Hammer Film Productions’ wasted no time in capitalising on the surprise commercial success of their first colour gothic horror film The Curse of Frankenstein (1957). Within a year Peter Cushing was once again impressing audiences with his coldly logical Baron Frankenstein whose steely determination to create life remained undiminished despite a close call with the guillotine. The manner in which Frankenstein survives his execution is further evidence of screenwriter Jimmy Sangster’s ingeniousness. The switch of victims that takes place at the inhospitable gaol is not simply a throwaway event intended to ensure the survival of the films’ lead character, but a fundamental plot element of the ensuing sequel. Sangster’s screenplay builds on this opening by showing the ruthless way in which Frankenstein plays on the vanity of the crippled gaoler Karl, and the terrible price that Karl pays for placing his trust in the aberrant scientist. Not only are we to enjoy the return of the impeccable Peter Cushing as a result of this plot contrivance, but also a deep moral and thematic terrain that interrogates questions of mental illness, trust, and the manipulation of pride and vanity. This thematic trajectory for me makes The Revenge of Frankenstein a far more rewarding experience than The Curse of Frankenstein, and helps it to take its position as the greatest Frankenstein film put out by Hammer.