A Monster Mash Without Frankenstein in Sight

Read Time:6 Minute, 3 Second

MOVIE REVIEW
Frankenstein's Bloody Terror (3-D) (KINO CULT #35) (Blu-ray) (La marca del Hombre Lobo)
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Genre: Horror, Fantasy
Year Released: 1968, Kino Lorber 2025
Runtime: 1h 18m
Director(s): Enrique López Eguiluz
Writer(s): Paul Naschy
Cast: Paul Naschy, Dyanik Zurakowska, Manuel Manzaneque, Rosanna Yanni, Aurora de Alba, Julián Ugarte
Where to Watch: available now, order your copy here: www.kinolorber.com or www.amazon.com

RAVING REVIEW: Sometimes film history gets shaped by accident, and FRANKENSTEIN’S BLOODY TERROR is proof of that. Though the title suggests another spin on Mary Shelley’s creation, this Spanish horror oddity has nothing to do with Frankenstein. Instead, it introduces the character that would define Paul Naschy’s career: Waldemar Daninsky, a doomed nobleman cursed to transform into a werewolf. The bait-and-switch title was a marketing decision for its U.S. release, designed to satisfy distributors who wanted something with “Frankenstein” and “Terror” in the name. The result is a film that has long confused casual viewers but has delighted cult fans, especially now that Kino Lorber has brought it back in a new 3-D restoration.

Directed by Enrique López Eguiluz and written by Naschy himself, the film wastes little time establishing its atmosphere. The setup is classic Eurohorror: aristocrats, curses, and ancient bloodlines. The doomed lineage of the Wolfsteins (renamed Frankenstein’s relatives for the American cut) provides the backdrop for Waldemar’s fate. After a grave-robbing incident reawakens a dormant werewolf, Waldemar is bitten and carries the curse himself. Seeking a cure, he turns to a mysterious doctor and his wife—only to discover they are vampires, forcing him into a supernatural clash where his only weapon is to embrace the very beast that torments him.

At a brisk 78 minutes, the film packs in a surprising amount of lore, creature transformations, and gothic melodrama. Naschy’s Daninsky is an interesting take on the werewolf archetype: less a raging monster and more a tragic antihero who knows his curse will destroy everyone he loves. His brooding presence anchors the movie, even when the dialogue gets stiff or the pacing slows. Dyanik Zurakowska as Countess Janice von Aarenberg adds a delicate counterbalance, though like many Eurohorror heroines, her role mostly serves as emotional leverage for the male leads.

The true standout element isn’t the story—it’s the sheer collision of genre elements. Werewolves alone would have been enough for a debut, but throwing vampires into the mix gave the film an off-the-wall energy. By the time the fog clears for the finale, you’ve witnessed grave desecrations, occult rituals, and a rare instance of werewolf-versus-vampire combat in late-1960s horror. It’s messy, sometimes ridiculous, but never dull.

From a production standpoint, FRANKENSTEIN’S BLOODY TERROR embodies both the strengths and weaknesses of Eurohorror from its era. The cinematography by Emilio Foriscot bathes castles and forests in eeriness and atmosphere, even when the sets look ragged. Angel Arteaga’s score heightens the tension, alternating between sinister and near-operatic flourishes. The makeup effects, though crude by today’s standards, deserve recognition for their ambition—especially Waldemar’s transformations, which rely on practical dissolves and heavy facial prosthetics.

The film’s biggest flaw is also its most charming trait: it tries to be too many things at once. The first act leans into melodrama, establishing a love triangle between Waldemar, Rudolph, and Janice. The middle section delivers the werewolf origin story. Then, just when the audience thinks they know where it’s heading, in come the vampires. The final act plays like a mash-up of Universal monsters filtered through 1960s Spanish horror. For some, this structure feels scattershot. For others, it’s part of what makes the film such a beloved cult artifact.

Kino Lorber’s 2025 edition underscores the historical value of the film. Restored from compromised 35mm elements, the release includes both stereoscopic 3-D and anaglyph versions, along with a stack of supplements that contextualize its place in Eurohorror. Commentary tracks by Tim Lucas and by Troy Howarth, Troy Guinn, and Rodney Barnett provide valuable insights into Naschy’s career, the cultural climate of Spanish horror, and the film’s peculiar U.S. distribution history. There are even deleted scenes and the alternate title sequence, adding layers to what was once one of the more elusive titles in the genre.

FRANKENSTEIN’S BLOODY TERROR has always split audiences. Some dismiss it as hokey, citing its dubbed dialogue and narrative leaps. Others celebrate it as the spark that ignited Spain’s horror renaissance, paving the way for later Naschy vehicles like THE WEREWOLF VS. THE VAMPIRE WOMAN and CURSE OF THE DEVIL. What can’t be denied is its significance as the film that launched Naschy’s Waldemar Daninsky cycle, a series that would span decades and establish him as Spain’s answer to Lon Chaney Jr.

Watching Waldemar wrestle with his curse while simultaneously fending off vampires highlights Naschy’s ability to embody tragic monstrosity. For modern viewers, FRANKENSTEIN’S BLOODY TERROR functions best as a time capsule of late-1960s Eurohorror and as a milestone in Naschy’s career. It’s less frightening than atmospheric, more fascinating than cohesive, but undeniably entertaining. The new restoration allows the film to be appreciated in a way many fans never thought possible, and it reaffirms its place in cult horror history. With its gothic castles, vampire intrigue, and tragic werewolf protagonist, it scratches the itch for fans of vintage monster mash-ups while standing as a significant debut for Spain’s most enduring horror icon.

Product Extras:
Audio Commentary by Novelist and Critic Tim Lucas
Audio Commentary by Film Historians Troy Howarth, Troy Guinn, and Rodney Barnett
About the 3-D Restoration, by Tim Lucas
Alternate Opening Title Sequence
Deleted Scenes
Theatrical Trailer
Radio Spots

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[photo courtesy of KINO CULT, KINO LORBER]

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