The Big Picture

Frankenhooker
offers a modern, exploitation take on Frankenstein with over-the-top humor and a grungy 1990s NYC setting.
The film explores themes of selfishness, control, and the darker side of human nature, while also providing a fresh spin on the original story.
Set in New York City, the film captures the era’s deteriorating atmosphere, highlighting the city’s rich culture and diverse population.

There have been numerous adaptations of Mary Shelley’s novel Frankenstein, ranging in style and quality. Some capture the essence and tone of Shelley’s work, like The Bride of Frankenstein, while others maintain the heart and poke fun at the material. such as Young Frankenstein. Sometimes, there can be a modern twist of tropes like Frankenweenie, because it manages to pay tribute to its predecessors while crafting its own identity. The popularity of the scientist and his monster is showing no signs of slowing down. This year already we got Lisa Frankenstein and two adaptations are currently in the works, one led by Guillermo del Toro and the other by Maggie Gyllenhaal, which will be a loose remake of The Bride of Frankenstein.

However, arguably the most gonzo version of this story arose from the realms of exploitation, and it came out during an even more peculiar time for horror. Frank Henenlotter’s Frankenhooker is a ridiculous yet absolute joy to watch, one that manages to possess the themes of the novel and embrace its sleazy nature. Yes, Henenlotter might lean more toward guilty-pleasure territory, but his fresh and energetic approach to the material generates a ton of laughs and intrigue. The film benefits greatly from its over-the-top humor, despicable characters, and grungy 1990s NYC setting. All of these happen to go hand-in-hand and generate a refreshing yet appropriate backdrop for this type of story.

Frankenhooker (1990) In Frankenhooker, a medical student named Jeffrey Franken resorts to extreme measures to bring his fiancée back to life after she is killed in a freak lawnmower accident. Using parts from New York City prostitutes, Jeffrey creates a new woman, with unintended and comedic consequences.Release Date June 1, 1990 Director Frank Henenlotter Cast James Lorinz , Joanne Ritchie , Patty Mullen , J.J. Clark , C.K. Steefel , Shirl Bernheim , Judy Grafe , Helmar Augustus Cooper Runtime 85 Minutes Writers Robert Martin , Frank Henenlotter

Frank Henenlotter’s ‘Frankenhooker’ Gets to the Core of What ‘Frankenstein’
Most people are aware of the original story Mary Shelley wrote, which follows the crazed scientist Dr. Frankenstein working in a lab. He is obsessed with playing God, and so he decides to revive a body of his choosing and rejuvenate this person’s consciousness. Of course, things go awry for a multitude of reasons (picking the wrong brain for the monster like in the James Whale films) or some sort of technological error during the final stages. Regardless, Henenlotter manages to emphasize the importance of this aspect, but he and his creative team still breathe new life into it. There remains the lab element, as well as a science fiction side, and yet it still delivers what it promises.

Henenlotter is not trying to make an “art film” in the slightest, he prides himself on indulging in exploitation. His story follows a New Jersey resident named Jeffrey Franken (James Lorinz), who takes on two roles at a power plant and as a scientist in bioelectricity. During a freak accident caused by a lawnmower, his wife, Elizabeth Shelley (Patty Mullen) is killed, and so he plans to revitalize her. He goes on a killing spree to find the perfect body parts of other women, and she turns into a zombified monster. Henenlotter understands this film is meant to gross out the audience, or better yet, he is aware most people will accuse it of being trashier rather than a sophisticated thriller.

‘Frankenhooker’s Themes Are Similar to ‘Poor Things’

However, this does not mean the film is devoid of any deeper meaning. It’s an unflinching look at how selfish and irrational a man can be when going after something he wants. Perhaps this might not have been intended to happen, but the idea of men feeling the need to be in control of everything is certainly a major takeaway. Mary Shelley focused on a male protagonist with deep issues, who, despite having a satisfying life, still cannot leave nature alone. Of course, Victor Frankenstein is a genius with tremendous gifts, but this misplaced use of intelligence is wasted on unspeakable horrors. Our protagonist, Jeffrey, understandably goes berserk after seeing his wife demolished, but even the decaying version of herself judges him by the end of the film.

Related ‘Dracula’ & ‘Frankenstein’ Come to Life With New 4K Steelbooks These two classics remain the gold standard of horror.

There also appears to be an underlying sexual nature to the original material, which it capitalizes on in spades. The title itself is quite self-explanatory. This most certainly functions as a parody of sorts, with plenty of gags related to guys hooking up with Patty Mullen’s character, and this is all still in service of a story with emotion put into it. Much of the hidden commentary predates Poor Things, which is how a woman is controlled by a man and his needs for so long. Of course, Bella Baxter (Emma Stone) has a strong-willed and loving father figure (Willem Dafoe), who admittedly created her in a selfish attempt at science. However, her relationship with other men along the way proves both hilarious and disturbing, which is one of the focal points of Frankenhooker. Yes, Jeffrey believes he is doing the right thing, but so many are slaughtered due to his reluctance to forget about the past. This comes to a halt when even Elizabeth is disgusted by Jeffrey’s methods, which ends with him being turned into a monster as well. Both films contain a female lead torn apart and repurposed over and over again for the sake of a man’s world, and yet both end up with the lead acknowledging this and facing their grievances head-on.

‘Frankenhooker’ Brings Frankenstein to a Grimy New York City
Image Via Shapiro-Glickenhaus Entertainment

Surprisingly, one of the best decisions Henlotter could have made is setting his film in late 1980s/early 1990s New York City, because the deteriorating and uncomfortable feel of the area matches the characters flawlessly. Even a lesser sequel like Friday the 13th Part VIII: Jason Takes Manhattan takes advantage of the scope and scale of its setting, due to the city being in a worse era during that time. Crime was still rampant throughout the city, right before a major decline would occur after politicians and police cracked down. It still comes across as jarring seeing Mary Shelley’s beloved novel interpreted in a grungy NYC, and yet it feels appropriate, to say the least.

The original story is typically viewed as a quaint German village, where weary villagers either question or fear the doctor, but here, Jeffrey is a seemingly average guy who grows into his insanity. A fresh approach is setting these characters in an already bonkers backdrop because bizarre events happening in New York are like second nature to its citizens. Sequels like Gremlins 2: The New Batch (which came out the same year) also took advantage of their New York setting, because in this, monstrous beings are flying around where New Yorkers could not care less. If you’re going to set your movie in New York City, you might as well have some fun with it, and Frankenhooker does exactly that.

Yes, the film certainly describes the drug-infested and crime-ridden streets of New York, tying into the themes of humanity’s self-destructive nature. However, above all of this is a sense of fun, which many adaptations seem to forget. The novel certainly is a tragedy in several respects, but this is a case where Henenlotter knows exactly what type of film he is making. Plenty of room is present for academic discussion, and it is completely warranted to compare and contrast. However, this team is here to entertain before anything else, and they do it very well.

Frankenhooker is available to watch on Tubi.

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