Writer’s note: The second paragraph of this article (just below the first image) contains a basic outline of the film’s premise. There are no spoilers that weren’t already inferred in the film’s own trailer. However, if you want to completely avoid potential spoilers, skip over the second paragraph.
Frankenstein is one of the most famous characters in all of fiction, yet the movie going public’s perception of the story has never accurately represented the original novel. Mary Shelley’s Frankenstein, also known as The Modern Prometheus, bares little resemblance to the classic film from 1931 starring Boris Karloff, which is what cemented most people’s idea of Frankenstein and The Creature. The famous imagery from that film being the hunchbacked assistant, the bolts in the Creature’s neck, and scores of pitchfork wielding villagers. However, a true adaptation of the original novel has yet to take hold in movie fans minds, as Kenneth Branagh’s 1994 version (starring Branagh as Frankenstein and Robert De Niro as The Creature) failed to strike a chord with critics and audiences. Now, we come to Guillermo Del Toro, the visionary Director behind Pan’s Labyrinth (2006), The Shape of Water (2017) and Nightmare Alley (2021). In other words, if ever there was a filmmaker born to adapt Mary Shelley’s novel, Del Toro is that filmmaker.
The story opens circa 1857, with the Royal Danish Navy ship Horisont on an expedition to the North Pole. After the ship becomes trapped in the Arctic ice, Captain Anderson (Lars Mikkelsen), finds a gravely injured man and brings him aboard. That man is Baron Victor Frankenstein (Oscar Issac), who warns of a horrifying Creature (Jacob Elordi) that is stalking him in the frozen tundra. The Creature attacks the crew, demanding they hand over Victor to face judgement. Before that time, Victor recounts the story of how The Creature came into being. Namely, it was created by Victor from many parts of many corpses, all in an attempt to play God and conquer death. Throughout the story, we learn of Victor’s horrible treatment of The Creature, which led to their eventual rivalry. Additionally Victor has a complicated relationship with Lady Elizabeth (Mia Goth), a woman he becomes attached to, but who despises him. By contrast, she seems to have a fascination with The Creature, who she sees as more than just a mindless monster, as Victor does.
If you’ve read Mary Shelley’s Frankenstein, and seen even half of Guillermo Del Toro’s work, you’ll have a pretty clear picture in your mind as to what this film looks, feels and sounds like. You’re probably imagining gothic architecture, practical visual effects, elaborate puppetry, whimsical music, and sympathetic monsters. That last point is most prevalent throughout his work, as Del Toro has an obvious affinity for fantastical creatures, all of which he frequently infuses with great dramatic depth and humanity. Where most people see The Creature From The Black Lagoon’s (1954) Gill-Man as a terrifying abomination, Del Toro sees a misunderstood and lonely figure who has been shunned and hated undeservedly (hence his Oscar winning film, The Shape of Water). Thus, if you’re expecting Del Toro’s treatment of Frankenstein’s Creature to be equally sympathetic, then you can confidently know what you’re in for.
Despite Del Toro’s Frankenstein being the exact film you expect it to be, that doesn’t mean it’s a bore or lacks any surprises. Far from it, as Del Toro brings the story to screen with vivid life, infusing every moment with contemplative power and hypnotic energy. Yes, Del Toro is adapting Mary Shelley’s original work, but it’s not a page for page, line for line recreaction. Del Toro has made changes to the story in subtle, yet important ways, shaping it to suit the medium of film perfectly. On the page, reading chapter after chapter of Victor Frankenstein discussing his research, findings and notes is interesting, but that wouldn’t be very riveting in live-action. Thus, Del Toro has found elegant, shocking and visually stunning ways to communicate all the novel’s big ideas, expertly condensing reams of paper into cinematic gold. There’s plenty of content from the original tale which doesn’t make it to the screen, but they aren’t missed by the time the credits roll.
With that in mind, Del Toro isn’t afraid to point out where he thinks the original text went wrong. Most filmmakers (and viewers) treat the novel as holy writ, claiming that the source novel is without fault, and thus dare not try to improve the story in any way. Interestingly, Del Toro has added new elements and new characters, which are designed to plug various plot holes from Mary Shelley’s novel. At the time the book was written, certain aspects were ignored by the readers, but it’s harder to get away with these things in today’s world. It’s good to see that Del Toro doesn’t think the book is beyond criticism, as it shows that he is putting plenty of thought into his adaptation, and is intent on making the best film he can. There are some drawbacks to this, as one original character in particular (performed by Christoph Waltz) plays a significant role in the first act, but who’s importance (and character arc) is cut short. After being given much dramatic depth, it seems like a missed opportunity for him to be reduced to nothing more than a functional piece of the plot.
That being said, the work from the rest of the cast shines brightly, and sands away any imperfections. Oscar Issac is excellent as Victor Frankenstein, expertly embodying the man’s maniacal obsessiveness. In particular, Issac’s version of the character leans heavily into his ego and selfishness, really making the viewer wonder who is the monster, and who is the man. Mia Goth, Felix Kammerer, Lars Mikkelsen, Charles Dance and David Bradley all deliver wonderful work, but it is Jacob Elordi as The Creature who steals the show. Elordi delivers a haunting, harrowing and emotive performance, one where you can barely take your eyes off of him whenever he’s on screen. Unlike his co-stars, Elordi has to emote with both his physicality as well as with dialogue, oftentimes communicating his complex thoughts and feelings wordlessly. If there’s any fairness in the upcoming Academy Awards, Elordi should definitely net a nomination for his work as The Creature.
With all the film’s merits, one has to ask if Del Toro managed to stay true to the meaning of the original novel. Yes, as discussed above, many changes have been made, but does this mean that Del Toro has missed the point of the story? After all, many of the previous Frankenstein films distanced themselves from Shelley’s writing, so it’s possible that decades of Chinese whispers has diluted the point of the story. Happily, it’s quite clear that Del Toro knows what the final message was, yet he has chosen to go in a slightly different direction anyway. This may be controversial to literary fans, but Del Toro has opted to give this story, and these characters, an ending which they probably would’ve preferred. Ultimately, for all its dark and sombre themes, Del Toro has managed to find the smallest feeling of hope in an otherwise bleak world.
With any luck, Guillermo Del Toro’s Frankenstein will finally place the original tale at the forefront of popular culture. Deservedly so, as Del Toro has delivered yet another weird, wonderful and bleakly beautiful fantasy which lives up to it’s novel’s legacy.
8.5/10
Best way to watch: With the lights out.
