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It may not be characteristically American but given the overwhelming number of films made by the US and their domination of the world's screens, one might be forgiven for thinking so.

I think I may have done a disservice to this movie by quoting the person who introduced it so many years ago who said it was financed by the Mafia. He may have been confusing FFF's distributors "Bryanston Distributing" with "Bryanston Pictures". The latter was run by a member of the Colombo...

I know it's childish but Udo Kier's inability to pronounce "laboratory" always cracks me up.

I can't imagine what made anyone think ColorCode was a good idea. :3dglasses: :wacko:

I don't see any way to download any other versions, unless I'm missing something. If there's an easy way to turn anaglyphs into sbs I've yet to see it.

This looks like the ColorCode anaglyph. My eyes!

Very likely. :) :3dglasses:

When Channel 4 showed it as part of their 3D season I was eager to see it again after so many years but although some of the other material was OK, I gave up on FFF. Apart from Spy Kids 3, I've seen very few anaglyphs on TV which were worth bothering with. Just to add insult to injury, the next...

It was the awful ColorCode anaglyph. Unwatchable.

He sounds slightly to the right of Genghis Khan and about one rant away from a tinfoil hat. I love the way he justifies his dreadful movies by claiming everyone else's are even worse. It's not like he made "Citizen Kane".

Nicholas Roeg will be thrilled to know he directed Flesh for Frankenstein; Paul Morrissey probably not so much. I wonder if the person who bought this just happens to have a Spacevision attachment lying around? What is it with people in the US not wanting to send stuff to the UK? I'm starting...

I saw Flesh for Frankenstein in the early 80s and don't recall any problems with the 3D. Perhaps the eye and brain are a bit more accommodating than we realise.

Incidentally the gruesome special FX were by Carlo Rambaldi, who also provided them for Dune and ET among others.

His attitude would be understandable if he were David Lean or Stanley Kubrick . . . . but he isn't.

Maybe he got agitated because AW probably didn't have anything to do with it apart from the use of his name.

Only my personal recollection and what's on IMDb I'm afraid.

Antonio Margheriti is listed as co-director but he wasn't. He was also prosecuted for some financial chicanery as a result. There's probably a movie to be made about what went on behind the cameras.

"Andy Warhol's Frankenstein" is the US title. God knows why as he'd absolutely nothing to do with it.

No one has ever had anything good to say about these Aussie discs. I have a feeling they're homemade and probably best avoided.

"A liver in your lap!" as one critic commented at the time.

The glasses for The Bubble and/or FFF were plastic framed wraparounds and wouldn't have looked out of place in The Matrix. Very hipsterish. I'm not surprised they didn't give them away.

I'd like to have kept the very cool SpaceVision glasses but they were all carefully retrieved by the cinema staff.

When I saw the 80s revival of this at London's ICA, the person introducing it said that: 1 - it was financed by the Mafia, 2 - several scenes relating to the female monster were removed by the censors 3 - Robert Bernier, inventor of SpaceVision, was sacked as DP by Paul Morrissey for taking too...