FRANKENHOOKER. A film that belongs to its own, entirely separate category

There are good movies, bad movies, and movies so bad they’re actually good. And then there’s “Frankenhooker”, which belongs to its own, entirely separate category. Director Frank Henenlotter, known for such cinematic masterpieces as “Brain Damage” and the “Basket Case” trilogy, decided this time to take inspiration from Mary Shelley’s classic 19th-century novel “Frankenstein”. The title alone—melding “Frankenstein” with “hooker”—offers a clear hint of what to expect (and essentially summarizes the plot). Though it’s safe to say that the writers’ creativity will surprise every viewer—though not necessarily in a good way.

The story begins with Elizabeth (Patty Mullen), the girlfriend of the protagonist Jeffrey Franken (James Lorinz), meeting her untimely end under a remote-controlled lawnmower. Our hero, a former medical student turned amateur biotech-electrician (a true Renaissance man), decides to resurrect his unfortunate girlfriend. The problem is that the lawnmower blades shredded almost her entire body, leaving behind only her head, a finger, and a foot. Thus, Jeffrey is forced to procure replacement parts. Where he gets them is easy to guess, but how he does it must be seen to be believed.

In just 84 minutes of runtime, the film packs an impressive number of grotesque and utterly outlandish gags. It’s hard to believe that only two writers were needed to come up with so much absurdity. The film features such gems as exploding prostitutes, a pimp nicknamed Zorro (who looks like a low-tier Latino gangster), a plate full of severed female breasts (which the director reportedly distributed as souvenirs to the crew after filming), and the most bizarre mother-son conversation in cinema history. At the same time, the creators (likely unintentionally, rather than on purpose) managed to include a moralistic anti-drug message—more effective than any public service campaign. Additionally, “Frankenhooker” can be seen as a celebration of love beyond the grave—and even beyond that. Jeffrey will stop at nothing to bring back his beloved, descending into the deepest circle of hell (a seedy urban neighborhood) and, like a modern Orpheus, wresting his girlfriend from the clutches of death—losing his humanity in the process. At one point, he is even revealed to be deeply religious, making Henenlotter’s creation a surprising affirmation of altruistic, near-Christian self-sacrifice for another person.

Finally, “Frankenhooker” also offers an intricate portrayal of madness, as Jeffrey spirals further into insanity, emphasized by frequent monologues that give insight into his twisted psyche. Kubrick and Nicholson with their “The Shining” could shine Henenlotter’s shoes!

The previous paragraph makes absolutely no sense, and yet it perfectly captures the essence of this film. Interestingly, to get “Frankenhooker” into theaters, the director had to tone it down somewhat to avoid receiving the highest age-restriction rating. Despite containing numerous exploding body parts, the film is surprisingly low on gore, as Henenlotter wasn’t aiming to make a horror movie but rather a dark, grotesque, and utterly off-the-wall comedy. Of course, “Frankenhooker” isn’t for everyone. It all comes down to the absurdity of its premise, which you either fully embrace—or completely reject. In fact, the opening scene, showing Jeffrey experimenting on a brain with a giant eyeball, sets the tone perfectly.

There’s also a rumor that Bill Murray, who was working on editing his film “Quick Change” at the time, often visited the set of Henenlotter’s movie and later remarked, “If you see one movie this year [1990], make it this one.” And that’s probably the best recommendation for “Frankenhooker”—better than anything I could ever write here.

Written by Piotr Zymelka