User reviews

I liked this movie, thought it was from the 1980's from the discussion at the beginning about cloning dinosaurs from their DNA and employing genetics on animals. Turns out it was from 1973 and ahead of it's time.

The movie does have some parallels to "Freaks" and the movie supplies the real thing. Michael Dunn, "Dr. Lovelace" of "Wild, Wild, West" is good in his role as the operator of the sideshow.

I first became aware of this one from my, somewhat inaccurately named book, Sci-Fi Now which charted the science fiction which fell between 2001 and Star Wars. It turns out that this was a great era for the genre, seeing as the sci-fi in this period just seemed to go a bit weird. The Freakmaker on the other hand, seems to have resurrected that sub-category which was seriously antiquated even back in the 70's - the mad scientist movie. The story has the mad scientist abduct college students to use in his experiments where he is trying to create a crossbreed of human and plant; with his failed subjects being handed over to a circus to be used in their freak show.

This could be described as Frankenstein meets Freaks, with quite a heavy emphasis on the latter 30's Tod Browning classic. It even goes so far as to basically recreate scenes from that film, as well as finding roles for several actual sideshow freaks. To that end, we have a human skeleton, a human pincushion, the pretzel boy, Popeye (i.e. He really can pop his eyes out!), the frog boy, alligator skin woman and a good old bearded lady. We even get a section where we see an exhibition featuring these performers, so its pretty exploitative while being somewhat fascinating at the same time. Acting honours go to the ever-reliable pair, Donald Pleasence and future Dr Who Tom Baker; with the former going through the motions and given little to do, other than feed cute bunnies to giant carnivorous plants, while Tom Baker has a much more rounded part as a deformed self-loathing henchman afflicted with acromegaly. The story eventually has one of Pleasence's creations running amok through the town - it's a rubber-suited wonder which is half-man/half Venus flytrap, a man/plant, or as I prefer to call him, a mlant. There is a fair bit of things to like in this one, even if it does become increasing less interesting in its final third. Look out too, for the impressive opening credits sequence which features some nicely executed time-lapse photography plant action.

Not really enough money or effort put into this one. It appears that everyone thought simply that the presence of various 'freaks' Donald Pleasence, a bit of nudity and some man eating plants should see them through.

Actually this almost works, unfortunately Mr Pleasence is in particularly one note form and although the speeded up photography for the plants is fine the later costumes for those that have turned into half human, half plant are not half as effective. There are some decent moments and good ideas but it is all so uphill. Undeniably quirky, though and probably worth it for the fairground scenes.

THE FREAKMAKER (aka: THE MUTATIONS) is the charming tale of Professor Nolter (Donald Pleasence), who is determined to create a human-plant hybrid. This means that a few people have to disappear, reappearing on Nolter's lab table.

Meanwhile, a freak show thrives next door with a steady flow of new, highly unusual attractions.

Tom Baker is fantastic as Nolter's faithful henchman, Lynch.

If you have a passion for the wonderfully weird, then FREAKMAKER belongs on your watchlist...

Donald Pleasance stars as Professor Nolter in this sci-fi/horror as a mad-scientist who, in between lecturing at a local university, is conducting bizarre experiments as he tries to bridge the gap between human beings and plant life. To aid him in his devilish research he uses Lynch (Tom Baker), a hideously deformed man who runs a carnival freak show, to obtain for him young men and women to perform his experiments on using the seemingly empty promise of altering the way Lynch looks for the better.

I saw this one last night on Sky Cinema and have to say I was a little disappointed. The premise, although outlandish (though horror is geared towards the outlandish is it not?), seemed quite interesting. Unfortunately, this movie was poorly executed and rather slow-moving which made the movie difficult to watch. ‘The Mutations' has some interesting parts though and is worth watching if only for the ‘Freak Show' part way through featuring some quite disgusting acts.

The acting seemed rather wooden from everybody, including Donald Pleasance, which hampered the film even more. The only performance really noteworthy was from Michael Dunn in the role of Burns, the loveable guardian to the other acts in the freak show. What really was interesting was how to begin with the `freaks' (I really do hate using that term to describe these people as in fact they are just in some way handicapped) seemed like they were menacing characters but over the course of the movie we were exposed to more humanity coming from then than any other character in the film – one of director Jack Cardiff's few achievements in this movie.

In the end ‘The Mutations' becomes a barely average sci-fi/horror movie with little redeeming moments and many silly looking costumes. The direction was standard fare for films of this quality and it seems a shame that a great actor like Donald Pleasance was tied up in this, especially as his performance was undeniably lacklustre. The final ten minutes or so seemed hashed together very quickly and were thoroughly unsatisfying though did feature one good effect. I personally don't recommend this film but fans of sci-fi B-movies may enjoy it as it seemed to be made with heavy influence from the similar movies of the fifties and sixties. Though not exactly alike I would personally recommend ‘The Little Shop of Horrors (1960)' over this movie. My rating for ‘The Mutations' 5/10.

This is a totally bizarre British horror film which deserves cult status of the highest order - I can't believe that this didn't have problems with the censor, it is a disturbing, nasty piece of work and should undoubtedly have cult status.

'The Mutations' has Donald Pleasence as a Frankenstein-inspired scientist, Prof Nolter, who in-between his lecturing is trying to fuse humans with plantlife, to create a creature which has the strengths of both species. The nature of the film is introduced early, with a travelling funfair complete with freaks ( played by real-life freaks as in Tod Brownings early classic ), and a hideously ugly normal-sized man, who moonlights as Prof Nolter's assistant.

The film has so many points of interest its difficult to know where to start - the similarities to 'Freaks' are acknowledged with a feast scene which includes the line "He's one of us - we accept you". The freaks are also shown to have more humanity than the other characters, although they do turn on their tormenter in the end, in a scene similar to the climactic chase in 'Freaks'.

There are also ideas and scenes close to the French classic 'Eyes without a Face'; Pleasance portrays a character similar to Pierre Brasseur's mad doctor, both living in a secluded mansion complete with pack of mad dogs.

As if all this were not enough, we are also treated to Julie Ege as the screaming heroine, showing of her acting limitations and bodily curves very nicely - special applause for the nude bath scene.

'The Mutations' is a real shocker, which viewed today has a strong impact - far more so than more famous 'shocking' films, like 'The Devils' and the earlier 'Peeping Tom', both of which viewed now seem relatively tame.

While not raising the film to any artistic height - it is a cheap 'B' Movie in all production areas - the film should really be seen by all film fans, and given its deserved status as a heavyweight of the gutter-horror genre.

Ignore the uptight weirdo who spends 10,000 words bashing this movie. It's very enjoyable as long as you're a fan of the genre. With many gratuitous LSD references and a real live carnival freak show, how can you go wrong?

If you thought Swamp Thing was too intellectual and The Fly was just too gross, this movie might definitely be for you. One of many human-cross-animal or plant movies, what causes this one to stand out is the overall creepiness of Donald Pleasance and, basically, the entire plot (what you can make of it).

Time-lapse photography inserted for no particular reason just adds to the fun.

The people who made this movie must have had a blast and so will you as long as you're not some amateur wannabe film critic. Sheesh!

Now what were they thinking...? This film is an outright one-off, granted, but a disastrous one. Little thought seems to have gone in, and when there is thought, it is reflected in a composer's score that transcends and barely fits the images.

Let's not contemplate the script at length; word or narrative craftsmen are resoundingly not at work here. Unexplained, irrelevant scenes clutter the film's third-hand B-movie premise. For example, whither the 'dancing instructor'…? Lynch's startling, vulnerable scene with the prostitute is bizarrely isolated, and unfortunately not given emotional context in the rest of this peculiarly ramshackle film. Ethical question-marks starkly rear into view with the use – exploitation, rather – of real-life freaks in the 'fictitious' side-show. A freak show is effectively shown for five minutes of the film's duration, and it is profoundly unsettling viewing: seedy, dank, sickening; one really wonders what went on behind-the-scenes here… This film was made in 1973; there is no method to this display, beyond the flexing of cheap 'shock tactics'. As Brian says, "I didn't know these shows still existed". Clearly in the seedy world of 1970s low-rent British film, they did.

Very little in this film seems other than fake, besides, obviously, the actuality of the 'freaks'' 'abnormalities'. But there is little obvious entertainment value in the mad-scientist straddling, penthouse-peopled 'England' of "The Mutations". This is the worse considering what appears to be an effort at naturalism in the opening, which pins things down in staid, dully scientific terms. Need it be said that Pleasence is an embarrassment here? He is clearly on auto-pilot, giving little effort in what he surely knows is a farrago of a film. How utterly predictable that his dull professor is adorned with a Germanic accent? How stultifyingly insipid to model Nolter's delivery on that of a dry automaton? This spectacularly dull performance – oxymoron intended – sets the tone, and his oratory barely extends beyond the front rows of the London University lecture theatre. Ever more bizarrely, this lacklustre lecturer and stolid Sice-head is described as 'sexy', in pronouncedly giddy tones, by one of his students. This Lauren is something of an incessant, beaming blonde with fetching pigtails, invested, intentionally or otherwise, with vacuousness by Jill Haworth. What mostly lingers in the mind is her odd relish in watching the freak show, as if it were somehow a heart-warming spectacle.

She just about convinces as a student, at least in physical appearance, but she gives no impression that she reads Bio-Chemistry at degree level. Furthermore, Scott Antony's Tony is akin to any old token japer from the world of dispiriting 1970s British films (TM); has he wandered in from a depressingly small-fry juvenile sex comedy? The group of 'students' is rounded out with the Scandinavian curves of Julie Ege - bland and given tokenistic Leary invocations - and a girl who is quickly dispatched by the IDS-dull Pleasence. Oh, and did I forget our dear old Brian? Brad Harris 'essays', or rather phones in, an American 'scholar' who seems more like a redundant detective or sidelined action-hero. He has no real business being there, and yet somehow appears to have picked up Hedi as a girlfriend within a few minutes. This 'Sturdy Oak' archetype single-handedly 'saves the day' at the end, in place of the hapless students; admittedly, Haworth's simpering, would-be 'cool chick' seems unduly discarded, but would have been rendered useless and screaming by the chauvinistic script. One ought to reflect whether she was actually the only real student, as when Tony asks for entry to see the 'Lizard Woman' act, he specifically asks for "three and a half tickets" when four are there... Such pointless but amusing asides aside, Tom Baker is passable as a deformed ruffian and lunatic called Lynch. Hopefully no child fan of "Dr Who" ever stumbled upon this film, hearing of his presence: they'd be scarred for life! He overacts extravagantly in the "He's One of Us!" scene, which puts Tod Browning's similar scene in "Freaks" through the wringer; the freaks are played for all their 'weirdness' and treated as sinister; see also the inexplicable, brutish and farcical fog-drenched demise of Lynch, and indeed two of them stalking and capturing Olga Anthony's willowy unfortunate.

Other than for reasons of historical or academic study, I'd advise people not to see this appalling spectacle. However, there is a sole, sublime saving grace: the musical soundtrack. This majestic and incredibly innovative free-jazz music is on an altogether different plane to the squalid, murky seediness of the images. It is almost as if the soundtrack was a record that has been superimposed over the film – and it should be noted that Basil Kirchin drew some of its themes from his ongoing "Worlds Within Worlds" series. Merely the time-lapse Open University-esquire opening photography tallies with the alternately sedate and barnstorming strains of Kirchin's music. There are high pitched string-instrument stings redolent of plant life, that periodically score 'tension', but generally, the score is of another world, and utterly un-telegraphed. It should be released on CD in full; while this film is forgotten, this music should live in its own context, in its interpolating sedate deathliness and cacophonous blaring.

The opening to the film indeed is mercifully sedate and horn-rimmed-spectacled, in comparison to the ghastliness to come. Eastmancolour skies and dappled, felt-like plants, seem of another age, backed by the awe-inducing music. But... well, things ebb, completely… in all manner of exploitative, numb-skulled directions. To think that the lens-man of "The Red Shoes", Jack Cardiff, actually directs this... For me, the distasteful idiocy of this 'contemporary' 1973 film is ultimately exemplified by the smug, complacent face of Scott Antony; when the Monkey Woman enters, he tastelessly jokes "all sounds pretty hairy to me!" and in reply Jill Haworth's kittenish features crease into a fawning laughter.

The only balm is the music.

I stumbled across this video at a pawnshop called "Cash Converters" at my town center. Once I blew off the dust I decided to buy it on a whim. I had never heard of it but its £2 price tag led me to believe I had nothing to loose. It now sits proudly in my horror collection. This film is in a word, freaky. It makes use of real life sideshow freaks to tell a disturbing story about a mad scientist and his ungodly experiments to create a plant man. The various mistakes that occur are put to use at the friendly local fair. The only problem this film has is the rather pathetic effects used when real freaks are unavailable. However, Donald's performance is as ever wonderful and the film maintains a creepy atmosphere. There is also some great titty shots of voluptuous young seventies women. Well recommended for horror fans (if you can track down a copy like I did).

Donald Pleasance is a Very Cherman professor of biology at an American campus. At home in the family mansion, he is conducting experiments to reunite the animal and plant kingdoms, so humans can live on air, and not go anywhere, leaving them time to think about how to solve problems. Like termite, I suppose. Meanwhile, a thoroughly nasty Tom Baker runs a freak show.

There are references to Tod Browning's FREAKS, and Pleasance's great achievement so far is to have devised a mobile, carnivorous plant beast with suckers. Like most movies of this sort, it's probably thoroughly muddled, or perhaps my attention wandered for five minutes at a time, while I wondered why Jack Cardiff, arguably the finest Technicolor cameraman ever, was directing, and directing clunkers like this.

Well, it was his last time as a director, and he went back to the work that he did well. With Michael Dunn and Jill Haworth. Now, there's a pair to lead a movie!

How on earth have I never seen this film before? I watched it tonight 'cause there was nothing else on Cable (again) - lucky me!

It started with some time-lapse film of plant-life and looked like a programme from the Open University - but then the soundtrack signalled something strange was happening...

"Mutations" owes a lot to Tod Browning's "Freaks" but offers loads more: some nice 70's nudity; plants that eat live rabbits (why not pet food?); dialogue that mentions "cloning dinosaurs"; a soundtrack that judders from spaced-out, slowed-down, phased bass to free form jazz. This is a minestrone of madness with some nice inconsitencies in the plot. Great!

Tom Baker was obviously heavily influenced by his role in this film and took most of the wardrobe with him for Dr Who!

This film is a definite cult-classic and a follow up to Tod Brownings FREAKS. Perhaps a bit poorly made, but with real freaks like the Alligator Woman, Pop Eye and many more. Julie Ege, Norwegian scream queen, is starring and making the best of it. If you ever want to see the definite B-film from British cinema during the Seventies: This is the one to see. The film takes place at a travelling carnival which also features a freak show. Donald Pleasance is the mad professor who mutates plants with humans and then puts them on display. The results are horrific and so are the monsters that looks like a mixture of broccoli and humans. The film is odd to say the least and the actors try very hard to make it believable. This is a film with a strange mixture of science, horror and drama. It moves along a bit slow, but you won't be bored. The last of the real "freak films".

Anytime Tom Baker graced the screen his characters were always memorable. Here he plays a freak with a self loathing that must be seen to be believed. The story concerns a scientist who tries to turn people into plants. He succeeds with a cross between human and venus fly trap. The makeup isn't great, but it does the job. First time director Jack Cardiff made a great little horror film. Donald Pleasence plays the doctor. I saw this on Cinemax during the 90's. Basil Kirchin from Abominable Dr. Phibes did the music. I wish this was out on DVD. Columbia Pictures has done worse.

Mostly dry and boring horror film, with shoddy special effects - yet quite creepy if you let your imagination do the film's work for you. It all seems quite disturbing on paper (mutated man-plants, sideshow "freaks", etc.), but the film's only real merit is another good performance by the ever-reliable Donald Pleasence. For a genuinely engrossing and dramatic "mutation picture", I recommend the original "Fly" (1958). (**)

"The Mutations" is a middling, mostly forgettable horror movie from the mid 70's. Set in trendy London, it tells the tale of a carnival freak show who run a sideline in kidnapping innocent victims to be the subject of evil experiments! That's all the plot there is, really, and the film doesn't really do a lot with it. It just goes through the motions of showing the freak show, showing some victims get nabbed, and then showing the expected climax. The film has several very silly elements to it. All the kidnapped youngsters are from the same college, and in fact they are all from a single group of four friends! The experiments themselves are very vaguely explained, but they lead to very dramatic mutated monsters.

As a London resident I also found a lot to enjoy in the locations...is Battersea Park (the location of the carnival in the movie) really such a dangerous foggy wilderness as it is depicted here? (Maybe it was in the 1970's...). And the exterior location for the students college is actually The Royal Albert Hall! They should be so lucky! Some good points are: Donald Pleasance does his usual good job as a softly spoken but deadly scientist. And Tom Baker does a great job, unrecognisable in ugly face make-up as the scientist's deformed assistant. And the monsterized victims look quite fun, and there's one grisly scene in which a walking plant-thing drains the life out of someone. Although check out a big goof here, where a really big gap between the monster's head and chest suit shows off the actors pink neck in between - which spoils an otherwise effective moment! There are also a few scenes that showcase some real-life "freaks" used in the film, which can't help but seem exploitative. They do get a chance to act, though, in the additional sub-plot in which the freaks rebel against the one among them who is "the real monster" - there are heavy echoes of Todd Browning's famous "Freaks" here.

To sum up, it's not really very memorable. The whole story is rushed through at great speed, there's no depth to any of the characters (no time!), and everything seems pretty small scale. The scientist's lab is also filmed at Oakley Court, which stood in for a spooky mansion in dozens of British horror movies filmed around this time, such as The Rocky Horror Picture Show, And Now The Screaming Starts, Girly, and loads more, so personally, I have seen this place on celluloid far too often!

Not one of my fellow horror loving friends have seen or even know of this movie. I saw it on TV in the 80's or 90's, got a copy on VHS,later sold it but then find myself buying another one as it doesn't appear to be easily available on disc (it really does deserve a release). The late, great Donald Pleasence is a brilliant but crazed scientist working on mutating humans with plants (in his lab he has a laughably bad rabbit eating plant!). He is aided by the hideously disfigured Tom Baker (of Dr Who fame), who runs a circus freak show. Many real freaks (probably an incorrect word these days) were employed, in addition to obviously fake ones. No attempt is made to hide the fact that this was in part inspired by the original 1932 classic "Freaks", to the point where the "one of us" line is used. Add to the mix nudity, 1970's London locations, LSD references, time lapse photography sequences, a few amusing gaffs and a pretty haunting musical score, this is an enjoyable slice of British exploitation. Not to everybody's taste, for sure, but this film deserves to be better known.

Here at IMDb it's called "The Mutations"; the version I saw was called "The Freakmaker." No matter what title you give it, the result is one pretty bad movie.

Donald Pleasance slums mightily in the role of a college professor/mad scientist whose ultimate dream is to create a race of half plant/half human creatures. He enlists the help of a horribly deformed owner of a carnie freak show to find human subjects for him to experiment on. These subjects end up looking like artichokes and cabbages, and are played by actors wearing rubbery costumes that don't look remotely realistic. Meanwhile, a group of students begin to unravel the mystery of the professor's doings, while the members of the carnie freak show (played by actual circus sideshow members, in an homage to Todd Browning's 1932 classic "Freaks") become increasingly angered by their boss's abuse and take revenge.

This sounds like the makings of a juicy cult classic, one that if nothing else would be in the "so-bad-it's-good" category. Indeed, this is why I watched it. Let me save you the time and trouble of finding out on your own that it's not so-bad-it's-good -- it's just bad. Bad as in fairly boring, poorly acted, poorly written. Much of it doesn't make any sense. It's almost unbelievable that Jack Cardiff, a film artist with a number of prestigious credits to his name, directed this. This is the sort of thing my wife and I might make using a video camera and some friends. Actually, I think we could make a better movie than this.

And am I the only one to wonder why the color in the film is so bright as to actually hurt my eyes at times?

Grade: D

Is this movie not generous? Loving stock footage and time lapse photography of fungi, flora, and fauna over the opening credits segues into a monologue that lays bare the themes and ideas that will propel the narrative - a seeming throwback to the sensibilities of 50s B-movies. We're then launched immediately into the plot with no substantial further exposition; the audience is meant to learn the story only as it develops. Our eyes are greeted with the always welcome visage of Donald Pleasence; our ears are treated to the wonderful original score of Basil Kirchin, at times harshly atmospheric or abrasively discordant but always outstanding. Even if it's not the most purely essential of pictures, 'The freakmaker,' also known as 'The mutations,' easily piques one's curiosity early on and keeps our attention well enough.

The plot explores the familiar space of an enterprising scientist conducting experiments outside the bounds of ethical considerations, though I think the notions laid out in Edward Mann and Robert D. Weinbach's screenplay are arguably a bit more well fleshed out than in similar titles. In short order the story to come might be predictable in the broad strokes, but it's still suitably well written and entertaining. It helps that the production design and art direction are so strong and enticing, to say nothing of the hair and makeup work, costume design, stunts and effects, and the cast that includes real sideshow performers. As ever when such a title dallies with such fringes of society it rides a bit of a line in spotlighting disabilities and illnesses as entertainment in and of themselves, though of course it's clear that the performers assembled for this have owned and embraced their unique qualities.

'The freakmaker' carries itself with a measure of restraint; for much of the length it declines utmost active realization of the horror or sci-fi elements, and they feel more thematic than actual or visceral. It does, after all, have a fair bit in common with its spiritual predecessors of 15-20 years prior (or arguably hearkening back all the way to genre flicks of the early 30s), only with storytelling and film-making that generally feels more fluid and natural. This isn't the type of genre flick to immediately reach out and grab our attention; the fun is more in the overarching airs of the concepts on hand, and how they're woven together. For lack of urgency and aspects to help this truly stand out, there's little especial need to watch - but it's still quite enjoyable.

Rounded out with a couple other recognizable names in the cast (Julia Ege, Tom Baker), and capably guided with Jack Cardiff's experienced direction, this is pretty decent overall. The biggest trouble I see is simply that the feature maintains such an even-keeled tone, scarcely achieving any major sense of dynamics or vibrancy until within the last 20 minutes or so. A bit more striking emphasis on the horror facet would have been all that was required to take this to another level. Nevertheless, more so than not the production is rather solid, softly scratching the itch for a satisfying genre romp, and the ending is a cheeky delight. Unless you're a huge fan of someone involved I don't know that this is a must-see by any means, but if you have the opportunity to watch 'The freakmakers,' it's a good time and worth 90 minutes.

Freakmaker opens with a lot of time lapsed film about plant life, it almost feels like a nature show, but then the creepy 70s horror music starts. We then see Donald Pleasance playing a Mad Doctor that is obsessed with trying to splice together Human DNA with plant material. The Doctor reminds me of the Evil Dr. in Eyes Without a Face, complete with living in a secluded mansion with a pack of mad barking dogs. He has an assistant, Mr. Lynch, that is deformed and keeps promising him a cure if only he will help the Dr. with his freakish research. Mr Lynch is played by Tom Baker who goes on to play the Doctor in the Doctor Who series. The Mad Dr. also keeps some sort strange plant in his laboratory that he feeds live Rabbits to.

Freakmaker seems to borrow a lot from Tod Browning's 1932 Freaks. Mr. Lynch runs the carnival and gets his victims for the Dr.'s experiments from the Carnival. The Carnival has a side show showing various "Freaks", I am pretty sure these were real people with birth deformities. I am sure this must have been a controversial decision to use real people with deformities instead using make up, but I don't think this movie is one of the Video Nasties from the 70s. I wonder how it managed to get past the censors? There is even a dinner scene very similar to Freaks where they declare "he's one of us". Eventually the Freaks decide to turn on one of their own, also similar to a scene in Freaks.

Even though Donald Pleasance and Tom Baker give good performances in their roles, there really just isn't much of a plot here. The special FX are pretty silly looking with a giant rubber suited "Mutation" that looks like a giant human Venus Fly Trap. Most of the film is slow moving but it is still entertaining in that strange psychedelic 70s way.