Incest, necrophilia, and Joe Dallesandro? It must be Andy Warhol. Warhol did indeed co-produce this 1973 schlock spectacular -- originally presented in 3D -- that was directed by Factory fave Paul Morrissey. Starring Udo Kier in the role of "Ze Baron," Flesh for Frankenstein is a horror story for a new 'n' lewd generation. This time around, the mad scientist has created the nymphomaniacally-inclined Adam and Eve, whose mission it is to spawn a new race. Along for the ride --somewhat literally -- is a lusty stable boy (Dallesandro) who main duty it is to entertain the Baron's equally lusty wife/sister. Sex, gore, unconvincing bat attacks, and the highest camp this side of the Appalachian Trail combine for a dizzyingly outrageous midnight movie. Flesh for Frankenstein got a second chance at life when it was screened at the 2002 Philadelphia Gay and Lesbian International Film Festival. ~ Rebecca Flint Marx, Rovi
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Perhaps one of the funniest bad films ever. Paul Morrisey manages to make the Frankenstein legend an erotic and moralistic venture. Beautifully filmed and handsomely cast, the film is terribly acted, but who cares when you have such beautiful faces and bodies as Udo Keir, Monique von Vooren and the exquisite-looking Joe Dallesandro. Listen to the audio track wherein Keir and Morrisey explain their motives and choices. It's amusing and makes great sense.
The production value is far better than other Warhol films. The joke in this comedy is that while Dr. Frankenstein and assistant are collecting body parts ("flesh") for their next male monster (intended to be husband to already-made woman-bride-monster), they murder and take the head of a young man who (unbeknownst to them) is not interested in women at all. The results are disastrous, of course. Over the course, the film explores all manner of sexuality and gore. The old world European styling is done up with tasteful attention to detail. A young Udo Kier is surprisingly invested in his character as he always has been. Dellasandro is once again a talking head with New York accent and cute ass. What saves this film from being garbage is that it is actually well made, production wise. You may laugh or puke or both. The cinematography is clean and colorful. Also rare for a Warhol/Morrissey collaboration, this film is fairly well edited.