Mary Shelley’s Frankenstein is arguably the most influential work in literature, pop culture, and cinema. It has inspired creative works in movies, comic books, horror stories, and television. Though many filmmakers have adapted elements of the story, perhaps it was time for a visionary director to present it through his unique perspective.
Guillermo Del Toro’s adaptation is a remarkable take on Frankenstein lore, both visually and thematically. However, some of GDT’s choices are a bit bewildering. The end result is a gorgeous-looking, often poignant adaptation that embraces the story’s gothic roots but sometimes goes a tad too far with some elements.
Much like the novel on which it is based, Del Toro’s Frankenstein is told from the perspective of Baron Victor Frankenstein (Oscar Isaac). A ship’s crew finds the beaten and worn Frankenstein desperately on the run from an unknown malevolent force. The captain (Lars Mikkelsen) attends to Victor in his ship’s quarters and is told the incredible tale of how Frankenstein encountered them. Obsessed with humanity’s immortality, Baron von Frankenstein works passionately to bring human life back from the dead.
He proceeds to tell the captain, in great detail, how his work as a medical doctor drove him to experiment with the reanimation of the dead. When he finally achieves some success, his arrogance and hubris ultimately derail everything he has worked for.
Guillermo Del Toro both wrote and directed this film, which certainly captures the essence of what makes Shelley’s Frankenstein such an iconic, tragic horror story. As GDT often does, he delivers it with such a beautiful visual flair, creating an undeniably atmospheric experience unlike any other adaptation of the story I have ever seen.
My main criticism is Del Toro’s decision to give the Creature (Jacob Elordi) superhuman strength and near-immortality. While this may be a spoiler, I believe this flaw significantly undermines the film. The Creature’s extraordinary strength, reminiscent of comic-book characters, and his ability to recover from injuries that should have ended his story early feel unnecessary and detract from the subtlety of his original conception.
Still, I have much love and appreciation for Guillermo’s style in presenting this story, as he is one of the best directors to make this new take work so well. Del Toro also takes a very theatrical, almost Shakespearean approach to presenting the story and its characters. And the entire cast is totally on board and understands their assignments.
As Baron Victor Frankenstein, Oscar Isaac is incredible as an obsessed scientist who succumbs to it. After watching Isaac’s take on Frankenstein, I would love to see him perform in a Shakespearean play, whether adapted for the stage or for the big screen. Mia Goth, whose name alone earns her a role in this film, is absolutely lovable as Lady Elizabeth Harlander, Victor’s strong-willed and intelligent future sister-in-law, the fiancée of Victor’s brother William (William Kammerer). Jacob Elordi is perfectly cast as the statuesque, imposing Creature Frankenstein creates, and delivers an exceptional performance as a being brought to life and treated so poorly.
Overall, I very much enjoyed this film. Though I feel Guillermo Del Toro is a good choice to take on a more modern adaptation of this classic story, I did not agree with some of his choices for the Creature’s character. Still, GDT’s Frankenstein is a mostly gorgeous experience that deserves to be beheld on a big-screen cinema.