The grand mythology of the Frankenstein monster has been a ripe space for cinematic interpretation through the entire history of the form. From the flickering early experiment from the Edison Studios in 1910, through James Whale’s iconic version in the 1930’s Universal Monster golden age; and even recent cinema where modern reinterpretation (Bernard Rose’s tremendously impressive LA set Frankenstein) and thinly veiled bombastic popcorn cinema (Paul McGuigan’s bastardisation Victor Frankenstein) cross paths, the relationship between this gothic fable and progression of the medium is clear. However, what is often forgotten when exploring this history is the rich influence of this tale on some of the best cult splatter horrors of the 1980’s, in particular Stuart Gordon’s Re-animator and Frank Henenlotter’s Frankenhooker, two films that add more than just a liberal sprinkling of gore, comedy, nudity and attitude to the old mad scientist playing God parable to create, not only some of the most entertaining films of the age, but for horror fans, some of the most iconic and endearing. It is from this particular vein of excessive horror that director Tyler MacIntyre brings us Patchwork, a Frankenstein myth played out with both loving reference to the schlocky 80’s forebears and with its unique and twisted edge.

Patchwork sees three young women awaken in a strange, makeshift laboratory. Only these three young women are no longer independent…they have been reassembled into a Frankenstein’s monster amalgamation of the three. If this wasn’t bad enough, the three women have, shall we say, conflicting personalities, making their union wholly unhappy. Able to escape the lair, the women focus on retribution against the scientist responsible for their creation…but with their internal conflict raging, can they find a common ground and make peace with their demons in order to exact the vengeance they crave?

Working as both a slick, gore drenched genre film and an interesting new spin on the Frankenstein myth, Patchwork promises to delight those looking for both substance and style as it explores gender relationships and modern female identity , while delivering shocks to the system in abundance. Patchwork truly looks to be even more than its considerable parts.

 

About The Author

Matthew Hammond is a full time cinephile, specializing in cult, art house and 1980’s cinema. While film is his overwhelming passion, Matthew has been known to enjoy comic books, Sherlock Holmes stories and a good film related T-shirt. Feel free to email me with any questions or comments: mattpaul61@o2.co.uk