“Frankenstein”: Guillermo del Toro’s Creation

Mary Shelley’s novel Frankenstein has captivated readers ever since it was first published in 1818.  The tale of a scientist who creates a living being pieced together from the body parts of corpses has fascinated generations of filmmakers, beginning with Thomas Edison, who produced a silent adaptation of the story in 1910.

James Whale, who directed the classic 1931 Universal Pictures version starring Boris Karloff, right on through to Terence Fisher, who helmed The Curse of Frankenstein, the 1957 Hammer Films re-imagining of the story, and Jack Smight, who was behind the camera for the well-received 1973 telefilm Frankenstein: The True Story.

Among the other versions released throughout the years, there’s the beloved 1974 Mel Brooks spoof Young Frankenstein, and the Kenneth Branagh-directed 1994 thriller Mary Shelley’s Frankenstein, which was produced by Francis Ford Coppola. One director who always wanted to tackle Shelley’s immortal story is Guillermo del Toro.

del Toro, the filmmaker behind movies such as The Devil’s Backbone, Pan’s Labyrinth, and The Shape of Water, was deeply inspired by the 1931 Frankenstein and Karloff’s incredible performance. He’s now written and directed his own take on Shelley’s novel, and it’s currently streaming on Netflix.

His version of Frankenstein is an atmospheric, visually stunning retelling. Much like his previous Gothic-inspired tale, Crimson Peak, the look of Frankenstein is astonishing. Every frame feels like a painting, with views of decaying mansions, corpse-strewn laboratories, and icy Arctic vistas. Sets are drenched in reds, blues, golds, and greens, which add an incredible amount of detail to every scene, thanks to the stellar contributions of cinematographer Dan Laustsen, production designer Tamara Deverell, and costume designer Kate Hawley. The haunting score by Alexandre Desplat also adds real depth and resonance.

There are strong performances from Oscar Isaac as the brilliant, obsessed Victor Frankenstein, who, despite his unlikable persona, is endowed with undeniable charisma. Mia Goth shines as the lovely and inquisitive Elizabeth Harlander, and Christoph Waltz is very good in a supporting role as Victor’s mysterious benefactor. There’s also a nice turn from Charles Dance as Victor’s imperious father.

The VIP of the cast, however, is Jacob Elordi, who gives an emotional and heartbreaking performance as the monster. He has great chemistry with Goth, Isaac, and David Bradley, who plays a blind man who befriends him.

Elordi’s use of his voice, eyes, and body, combined with Hawley’s costumes and Mike Hill’s incredible makeup, creates a thoughtful and expressive interpretation of this often misunderstood character. While preparing for the role, Elordi studied “butoh”, an avant-garde form of Japanese dance, which helped him craft his character’s unique movements.

While the movie takes some liberties with the letter of Shelley’s novel, del Toro’s version of Frankenstein is faithful in tone to the original and successfully channels the spirit of the book. There’s a real sense of sadness, loss, and the cost of playing God filtered through the more terrifying aspects of this story.

Frankenstein is infused with del Toro’s romantic worldview and his well-known empathy for and sensitivity to the beings the rest of the world considers monsters (a hallmark of his cinematic oeuvre). The result is a compelling film that feels both intimate and operatic, steeped in emotion, beauty, and sadness, while also featuring moments of darkness. Frankenstein is unmistakably a del Toro movie, which means it’s heartfelt, haunted, and ultimately transcendent.

-John Visconti

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