Here are just a few things to be experienced in 1973’s Flesh For Frankenstein:
A fanatical Baron von Frankenstein (Udo Kier) needs a brain for his latest creation so his assistant, Otto (Arno Jurging) goes out with a giant pair of hedge clippers, snips off a divinity student’s head, and then runs off with it.
An incredibly sexy farmhand named Nicholas (Joe Dallesandro) speaks with a thick and very modern New York accent, despite living in Germany in the 19th century. Meanwhile, everyone around him speaks with an extra-thick German accent.
The Baron announces to Otto, “To know life, you must fuck death in the gall bladder!”
Nicholas has an affair the Baroness von Frankenstein (Monique van Voreen), who in one scene loudly sucks on Nicolas’s armpit.
The Baron gets rather obviously turned on while removing organs from a body.
The Baron’s children decapitate their dolls and take a perverse pleasure in being cruel. Some of this could possibly be because the Baron and the Baroness are also brother and sister.
The Baron rants and raves about how, by bringing the dead back to life, he will be able to create the perfect Serbian race, one that will only take orders from him and which will …. well, do something. The Baron has a lot of plans but he’s not always clear on just what exactly the point of it all is.
Speaking of points, one character eventually gets a spear driven through his back an out of his chest. Despite the fact that his heart is literally hanging off the tip of the spear, he still manages to get out a very long and very emotional monologue before dying.
Now, of course, you have to remember about that scene with the heart is that Flesh for Frankenstein was originally shot in 3D, which means that audiences in 1973 would have literally had that heart dangling over their heads while waiting for that endless monologue to stop. How the audience would react to that would have a lot to do with whether or not they were in on the joke.
And make no mistake, Flesh For Frankenstein is not a film that’s meant to be taken too seriously. It’s a satire of …. well, just about everything. Baron Frankenstein, with his sexual hang-ups and his obsession with creating a perfect male and a perfect female so that they can have perfect Serbian children, is the ultimate parody of the mad scientists who usually populate these films and Udo Keir gives a truly mad performance in the role. One need only compare Keir’s Frankenstein to the coldly cruel version that Peter Cushing played in Hammer’s “serious” Frankenstein films to see just how much Keir embraced the concept of pure batshit insanity. Whereas Keir joyfully overacts every moment that he’s on-screen, Joe Dallesandro pokes fun at the traditional image of the strong, silent hero by barely reacting to anything at all. The film’s nonstop flow of blood parodies the excesses of the horror genre while Nicholas’s affair with the Baroness satirizes not only Marxism but also an infinite number of European art films. Flesh for Frankenstein is a film that is so deliberately excessive that it often feels as if it’s daring you to stop watching. Of course, you don’t stop watching because you know the movie will probably start making fun of you as soon as you turn your back on it.
Flesh For Frankenstein is also known as Andy Warhol’s Frankenstein. Warhol actually had little do with the movie, beyond lending his name. The film was directed by Paul Morrissey, who served as Warhol’s “house director” during the Factory years. The best Factory films were defined by the combination of Warhol’s detachment with Morrissey’s political and religious conservatism. With Flesh For Frankenstein, Morrissey not only satirizes what he viewed as being the excesses of European and horor cinema but he also satirizes the fact that there’s an audience for his satire. Flesh For Frankenstein is definitely not a film for everyone but, in this case, that can be considered a compliment. It’s an audacious and wonderfully over-the-top movie, one that would be followed by Blood for Dracula.
One final note: Because the film was made in Italy, Antonio Margheriti was credited as being a co-director on the film with Morrissey. While Margheriti did do some second unit work, it is generally agreed that he was not, in any way, a co-director. Apparently, Margheriti was credited as being a co-director so that the film could receive financial aid from the Italian government. This scheme later led to both Margheriti and producer Carlo Ponti being charged with criminal fraud.