Somewhere, sometime in the future, Dr. Joseph Buchanan (John Hurt) has developed a revolutionary weapon that will change the way wars are fought. But during the testing of his new super weapon, something unexpected has happened: somehow a hole has opened up in the time/space continuum,
creating a "timeslip," a gateway into the past. Buchanan and his state-of-the-art computerized car are sucked into the hole, ending up in 1818. Shocked but ever adaptable, Buchanan hides the car--he might, after all, be able to explain his clothing, but the car would be bound to cause a problem.
He makes his way to the nearest town, barters for a meal and finds himself in the company of the arrogant Baron Frankenstein (Raul Julia). Within days he's also met free-thinking Mary Godwin (Bridget Fonda), soon to be the author of Frankenstein. Through Mary he meets her lover, poet Percy Bysshe
Shelley (singer Michael Hutchence of the group INXS), and his friend, the mad, bad, and dangerous-to-know Lord Byron (Jason Patric). All are ensconced in Bohemian rhapsody at a nearby villa. Understandably puzzled by this confluence of fact and fiction and desperate to find a way back to his own
time, Buchanan discovers that Frankenstein is carrying out the experiments that will be described in Mary's novel. He has created a misshapen but intelligent creature (Nick Brimble) who is driven by frustration to maim and murder. Frankenstein tries to enlist Buchanan's aid in his ghastly plan to
build a monster mate, but Buchanan double-crosses him and they are all projected into a frozen future. Frankenstein and the creatures die, leaving Buchanan alone in the ruins of a sophisticated research facility, pondering the meaning of it all.
This was Roger Corman's first directorial efforts since 1970 when he did VON RICHTOFEN AND BROWN, and the film is a curious anachronism, resolutely old-fashioned, almost stuffy. This is surprising since Corman, as a producer with Concorde/New Horizons, managed to keep his finger on the pulse of
the exploitation industry, turning out low-budget films such as GALAXY OF TERROR (1981), CHOPPING MALL (1986), and NIGHTFALL (1988) that appealed to contemporary audiences. If this films starred unknowns (or has-beens) rather than the surprisingly distinguished cast Corman assembled, it would be
easy to imagine that it was made in the late 60s. Though this could make for a pleasantly nostalgic film, the two intervening decades have been crucial ones for horror films. Elaborate special effects have bred a technically sophisticated audience, the link between sex and horror has become
increasingly complex, and mordant self-consciousness is evident in all but the crudest films. To watch FRANKENSTEIN UNBOUND is to feel as though none of that has happened, a feeling that ultimately undermines the picture. On the plus side, the performances are generally above average. Newcomer
Hutchence and Patric (THE LOST BOYS) are fey as the unconventional poets and as Mary, Fonda (SCANDAL, SHAG) has what may be the film's most memorable line. Seducing Buchanan, she saucily declares, "Percy and Byron preach free love...I practice it." The European locations are beautiful and
wonderfully photographed, and the overall production values are high--only the monster is disappointing. (Sexual situations, violence.) leave a comment
