This past Halloween, Guillermo Del Toro’s highly anticipated adaptation of Mary Shelley’s iconic original science fiction novel “Frankenstein” hit select theaters around the world. For those unable to access one of those select theaters, however, the film was released nationwide on Netflix a few weeks later, on Friday, Nov. 7. The film features a star-studded cast featuring the likes of Oscar Isaac as the titular character, Jacob Elordi as the iconic creature of pop culture infamy and Mia Goth, in yet another dual-role performance, as both Victor’s soon-to-be sister-in-law Elizabeth and his mother, Claire Frankenstein (“Caroline” in Shelley’s novel).
Be warned—the following review contains minor spoilers!
The most notable thing about this film is undoubtedly the atmosphere. Del Toro is well known and regarded for his ability to capture the gothic, eerie textures of stories set in a similar timeframe as “Frankenstein,” as well as the larger thematic points that accompany darker romantic stories. With films like “Crimson Peak” and “Nightmare Alley” under his belt, it was expected that the scenic landscape for “Frankenstein” would be astounding—and it is. Each frame of the film makes it undeniable what Del Toro’s original vision for the film was, often utilizing rich jewel tones in the costuming to contrast the cool blues and greys and brass undertones of the background.
Del Toro’s attention to detail is what makes him such a skilled storyteller, and this film is only further proof of that fact. Having grown up in Mexico watching the original slew of Universal Monster movies on Sunday afternoons and evenings, Del Toro has stated that he was always fascinated by the grotesque and macabre. “Frankenstein” has been a passion project of his for nearly a decade—to paraphrase, he knew even before that that it would only be a matter of when, not if, when it came to creating his own adaptation.
“Frankenstein” is a labor of love, and it shows. Every beat is intentional, and the script follows the natural rhythm of Shelley’s novel, while expanding and contracting to form a cohesive, natural flow. While the pacing of the film and the book do have their differences, the framed narrative nature of Del Toro’s film makes it perfect for the format of a movie. By breaking up the film into sections from both Victor’s and the Creature’s perspectives (as Shelley does in the novel), Del Toro provides the audience with a fully fleshed-out narrative, not shying away from the main theme of Shelley’s novel that is often misconstrued—that Victor, not the creature, is the true monster. By allowing us to view the story through the Creature’s eyes, Del Toro is able to incorporate aspects of Shelley’s novel—namely, the Creature’s attachment to Elizabeth and his connection with the elderly blind man in the cabin—that other adaptations haven’t attempted.
Del Toro’s film adaptation finally provides a retelling that, by altering a few plot points here and there, leaves the audience with an undeniable understanding of Shelley’s original novel. For centuries, Frankenstein’s creature has been mentioned in the same breath as Dracula and the mummy in terms of early examples of Gothic monsters. But Del Toro finally turns that perception around, pulling back the curtain and making it evident that the creature was never the real force of true evil that past adaptations have made him out to be. Shelley’s original work was, at its core, a criticism of men playing god. Victor is the true monster, for creating life and refusing to grapple with every implication of what that entails. He runs from accountability and despises his creation, and the creation, in turn, has no choice but to learn to despise Victor. Del Toro finally does the thematic nature of Shelley’s novel justice, and presents it as the complex narrative that it is.
This film would not work without a strong cast. Ultimately, in order to tell a story as iconic and delicate as this one, the casting of the main trio (Victor, the Creature, and Elizabeth) is essential. Luckily, Del Toro put a great deal of thought into his characters, and the final product is about as close to perfect as he could have gotten.
Isaac perfectly walks the tightrope between obsession and genius. We get to see his origins and watch his motivations and goals distort over time, and Isaac portrays that transition so well that the audience is hardly aware that it’s happening at all. Meanwhile, Elordi—cast primarily for his soulful eyes and imposing physical stature—tells a complex story without many of an actor’s primary crutches. From beneath four hours’ worth of prosthetics and makeup, he was tasked with telling a story with only his eyes and simple gestures—and he does so with great success, marking the Creature’s gradual growth into intelligence and empathy with great skill. Finally, Goth rounds out the two men in Elizabeth’s life, becoming the film’s voice of reason. Drowning beneath miles of richly toned fabrics and elaborate symbolic accessories, Goth’s presence in the film is as a physical manifestation of Shelley’s own beliefs. Together, all three cast members furnish the film with a beating heart, bringing the electric script to life. Embellished by iconic character actors like Christoph Waltz and Lars Mikkelson, the cast of the film is truly masterful, and every performance is perfectly tailored to fit with the rest of Del Toro’s vision.
When it was first announced that Del Toro was officially attached to an adaptation of “Frankenstein,” many movie lovers rejoiced. With Del Toro’s talent and past successes in similar genres, it seemed to make perfect sense for him to adapt one of the first and most iconic science-fiction stories of all time—especially given the fact that it just so happens to be set in the decadent time period that Del Toro seems drawn towards so often. Now that the film is out for all to view, the general consensus is that his anticipation has largely paid off. The rich atmosphere, from the set dressing to the costumes, creates a world around Shelley’s original work that feels just right. Del Toro built a film that feels unique and solitary in terms of atmosphere, while still following Shelley’s guidance and doing her original story justice.
It’s a film that is more than worth watching, and even though its limited theatrical release might have been disappointing for many who didn’t get to experience the film in a darkened cinema, seeing it on Netflix is a decent supplement. All in all, it’s a movie that should be revisited—so for that reason alone, it’s nice to already have unlimited access to it.
Review: 4/5
