THE HUNCHBACK OF THE MORGUE (1973)

 

PHENOMENALITY: *marvelous*
MYTHICITY: *fair*
FRYEAN MYTHOS: *drama*
CAMPBELLIAN FUNCTION: *psychological, sociological*

Igors of the world, unite! Finally, thanks to Paul Naschy, you have a Frankenstein-film in which the hunchback, not the mad scientist, is the focus of the story.

Surprisingly, while MORGUE is like most Naschy films full of assorted sex-and-violence scenes, the script-- credited to the actor, one other writer and director Javier Aguirre-- unfolds with some degree of logic.

Wolfgang Gotho (Naschy) is a simpleton hunchback who lives in some European town (possibly German to judge from character-names) and does odd jobs for the city morgue. He's been casually mistreated for years by the local yahoos, including nasty kids, but he has one childhood friend, Ilse, who isn't disgusted by his looks. However, Ilse has become sick, which contributes to Wolfgang's torments. 

At the same time the mad scientist of the tale, Doctor Orla (Alberto Dalbes) has begun trying to put together his do-it-yourself monster. Two new doctors, Frederick (Victor Barrera) and Maria (Maria Perschy) come to work at Orla's clinic, and slowly Orla talks Frederick into joining in his project.

Wolfgang is attacked by kids throwing stones, but a kindly lady doctor from the same clinic, Elke (Rosanna Yanni), treats the hunchback's injuries. This minor kindness, though, does not eradicate the basic cruelty of the townspeople. On Ilse's last day of life, Wolfgang plans to take her some flowers, but some asshole medical students get in his face. He fights with them until some older doctors interrupt the battle, and when Wolfgang reaches Ilse, she's past any final goodbyes. Later Ilse is taken to the morgue. Wolfgang sees two attendants attempt to steal jewelry from the corpse, so he slaughters them. On the run from the police, he secretes Ilse's body in some adjoining catacombs, which proves problematic since there are a lot of rats down there.

Orla comes across Wolfgang and realizes that the demented hunchback can help him pilfer body parts from the cemetery for his great creation, so the doctor claims that he can restore Ilse to life. Strangely, at one point the cops almost locate the body-thief, but Doctor Elke not only gives him shelter, she strongly implies that she wants to make love to the misshapen fellow. (Hey, it's a Naschy movie; he's got to enthrall at least two women each time out!) 

Frederick breaks ranks with Orla when he learns of the scientist's criminal activities, and this gets him imprisoned. When Maria comes looking for her boyfriend, the same happens to her. But in the end Wolfgang figures out that Orla's been lying to him, and their partnership ends. Orla tries to unleash his monster on his enemies, but things go badly for both scientist and hunchback.

Aside from the gore and the light sexual touches, there are some clever touches here. For me the best delves into Lovecraftian territory, in that he claims that his creation-- which looks like a big guy covered in tar-- is some sort of reborn demon. But Naschy's brooding blend of affection and hostility sells the film, making it one of his best efforts. About a year later, Naschy and Aguirre worked together on the moderately entertaining COUNT DRACULA'S GREAT LOVE.