cripple who now looks like (and is) a playboy model, but also class snobbery, corrupt justice system, bullying and of course revenge. All crammed into a 90 minute movie.

However, some scenes are just too daft to take seriously if they were meant to be so in the first place? After crafting bona fide horror classics like Curse Of Frankenstein, Dracula and The Mummy, Terence Fisher owes Hammer Horror fans absolutely nothing. But gauging his efforts here is tough to do, for the blend isn't quite right. Moody and almost dreamlike in tone, it's also low on production values and, Cushing excepted, performed all very hammy by the overacting cast. But again, that may well have been the remit when shooting began?

It's a safe recommend to Hammer fans because it's entertaining on either front, as a comedy or a dark little chiller. But personally I wouldn't be surprised to see it rated from anything between 1/10 to 10/10 across internet sites because it's really an odd piece of Brit cinema. So I'll sit on the fence and go 7/10 for it.

A strange addition to the Frankenstein cycle, and indeed the Hammer output, this film slotted neatly between 1964's THE EVIL OF FRANKENSTEIN and 1969's FRANKENSTEIN MUST BE DESTROYED. The film is uncharacteristic of Hammer's other work in that it does not have the same Gothic atmosphere we are so used to seeing; instead, melodrama and romance take centre stage even to the Baron's antics. Even Terence Fisher's colour palette seems brighter than usual for his filmography.

However, although the film is not one of Hammer's best, there are still numerous reasons one might find it enjoyable. Peter Cushing stars in one of his best roles ever, and is indeed great as the scientist obsessed with discovering the secrets of life...and death. His ruthlessness is to the fore here, only superceded by his turn in the sequel. Unfortunately he does not appear that much in this film, and when he does it is as a father figure to Susan Denberg, with his intentions and personality not being clearly studied.

Cushing is unusually on the side of good in this film - at least as 'good' as a film this dark gets - and displays little of the cold violence we are used to seeing in his Frankenstein character. Thorley Walter is always good value and brings a touch of comic relief to the story. Susan Denberg and Robert Morris are successfully tragic as the doomed lovers, but kudos also goes to the trio of actors playing the bounders and cads who are the cause of all the violence in the first place. These fellows are totally obnoxious and yet believable. If you look closely you'll see a young Derek Fowlds in an early role.

The film's main disappoint is the lack of Frankenstein, but the story about the lovers holds the attention. Other disappointments are the way in which the main characters are murdered, all deaths are routinely staged and the censors are more to blame for this than anyone else. Also the main creation scene is also sadly missing from the finished print, let's face it we all love the bits where electricity sparks and lightning strikes and the monster comes to life, and it feels strangely left out here. The ending of the film is also anti-climatic in that it feels more than a little rushed. Still, all of the actors and actresses come out of this film looking good and it comes off as a nicely polished, well-rounded story which ties up neatly at the end and even achieves a kind of 'fairytale' ambiance.