#FMBD

[brennausa]

🍃 Beautiful Recitation of Surah Ar-Rahman (سورة الرحمن) | সূরা আর রহমান তেলাওয়াত | Hello Nasheed

[kurapikaswife4lifee]

Account update

[therevengeoffrankenstein]

something about all the blackmail in hammer frankenstein......... it's a bit hm.... gay. and trans.

[golddglow]

FMBD

[saintofpride201]

There's a site called Florida Man Birthday so you don't have to use google.

Anyway, using both Google and FMBD, one was a case where Florida Man pulled a machete on a woman who refused to date him, and the other was a domestic violence and child abuse case.

Can't have good shit on my birthday 😅

[lesbianfreyja]

an extremely niche fic about fat mac and s1-3 dennis getting fake married

[cmcpsp500]

NewSingleAlert: C.M.C. is proud to present the "First Lady" of Criminal Minded Comitty Records @kelabbaby new single "Fuk my Babydaddy" feat. @gwopd_up_1 available online everywhere music is sold🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥 #reginelli #CMC #gambinofamily #fmbd #hiphopartist #rap #salutethedjs #dj

[jeanettecoon]

#newsummerarrivals https://www.instagram.com/p/CeSKx-FMBd-/?igshid=NGJjMDIxMWI=

[brennausa]

Beautiful Recitation of Surah Ar-Rahman (سورة الرحمن)

[therevengeoffrankenstein]

something i do kinda love about fmbd is that victor is a nosy ass bitch in it. multiple instances in the film would be prevented if victor would just mind his own beeswax for five damn seconds.

[vagnosposts]

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[nitrateglow]

Halloween 2017 movie marathon: Frankenstein Must Be Destroyed (dir. Terence Fisher, 1969)

“Had man not been given to invention and experiment, then tonight, sir, you would have eaten your dinner in a cave. You would've strewn the bones about the floor, then wiped your fingers on a coat of animal skin. In fact, your lapels do look a bit greasy. Good night!”

Forced to lay low after his secret lab is infiltrated and his most recent murder gets press coverage, Baron Frankenstein (Peter Cushing) intends to collaborate with Dr. Brandt (George Pravda), an old colleague, on a brain transplant experiment; however, he learns Brandt has gone insane and is currently confined in an asylum. Taking a room in a boarding house run by the lovely young Anna (Veronica Carlson), Frankenstein encounters Karl (Simon Ward), a young employee of the asylum where Brandt is incarcerated. Upon realizing the borderline-impoverished Karl and Anna are involved in illegal drug-trading for extra income, the good doctor blackmails them into helping him kidnap Brandt, in the hopes that he can cure his insanity so they can collaborate once again. As his control over the young lovers grows tighter, it becomes clear that Frankenstein is less interested in helping others so much as exerting his dominion.

I cannot recommend the Hammer Horror Frankenstein series enough. Beautifully photographed in rich color, dressed up to evoke the fog-shrouded mystique of a gothic nineteenth century Europe, they are as wealthy in atmosphere as they are in entertainment value. Considered risqué for reveling in blood and cleavage during the 1950s and early 1960s, these films seem tamer now, though they remain beloved by horror movie buffs due to their entertaining characters and creepy ambiance. If you’ve never seen any of these movies, then start off with The Curse of Frankenstein and then move onto the sequels in chronological order. Though I’m reviewing Frankenstein Must Be Destroyed, the fifth installment in the series, I do think these movies should be viewed in order of release since Peter Cushing’s amoral scientist is the one common link between all of them and he undergoes a strange, if slightly disjointed, character arc over the course of six movies. In many ways, Frankenstein Must Be Destroyed could be best described as the film in which Frankenstein loses his humanity, truly becoming more monstrous than any creation of his could ever be.

Seeing as I just reviewed the 1931 Universal Frankenstein, it’s interesting to compare it to the Hammer series. The doctor rather than the monster is the focus of these later films. Compared to the neurotic, guilty Henry played by Colin Clive, Cushing’s Victor Frankenstein is a real bastard, living for his work, and the thrill of grasping the power of life and death. Smug, egomaniacal, and ruthless, this is not a fictional character you would ever want to meet in real life, yet he does exert a bizarre charisma, not only over the other characters in this franchise, but over the audience as well. As it is with Shakespeare’s Richard III, Cushing’s Frankenstein seduces us with his wit and intelligence—he’s so far ahead of his small-minded associates, that much of the time you do want to see him succeed, at least until he goes too far in imperiling the lives of bystanders—which oh boy, does he ever do in Frankenstein Must Be Destroyed!

The opening scene of Frankenstein Must Be Destroyed is a perfect re-introduction to the series’ anti-hero—though this time around he’s evolved to pure villainy. As usual, the filmmakers show off the characteristic gorgeous Hammer evocation of nineteenth century Europe. A doctor walks through the evening streets only to be decapitated by a mystery man with a scythe and a hatbox. We follow the killer to his basement lair, only catching glimpses of his feet, building up the mystery slowly. An unfortunate burglar is caught in the basement by the killer; the two struggle among the laboratory equipment, upending the hatbox which held the severed head of the movie’s first victim. After the horrified burglar escapes, the assailant pulls off the mask, revealing the chiseled, aged features of Peter Cushing’s Frankenstein beneath. I don’t know why he chooses to pull off the mask then and there, but it is a clever inversion of the central emotional truth of the character: Frankenstein is a monster who disguises his ill-intentions beneath the veneer of compassionate humanism, while the monsters he creates are the true victims.

In no previous Hammer Frankenstein film is Cushing’s doctor as reprehensible. Sure, he did some terrible things before, both from his ambitions and from pure selfishness (see his cold-blooded disposal of his troublesome mistress Justine in Curse of Frankenstein), but you still felt that at heart, Frankenstein was interested in humanity’s welfare, even if stroking his ego along the way was part of the fun. In the immediate predecessor to this movie, Frankenstein Created Woman, you almost believe he learned his lesson about using people as pawns by the tragic finale. And if you did believe that, then Frankenstein Must Be Destroyed not only replies with a violent “no” to that notion, but laughs in your face for ever thinking as such. If anything, Frankenstein becomes bitterer and crueler in his social interactions, more convinced that he is oh-so-superior to every other member of the species. Though he professes to his unwilling accomplices that he does what he does only to help society, his actions show otherwise. Still, he does have his moments of awesome, such as when he tells off a group of respectable but daft gentlemen for discussing medical science as though they were experts.

Despite Cushing’s charisma, his victims break one’s heart with their guilelessness. Karl and Anna may be drug-dealers, but unlike Frankenstein, their motivation for committing crime is altruistic: Anna’s mother is ill and medical bills need to be paid. However, Frankenstein forces them into even greater criminality, pushing Karl to commit murder and Anna to hide a corpse. While the young lovers characters are usually the dullest part of any given Hammer movie, here they’re likable and tragic in how their hopes for a better future are demolished by sheer chance. Brandt’s wife is also put through pure hell, first informed her husband is incurably insane, then that he’s been kidnapped by a criminal scientist, then much, much worse. Later on, there’s a moment where she and Frankenstein meet face-to-face, and for a moment, it seems as though he possesses genuine compassion for this woman, only to pull the rug out from under her feet as well as ours with his profound callousness. Were it not for the infamous scene where Frankenstein takes advantage of being alone in the house with Anna by doing something particularly heinous, this could have been a contender for the most viscerally cruel moment of the film.

Mild spoilers ahead; skip to the text under the next picture if you so desire

Most people know that that “something particularly heinous” before going into this one: Frankenstein rapes Anna. Oh boy, that rape scene—the one thing everyone knows and loathes and debates about this movie. Though many consider FMBD to be the finest of the series, for some viewers, the rape of Anna is a movie-breaker. Put in for the purposes of T&A titillation, it comes off as incredibly tasteless since nothing in Carlson’s subsequent scenes betray any sense of trauma from the attack. Considering the scene was added at last minute, this isn’t shocking, but is this nasty moment out of character for Frankenstein? I wouldn’t say so, actually. By this point, Frankenstein is a total misanthrope with nothing but contempt for 99.5% of the people around him. He is obsessed with power and control, and what is rape but an exertion of power over another person in one of the most horrible, invasive ways possible? In his insightful analysis of the film, Scott Ashkin has this to say about Frankenstein’s previous behavior in regards to ladies:

Think back to The Curse of Frankenstein; in particular, think back to the way the baron treated both his fiancee, Elizabeth, and Justine, the maid with whom he’d been having an ongoing affair. If that was how he behaved toward women under his power back when he was still youngish and idealistic, then why should we expect the older, bitterer, and infinitely more cynical Frankenstein of this episode to scruple at anything?

The scene itself is also frightening as hell, not because we see any nudity or penetration, but just from the savagery of Cushing’s acting. This character, usually so collected and always claiming he’s the height of civilized humanity, becomes beast-like. Cushing’s face remains aloof and mask-like the whole time too, the contempt for this other human being never ceasing to show through. Just as he seeks to mark Karl as his by trying to corrupt the young man’s morals, so he seeks to mark Anna as his by revisiting his old skirt-chasing ways, only this time foregoing any pretense of seduction. All that remains is a perverse lust for power. (For an extended, interesting take on this controversial scene, I recommend reading “Anna Spengler destroyed,” a re-reading of the film from the tragic perspective of the leading lady.)

With Frankenstein’s heartless ways, it’s awful easy to forget there is a “monster” character in this one, which is a shame, because the reanimated Brandt (played by Freddie Jones) is a great character, so memorable despite being given precious little screen time compared to everyone else. Without giving too much away, let’s just say his insanity gets cured and his brain gets put into a healthier but more grotesque body, making him unrecognizable to his wife. When he attempts to reconnect with her after escaping from Frankenstein’s keep—well, it’s emotionally pulverizing to say the least. Though FMBD is 100 minutes long, I kind of wish it was longer if only so we could have gotten more of this character.

While FMBD is my personal favorite of the Hammer Frankenstein movies, I’m not sure if it could be considered the best: Curse of Frankenstein and Revenge of Frankenstein are sounder in terms of writing. However, I think FMBD is arguably more disturbing than either of them. Nothing in either of those unnerves me as much as half of the cruelties Frankenstein heaps upon other people here, and never do you feel as guilty for liking the doctor despite the evil things he does as you do by the end of this movie. If it weren’t for the beautiful aesthetic and Cushing’s charisma, then this often-nihilistic picture might be downright unwatchable. As it is, it’s an excellent, haunting example of an era of cinematic horror long gone by, yet still powerful and worthy of admiration.

[petr198]

🔹Два странника идут по берегу реки в Саровский монастырь: безногий ведет слепого за веревочку, 1903 год.🔹 🔸Two wanderers walk along the river bank to the Sarov monastery: the legless leading the blind by the string, 1903.🔸 https://www.instagram.com/p/Bu-O68-Fmbd/?utm_source=ig_tumblr_share&igshid=1qss6w78eyvjs

[dimplesdion]

6th

it sucks that I have to accept the fact that we’ll always be socially connected whether I like it or not. and just when you think you could be cut off completely, it’s never true. wish things were more positive.