Guillermo del Toro once again adds yet another iconic monster to his cinematic curio cabinet
It saddens me that most who encounter Guillermo del Toro’s Frankenstein will probably do so outside of a darkened theater, probably alone, while spreading their attention between the film and the billions of the other tiny distractions that fill our lives. That’s because I think only at this point in his career with his blank check film for Netflix, could he not only have the sheer audacity to attempt to put his stamp on the literary masterpiece, but manage to offer up a truly unique and personal take on the material. This culminates in yet another gothic masterpiece from the director who delivers an intriguingly fresh take on the material that further humanizes its reanimated subject.
The film starts in unfamiliar waters as an expedition to the arctic is stuck in the ice, while their captain relentlessly pushes his crew forward to achieve his dream of being the first to the circle. It’s there an explosion catches his crew’s attention and they come across Victor Frankenstein’s (Oscar Isaac) battered body, who is being hunted by his creation (Jacob Elordi). No sooner do they fight the monster back, but Victor starts to impart his all too familiar tale of a young boy who wanted nothing more than to have the ability to beat back death, after witnessing it take his beloved mother, leaving him with a cold uncaring father. As an adult he finds a wealthy benefactor Harlander (Christoph Waltz) willing to financially support him, whose niece Elizabeth (Mia Goth) is also promised to his younger brother. While that story plays out as expected, there’s a sharp turn the film makes in the second half that truly shows the mark of its maker.
Once we have heard Victor’s side of the story, we then experience the monster’s journey from creation to where we meet him in the arctic. Here Guillermo del Toro does what he does best, imbuing the monster with every drop of humanity that was absent from Victor. It’s a move that highlights the first half’s rather insufferable and soulless protagonist, who makes us appreciate every moment we get with Jacob Elordi’s “Creature”, who after losing his found family in the forest after his father attempts to kill him, sets off to find his father to have him create a companion for him, because he can’t die. This search for some kind of relationship resolution between creature and creator echoes Victor’s own childhood and abusive father. It’s an exploration of the cyclic nature of abuse and violence, through the guise of a gothic horror monster film, flawlessly executed.
The performances, once you get into the second half make more sense and only further highlight the fact as the director has stated, that this is not a monster movie, but a movie with monsters in it. That said, I think the biggest mistake most will probably make is misunderstanding the aim of Oscar Isaac’s take on the Doctor. He’s an egotistical ass, but that’s the point, and while I did have a problem with one particular scene where they say the quiet part out loud, “You’re the monster, Frankenstien”. I feel like that’s the only part of this film that felt to me like a studio note or a compromise. Opposite Isaac is a rather delicate and assured take by Mia Goth. She’s once again just trouncing any and all expectations in a role that once again showcases how truly versatile and unique a talent she is given the right material. It’s her scenes while Frankenstein is attempting to woo his brother’s fiance and how that plays out, that’s delicate as it is complex in its execution.
As expected the film is a feast for the senses, the production design and attention to detail with everything from set design, to costumes is simply sublime. My personal favorite touch is the red leather gloves, worn by Victor and Harlander, as a metaphor for the unwashable blood staining on their hands. Every shot is composed painstakingly as a painting, as del Toro’s attempts to fill every crevice of celluloid with his fetishes and fascinations. Statues, patterns on costumes and coffins, even accessories, given the director’s love for the strange and macabre, nothing here is random, and it’s something that begs further investigation. This all plays out to a score that, like the story, is familiar, but different, and will taunt you with its ear catching melodies as your brain tries to discern where you’ve heard it before.
Guillermo del Toro has added yet another iconic monster to his cinematic curio cabinet and once again proved he is one of the most singular auteurs working today in horror. It’s obvious it’s not simply a story of monsters to him or an intriguing reboot, these are his gods, his religion, and his greatest talent is he is able to allow the audience to connect and empathize with these often misunderstood characters. I’ve seen countless takes on Frankenstein and for me, this is the closest someone has ever gotten to the iconic Universal takes, which are also lovingly and countlessly referenced in this film. Frankenstein is yet another modern monster masterpiece from the director who has made a career out of showing us the other side of the story and often having us confront uncomfortable biases and realize that you can’t judge a book by its cover.
