The Curse of Frankenstein 4K Blu-ray Movie

Rating summary

Movie		4.0
Video		4.5
Audio		4.0
Extras		5.0
Overall		5.0

The Curse of Frankenstein 4K Blu-ray Movie Review

"In any case, Hammer breathed new life into the Mary Shelley myth. And in return, 'Frankenstein' created Hammer." - Peter Cushing

Reviewed by Justin Dekker October 29, 2025

One of the numerous titles that Hammer fans have been waiting for arrives on 4K UHD disc in this new 'The Curse of Frankenstein 4K: Limited Collector's Edition' courtesy of Hammer Films. The film stars Peter Cushing as the Baron, Christopher Lee as The Creature, and Hazel Court as Elizabeth, and features numerous Hammer heavyweights behind the camera. A truly massive release in every sense of the word, this edition features the film in three distinct aspect ratios along with multiple commentary tracks, and a host of on-disc extras. Among the supplemental features included is Ted Newsom's feature length Hammer documentary 'Flesh and Blood: The Hammer Heritage of Horror', behind-the scenes footage from that project featuring the last recorded images of Cushing performing work for Hammer, and a wealth of printed material that includes lobby card reproductions, a double-sided color poster, a perfect-bound graphic novel of the film culled from vintage issues of 'The House of Hammer' magazine, and a monstrous 164-page perfect bound book featuring writing on the film, those who made it, and Bray Studios where the film was made. The book is also filled with numerous stills, publicity shots, and other images. This set is made up of six discs: discs 1 and 2 are 4K UHD discs containing the film in different aspect ratios along with with some extras; discs 3 and 4 are Blu-ray versions of the first two discs; and discs 5 and 6, Blu-rays that are home to a considerable selection of extras. The contents are housed in a chipboard slipcase which itself is housed in a leatherette and green foil-enhanced embossed slipbox. The two UHD discs are region-free, whereas the Blu-ray discs, discs 3, 4, 5, and 6, are Region B locked. Viewers will need a region-free player to view those four discs.

By the middle to end of the 1950s, horror cinema was in a sorry state. Very few true horror films were being produced, and of those that were, many of them were ultimately forgettable. While there were a number of science fiction and monster movies that had some horror elements regularly gracing the silver screens across the US and the world, horror, in the classic sense, as popularized and immortalized by the early Universal offerings of Dracula, Frankenstein, and The Wolf Man had faded. While those films were and are still significant, they no longer resonated in the manner they once did, due in part to Universal's profit-driven motives to dilute and diminish the macabre creations with strings of sequels of decreasing quality, and reducing them to punchlines in more comedic fare. The time was ripe for someone to come along and remind viewers why they needed to fear these unholy creations once again.

When Hammer decided to undertake bringing Mary Shelley's creation to the screen for a new generation of viewers, the events of its origins are a film-worthy subject in and of themselves. Hammer executives tried to bluster their way around censors, and made promises they'd no intention of keeping to their American partners in the production. They had been threatened with lawsuits by Universal if their story or their monster bore too much (or any) resemblance to their 1931 film. A script penned by Milton Subotsky had been briefly considered, before he was paid off, the script discarded, and a new treatment by Jimmy Sangster was penned and approved. The rejection Subotsky experienced would go on to inspire, at least in part, the creation of Amicus Productions, one of Hammer's chief rivals in the horror resurgence of the 1960s and 70s, and the creators of numerous memorable films themselves, most notably anthologies such as The House That Dripped Blood which featured Ingrid Pitt and John Pertwee, names that should be familiar to fans of television and film from the era.

Due to his previous television work, Cushing was already a known commodity to British audiences. His meticulous preparation made his Baron Frankenstein believable as carried out experiments, handled instruments, and talked about his scientific work. His well-known generosity to his fellow actors allowed Melvyn Hayes to better emulate Cushing's mannerisms and posture to effectively sell his portrayal of a younger version of the Baron. Cushing even gave the young actor a ring to wear to help establish continuity between the older and younger versions of the nefarious character.

Lee, it's been said, was cast in the role of The Creature due to both his considerable height, and the fact that his daily rate was £2 less than the other actor who was up for the part. Considering things from a more talent-based perspective, though, yields the notion that his miming skills would greatly aid the largely non-verbal role of The Creature. Indeed, that creation could have been little more than an object of derision and disgust in lesser hands, but Lee's performance transforms him into something pitiable and awkward, something not quite human; a creation who didn't ask to be born and who was treated with very little kindness. With an appearance that lends itself to fear and prejudice, even escaping the confines of the Baron's familial estate would not net him a better life, as those who knew of his origins would recoil due to his "devilish" beginnings, and those who didn't would simply find him repulsive. While Lee doesn't receive much screen time here, every frame he's in evokes as certain sadness.

These performances, in confluence with the sumptuous production value inherent in Bray Studios, the excellent costuming, the stellar work of DP Jack Asher, make up effects from Phil Leakey, Sangster's script, and the deft direction of Terence Fisher conspire to make The Curse of Frankenstein the memorable and influential film that it is. Wildly successful, the film put Hammer Studios on the map, ensuring not only inevitable sequels, but a new slate of other gothic horror films to quench a thirst which they had helped to create. Films focused on Dracula, The Mummy, The Wolf Man, and even a gender-bending take of Stevenson's characters of Dr. Jekyll and Mr. Hyde would follow over the ensuing years. While the success or failure of those projects is, to a certain extent, a matter of taste, Lee and/or Cushing would appear in many of them, and Hammer's distinctive production values would remain fully on display.

The Curse of Frankenstein 4K Blu-ray Movie, Video Quality 

Per the liner notes included with this release, Hammer did not possess a print of this film that was suitable to undertake this type of endeavor. To that end, they were able to source the 35mm OCN from Warner Bros., which was scanned at 4K resolution, along with the original YCM (yellow, cyan, magenta) separation protection masters, monochrome reels created as a sort of insurance should the OCN ever become damaged. Warner Bros., after careful consideration, decided the best course of action was to use these YCM masters as the basis of the restoration, and once scanned, they were sent to Silver Salt in London for extensive restoration, with each color layer requiring its own body of work. This work also enabled the reinsertion of the infamous "eyeball sequence".

The end result is as beautiful as it is impressive. The image on display in each of the three aspect ratios is wonderfully filmic, with a layer of film grain that resolves naturally and is never problematic. Skin tones are healthy. The Dolby Vision grade boasts colors that are robust and stable, and fine detail is pleasingly high. Even darker areas allow for subtle gradations in shadow that enable viewers to inspect every corner of the cluttered laboratory, the Baron's opulent public rooms, and the few exterior shots as well. This is, of course, save for those dark areas that Asher left intentionally impenetrable, such as the shadows that consume Cushing's Baron in his prison cell before he chooses to extricate himself from them and dramatically reveals his presence to the viewer for the first time. My colleague, Randy Miller III, was quite justified in his praise of the Warner Archives release from 2020, though this release handily bests it in terms of picture quality. And it should be noted that Warner Bros., due to their collaboration on the restoration, has its own newly released Region A 4K UHD product which contains an identically luscious presentation of the film. From its smokey red title sequence forward, The Curse of Frankenstein has never looked better.

In order to give viewers a sense of how the aspect ratio changes the viewing experience of the film, I captured, as closely as possible, the same (or very similar) moments for each of the three different aspect ratio options included in this release. Considering the film's origin, the 1.66:1 UK Theatrical Version feels like the right choice to me, though I suspect many viewers will default to the aspect ratio in which they first, or have normally viewed the film up to this point.

• Screenshots 1 - 7 are from the 1.66:1 UK Theatrical Version

• Screenshots 8 - 14 are from the 1.37:1 As-Filmed Version

• Screenshots 15 - 21 are from the 1.85:1 US Theatrical Version

Screenshots are sourced from the 4K UHD discs and downscaled to 1080 and are in SDR.

The Curse of Frankenstein 4K Blu-ray Movie, Audio Quality 

Hammer's The Curse of Frankenstein is equipped with two English audio options, an LPCM 2.0 mono track, and, as is Hammer's established protocol, a newly created 5.1 HD-Master Audio track crafted by using AI to strip the dialogue from the mono mixed soundtrack, and pushing music and effects into the surrounds. I viewed the film all the way through with the 2.0 mix, and then a second time with the 5.1 track, and there are certainly merits to both. The 2.0 track is in line with what long-time fans of the film would expect. It's an appropriate "vintage" soundtrack for a film that first screened in theaters in 1957. The track sounds excellent, with dialogue being consistently intelligible. Effects are likewise well-rendered, and again, retain an era-appropriate quality. It's an enjoyable listen, and the only real issue to report here is some very slight sibilance issues that are consistent throughout the film, with some actors being more heavily impacted than others, but no one is unscathed in this regard. It's not significantly distracting and it won't pull viewers out of the film, but it is noticeable until the ear grows accustomed to it.

The newly minted 5.1 HD-Master Audio track, as with Hammer's recent The Man in Black, which was created via the same process, is once again quite well done. The track adds some additional depth and richness to sound effects like thunder, and to the humming, crackling, and bubbling equipment in Victor Frankenstein's laboratory. The dialogue and many of these sounds are still front and center focused. Surrounds are used to subtly support the score, adding ambiance and atmosphere but never being overwhelming. Occasionally, effects and dialogue push through the surrounds, such as when Paul knocks on the door around the 59-minute mark and calls out to Victor. Such instances are infrequent, but they are handled well when they arise. To my ear, though, the biggest difference between the two tracks is that the 5.1 track exhibits far fewer sibilance issues than the 2.0 mono track. As the 5.1 track doesn't sound overwhelmingly modern and anachronistic, viewers shouldn't find a strange companion to the film. As there are definite merits to both, the audio selection is going to boil down to personal preference. Based on what seemed most pleasing to my ear, I'll likely pick the 5.1 track when next I screen the film.

The Curse of Frankenstein 4K Blu-ray Movie, Special Features and Extras 

Hammer's release of The Curse of Frankenstein 4K Limited Collector's Edition features an amazing amount of extras. It includes all of the n- disc supplemental material found on the new Warner Bros. 4K release, in addition to a considerable amount of further on-disc material and a wealth of printed content, besides. The material is as follows.

Disc 1: 4K UHD

• Widescreen 1.66:1 UK Theatrical Version with 2025 Commentary featuring Kim Newman, Barry Forshaw, and Stephen Jones - This optional commentary features Forshaw (author of British Gothic Cinema), Jones (author, editor, and horror expert), and Newman (author, critic, and novelist). The men begin by discussing their first exposure to the film, and Newman quickly shares information on the impact of budgetary constrictions. From there, they shift to a discussion of the novel on which the film was based and the linkage between science fiction and horror. They contend that the novel was so different from what had come before, and that the subject matter in combination with the novel's themes, has led to the tale's endurance. The trio quickly posits that Curse is likely the most influential British horror film, and much of their subsequent conversation adds evidence to the claim either directly or indirectly. Their conversation moves back to the origin of the film, the influence of Anthony Hinds, the specter of Universal's potential legal action, and screenwriter Sangster's work to craft a unique picture. The commentary is rarely driven by the action on the screen, and the conversation between the three fluidly shifts from one subject to another as they share anecdotes, tell stories, and relay information about this film and others as well. The conversational track is a spirited and enjoyable listen.

• Fullscreen 1.37:1 As-Filmed Version with 2012 Commentary featuring Marcus Hearn and Jonathan Rigby - This optional commentary features Hammer Vault author Marcus Hearn and Jonathan Rigby who penned English Gothic and Studies in Terror. They start by marveling at the opening credits, which contain a veritable "who's who" of some of Hammer's top behind-the-camera filmmaking talent. Their conversation is much more keyed to the action on the screen, inspiring them to discuss locations, the cast, shot construction and lighting, and the like. They again comment on Milton Subotsky's original script that was eventually discarded and replaced by the one authored by Jimmy Sangster that would ultimately make it to the screen. By all accounts, it was vastly superior. The cast receives a substantial amount of focus, covering not only the stars but also pointing out trivia like the cameo of Hazel Court's daughter in an early scene. Not as lively as the track recorded by Newman, Forshaw, and Jones, it is more film-focused. While they may occasionally refer to other actors and other films (such as Top Secret!), they rarely stray for long. It's a deeply informative commentary.

• Beside the Seaside: Wayne Kinsey and Madeline Smith Remember Peter Cushing (50.17) - Shot in the Whitstable Museum in the midst of the Peter Cushing exhibit, they begin by grounding viewers in biographical information of his youth, and his parents. His theatrical career began in 1938, before heading to Hollywood in 1939, landing a role in James Whale's (Frankenstein) The Man in the Iron Mask, and a Laurel and Hardy film as well. Returning to England in 1942, he was rejected from military service due to his rugby-related injuries. Leaning into his artistic side, Cushing ended up designing the silk scarf for the coronation in 1953. Mentored in painting by Edward Seago, he met the Queen when Seago was working a portrait of her, and she revealed she was a fan of his theatrical work, which began in earnest in the late 1940s. The pair discuss his meticulous preparation for his roles, and his consistent gentlemanly behavior, his presence, and his perfect posture. Their discussion ends with a reading of Cushing's take on the "The Twelve Days of Christmas". Upon its conclusion the pair wander through the museum, taking in the items and photographs that comprise the exhibit. From there, they enjoy the Whitstable seaside, sitting on the the bench from his garden which he donated to the city and installed on the water's edge in 1990. In this setting the conversation turns to his later career, and the Hammer and Amicus projects he on which he worked, including Frankenstein and the Monster From Hell. Kinsey brings smith to the home in which he lived, before visiting the Tudor Tea Rooms, an establishment which he used to frequent and would speak to fans for hours. The pair are seated under a plaque commemorating Cushing as they reminisce and share stories.

• Reviving 'The Curse of Frankenstein' (8.11) - Mark Stanborough, Hammer's Head of Restoration, discusses the less-than desirable state of the film elements Hammer had, sharing that the best materials were in Warner Bros.' vaults. Warner Bros. took care of the 4K scan, while Silver Salt Restoration in London would handle the restoration and grading. Staff from Silver Salt discuss the various issues with the materials used for this release, and the fixes employed. Cuts requested by the censors are also discussed. Stanborough also discusses how the 5.1 was crafted.

• Alternative Eyeball Scene (1.11) - Alternative footage for the notorious eyeball scene.

• Original UK Theatrical Trailer (2.19)

• UK Sensor Card (0.11)

Disc 2: 4K UHD

• Widescreen 1.85:1 US Theatrical Version with 2020 commentary featuring Dr. Steve Haberman and Constantine Nasr - Filmmaker, writer, and film historian Constantine Nasr, and writer, producer, and film historian Dr. Steve Haberman. Nasr frames the commentary with a quick tale of his finding the original Sangster script, including material that never made it to the screen. Those pages serve as the basis of this script-to-screen commentary, beginning with the matte shot and the framing device the film employs. While conceptually, one may think such a commentary would be rather dry, it's far from it. The deep Hammer and cinematic knowledge the pair possess provides context when necessary, analysis when needed, and opinions and reactions when appropriate, and they are especially appreciative of the restored "eyeball scene". It's a lively and informative track that have great appeal to long-time fans of the film.

• Widescreen 1.85:1 US Theatrical Version with 2025 commentary featuring Heidi Honeycutt and Toby Roan - Film journalist and film historian Heidi Honeycutt, and author and film historian Toby Roan team for this commentary track. The audio quality of the two voices belies the fact that the two are not in the same room and occasionally leads to some labored transitions as they pass the proverbial baton when one finishes a comment and a beat or two passes before the other begins to speak. This is an issue that smooths out and diminishes the further into the commentary they progress. Cushing is the initial primary focus of the two, as they dig into his career and his approach to the character of Baron Frankenstein. Honeycutt also touches on the work Cushing did to prepare Melvin Hayes to portray a younger version of the Baron. Asher's work behind the camera receives some necessary focus as well, as does Sangster's efficient script, both of which were influential on subsequent gothic horror films. The most conversational of the commentary tracks, Honeycutt's presence also drives the commentary into some different territory than the others that are exclusively populated by men, providing not only a refreshing perspective but some great differentiation in the topics that receive attention. It's a relaxed, fun, and informative listen.

• Recreating the Creature (34.41) - David Elsey (Make Up Artist), and James Swanton (Actor) recreate the original make up from the film, aiming for the look of Lee's Creature, but using more modern techniques than were available at the time. Intercut with Elsey's work, audio from an archival interview with Phil Leakey, who worked on Lee's make up, plays out over footage from the film and a series of stills. He goes into some detail about needing to make their Creature look very different from the one played by Boris Karloff to stay out of legal trouble with Universal. Leakey's son Peter adds more detail at various times as well. Elsey shares that Leakey had approximately three days to do the work. Due to the time constraints, Leakey had to perform the work directly on Lee's face, rather than a mold or cast, a process which Lee didn't enjoy, and once it was finalized and filming began, he was unable to eat when the make up was on. Time-lapse photography speeds through the end of Elsey's work, and the final result in impressive.

• A Fitting Vocation (10.11) - Josephine Botting discusses costumer Molly Arbuthnot, beginning with biographical information. She relates that Arbuthnot appeared in several shorts and films near the end of the 1920s and her short film career continued into the early 1930s. Stage work followed. After WW II, Arbuthnot is first credited with working in the wardrobe department, eventually landing at Hammer with her her brother, Assistant Director Don Weeks. She worked extensively on Hammer's gothic films demonstrating a drive for authenticity and understanding how costumes help shape and define characters. She worked on The Curse of Frankenstein, The Witches, The Mummy's Shroud, and others, before retiring at age 57.

• Topped and Tailed (16.21) - Melvyn Hays (Young Baron Frankenstein) comments on the look of his character before Josephine Botting and Melanie Bell appear to discuss the impact of costuming on the film. The three comment on the work of Molly Arbuthnot, and time is spent on the importance of certain pieces and elements worn by the main characters.

• Good or Tuesday? (39.06) - Filmed in The Cinema Museum, Authors David Pirie and Stephen Laws, and screenwriter Stephen Gallagher discuss Jimmy Sangster and his career leading up to The Curse of Frankenstein. Others, including Mark Gatis appear as well, and the topic shifts to the films Sangster worked on that followed, writing numerous thrillers, including The Nanny, Taste of Fear, and Snorkel. He would later move to directing, beginning with Horror of Frankenstein and Lust for a Vampire, a production he joined at the last minute. They discuss the work he would produce later in his career and also weigh in on their perception of his role at and importance to Hammer.

• Painting with Fine Brushes (11.49) - Richard Klemensen (Publisher, "Little Shop of Horrors" Magazine) talks about Hammer Director of Photography Jack Asher

• A Gothic History of Frankenstein (24.15) - Screenwriter (Gothic (1986)) Stephen Volk walks viewers through the history of Frankenstein, from its beginnings as a ghost story written by the soon-to-be Mary Shelley at Lord Byron's lake home, before it would be published for the first time in 1818. The book would be adapted for the stage during her lifetime, ultimately leading to its greater success. Volk covers the earliest film adaptation of the book, before arriving at Universal's landmark film starring Boris Karloff. From there, he moves on to discussing the tropes and conventions which, in his mind, typify gothic horror, and how Frankenstein meets that definition. He discusses the copyright concerns Hammer needed to work around, Cushing's performance as the Baron, and the impact of color. Christopher Lee's performance and make-up receives some attention as well, before he closes with his thoughts on writing and the legacy of Hammer horror.

• Image Gallery (13.48) - A host of still images auto-advance and consist of posters, lobby cards, ads, head shots, publicity materials, and the like. A mix of color and black-and-white images comprises the slide show. As the images advance rather quickly, viewers will want to keep their remotes close at hand to pause elements they would like to study more closely.

Discs 3 and 4: Blu-rays that repeat the programming of discs 1 and 2

Extras Disc 5: Blu-ray

• Jimmy Sangster 1997 Interview (24.10) - From the Festival of Fantastic Films in Manchester and moderated by Stephen Laws, Sangster begins at the beginning and discusses how he got started in film, winding up doing his first work for Hammer (then Exclusive) at age 20, before switching to writing at the age of 30. His early works are discussed quickly, before talking about Curse of Frankenstein, a script for which he received £400. They discuss the film Taste of Fear, his first outing as a producer, before moving on to Pirates of Blood River, and other films. Several of the stories Sangster tells are laced with humor as he talks about creative ways to work around and through budgetary restrictions and limitations. The source is rough, but it's the content here that matters. Viewers should note, though, that a "warning" precedes the segment informing them of the limitations of the sources, which include freezing and sound holes.

• Frankenstein Reborn (34.45) - Produced for a 2012 restoration of the film, Michael Carreras, Jimmy Sangster, authors Denis Meikle, David Huckvale, and David Miller, actor Melvin Hayes, and others cover a variety of topics including the era and the origins of the project, Cushing's extensive preparation for a role, his generosity to other actors, and how Christopher Lee reportedly secured a role in the film. The partnership between Lee and Cushing gets a fair amount of airtime as well, as do the make-up effects and the film's score. The technical information about the restoration pertains to a previous release.

• Life with Sir (12.31) - Joyce Broughton, Peter Cushing's secretary beginning in 1958, shares memories of Cushing the man, his hobbies, his gracious reaction to fans, and his love for his wife, Helen. She states he never quite got over the death of Helen, tells how his health began to deteriorate, and his final days.

• The Resurrection Men (21.51) - Richard Klemensen (Publisher of "Little Shoppe of Horrors") discusses the serious rebirth of horror cinema thanks to Hammer's Curse of Frankenstein. Beginning with a discussion of The Quatermass Xperiment and how it led to The Curse of Frankenstein, Klemensen discusses early issues with the original script, and Universal's reaction to Hammer working on the project. Sangster's script is discussed, as are the other key Hammer creatives, such as Terence Fisher, who were part of the richest portion of Hammer's history and Hammer's distinctive look. Casting receives a fair amount of focus, and Klemensen talks about how television star Peter Cushing approached Hammer about portraying the Baron and securing Christopher Lee. He shares information bout the censors' reaction, and his personal reaction to the restoration of this film and its importance to the horror genre.

• Hideous Progeny (22.49) - Author and Cultural Historian Sir Christopher Frayling discusses gothic fiction, which gave rise to gothic cinema. Frayling pays attention to Lee's makeup and Shelley's own words regarding the fantastical creation. He believes the film got many of Shelley's themes and ideas right, capturing the best of the film in under 90 minutes. He talks bout the transgressive nature of the film and Sangster's reaction to critical reviews. He closes with a discussion of the book and the volume of films that have been based on Mary Shelley's historic work that continues to be influential today.

• Torrents of Light (15.14) - DP Jack Asher's work takes center stage in this segment as Cinematographer Dennis Miller talks about his work lighting The Curse of Frankenstein due to his experience and learnings on black-and-white films. He highlights Asher's style, development, and innovation over the course of his future horror outings.

• Diabolus in Musica (17.05) - Composer Christopher Drake (The Dark Knight Returns) shares his impressions on James Bernard's scores beginning with The Quatermass Xperiment and moving on to The Curse of Frankenstein and beyond, and his use of dynamic and more modern musical elements, treading a line that was gothic, melodic, frenetic, and atonal, and the signature tritone chords.

• Hammer Horror for Hugh Harlow (11.05) - Hugh Harlow, third assistant director, receives the bulk of the screentime here as he talks about his time at Hammer, and shares his recollections of cast and crew. Cushing is a significant topic of conversation, and thoughts around him are particularly warm. Harlow also recounts the difficult makeup Lee had to wear, and how he would sing beautifully in the makeup room. Stuntwork is also discussed.

• 8mm Cutdown (10.35) - An unrestored, abbreviated, black-and-white 8mm iteration of The Curse of Frankenstein. It's one part curiosity and one part treasure.

Extras Disc 6: Blu-ray

• Flesh and Blood: The Hammer Heritage of Horror (2.27:43) - Fittingly graced with narration by Christopher Lee and Peter Cushing (though Lee does most of the work), this feature-length documentary focuses on Hammer Studios' legendary and influential horror films. The documentary begins with the foundation of the elements that sexuality and the supernatural in gothic literature and the more lurid penny dreadfuls that would translate into cinematic success for Hammer and the beginnings of the studio and those involved with the work. Val Guest, Michael Carreras, Jimmy Sangster, Anthony Hinds, Freddie Francis, and numerous others whose names will be well-known to Hammer fans appear over the runtime of the doc, adding critical information and singular points of view. Directors John Carpenter, Joe Dante, and Martin Scorsese share their thoughts and the impact the studio's films had on them. Stars such as Hazel Court, Peter Cushing, Christopher Lee, Veronica Carlson, David Prowse, and more share their recollections and experiences. It's filled with clips from countless films, behind-the-scenes footage, segments from interviews, stills, posters, and the like, which are intermixed. It's a well-crafted, entertaining, and informative feature that is essential viewing for any Hammer fan. The project is helmed by Ted Newsome (Super Ninja Doll, Bikini Frankenstein).

• Mr. Cushing and Mr. Lee (47.47) - The opening text relays that Cushing and Lee recorded their narration for Ted Newsom's Flesh and Blood on 18 May 1994, and that it was to be Cushing's final piece of work for Hammer. As his work was integral to some of the studio's most iconic works, its success, and its revered status, it's fitting he should add his voice to a retrospective documentary alongside his frequent screen partner. This candid feature captures Lee and Cushing's reunion for this project. They seem genuinely happy to see each other, though Cushing looks frail while Lee appears much more hale and hearty. The men laugh, joke, pose for pictures, share stories and inside jokes, and generally carrying on as if no time had passed since they last saw each other. Lee even tries out his Yosemite Sam impression, much to Cushing's delight. Their exchange is heart-warming, and the work at hand seems to be the furthest thing from their minds. At about the midpoint, Newsom intercedes and tries valiantly to get the two men to settle into their work. He meets with limited success. With less than ten minutes left in the segment, the men are finally down to business, and viewers get a chance to see the two at work before catching a few more moments with the pair as they depart, and Cushing weighs in on his Hammer legacy. Cushing would pass away a few months later on August 11, 1994. The footage is not without defect and reveals the limitations of its source, but the material here is priceless.

• 'Flesh and Blood' Narration Outakes (20.44) - Audio of the errant narration plays out over stills of the two men from the day of recording, along with others who were also in the studio, and behind-the-scenes shots. The images are in color and black-and-white.

• 'Tales of Frankenstein' Pilot (27.26) - Playable with or without commentary from Ted Newsom, Gary Smith, and Stuart Gilbraith that was recorded in 2001, the unrestored black-and-white footage provides a glimpse at the proposed 1957 Frankenstein-inspired anthology series. It features Anton Diffring as Baron Frankenstein. The unrestored footage is largely in good shape, though defects and limitations are visible, and the commentary track is densely packed with information.

• The Tale of 'Tales of Frankenstein' (27.52) - Directed by Dave DeCoteau and narrated by Ted Newsom, the segment provides context with information on how Columbia was able acquire the rights from Universal and was able to work with Hammer on the proposed series. Sangster was tasked with writing for the series, and he provided a wealth of interesting ideas, and Curt Siodmak (Black Friday) was asked to helm the show, the plot of which was a rather pedestrian effort. Anton Diffring (The Man Who Could Cheat Death) was tapped for the titular role. Newsom provides a great deal of information in a winding tale that is more interesting than the pilot episode itself.

Printed Material

• Full-color Double-sided Poster.

• Eight Lobby Card Reproductions.

• 'The Curse of Frankenstein' Graphic Novel - Culled from vintage issues of The House of Hammer magazine. The perfect-bound black-and-white book is 63 pages in length.

• The Books of Frankenstein: Volume One - This 164-page perfect-bound book features writing on a number of topics including the making of the film, Peter Cushing's remembrances of his portrayal of the Baron, set designer Bernard Robinson, and more. The eleven essays included here are highly informative and it's something every Hammer fan will want to read from cover to cover. The book is also packed with a host of color and black-and-white images.

The Curse of Frankenstein 4K Blu-ray Movie, Overall Score and Recommendation 

The Curse of Frankenstein was a watershed moment in horror. Its success not only catapulted Hammer Studios into the consciousness of filmgoers on both sides of the Atlantic, but it also paved the way for the horror films that were to follow in the 60s, 70s, and beyond. Lee and Cushing would find themselves paired in many subsequent Hammer films, though this one is unique, capturing the pair at the moment before they would vault into the upper echelon of horror stardom. Many of the qualities that made Hammer's films distinctive and memorable are found here; the canny mix of sexuality and the supernatural, liberal doses of violence mixed with boundary-pushing gore, incredible levels of talent behind the camera, and, of course, exemplary production values. The film looks and sounds better here than it ever has before, and the amount of attention, craftsmanship, care, and the incredible volume of on-disc and printed supplemental material not only make Hammer's The Curse of Frankenstein 4K: Limited Collector's Edition an easy contender for the best release of the year, it also earns the release my highest possible recommendation.