Oscar Isaac as Victor Frankenstein in “Frankenstein.” Credit: Ken Woroner/Netflix via TNS
When someone says Frankenstein, the same, stereotypical image pops into people’s heads — a tall, green, stitched-up man with prominent neck bolts, a flat head and tired eyes.
For more than 200 years, the classic novel by Mary Shelley has entertained people all over the world, prompting multiple film and television adaptations, attractions and cementing itself into the lesson plans of high school English teachers across the country.
Now, a new adaptation has made its way into theaters, redefining the timeless tale and pushing the boundaries of what it truly means to be human.
Guillermo Del Toro, an award-winning Mexican filmmaker best known for “Puss in Boots” and “The Shape of Water,” released his latest film, “Frankenstein,” for a limited theatrical run Oct. 18. Though initially it appeared as though the film would only be screening in larger metropolitan areas — think New York or Los Angeles — the film has made its way to Columbus, giving audiences a chance to see it on the big screen before its global release on Netflix Nov. 7.
Let’s just say, this film is one that deserves to be seen in theaters.
Starring Oscar Isaac as Baron Victor Frankenstein, Mia Goth as Lady Elizabeth Harlander and, of course, Jacob Elordi as the Creature — it feels wrong to label him as “Frankenstein’s Monster” in this film — the gothic tale of “Frankenstein” is re-imagined in the new adaptation, expanding further upon character motivations, switching their dynamics around and implementing new themes not present in the original.
The house was packed, with the concession line of Gateway Film Center trailing near the escalators and just a few empty seats in the theater.
The film stays true to the concept of Robert Walton, despite the character being replaced with Captain Anderson (Lars Mikkelsen). Anderson serves as the frame for the story’s narrative, rescuing a severely-injured Victor in the Arctic and taking him aboard his ship.
The film opens at the very end of the narrative, giving context and background information through Victor and the Creature’s perspectives.
The story splits the narrative in three parts, starting from the very beginning with Victor’s childhood and upbringing, further exploring his familial dynamics and motivations. Similar to the novel, Victor is heavily impacted by his mother’s death in childbirth, however this is not the only driving force behind Victor’s ambition. In opposition to the original, Victor’s father is portrayed as an incredibly abusive, unforgiving and strict parent, rather than a beloved patriarch and supportive figure.
This switch incorporates a need for Victor to prove his father that he’s capable — who sees Victor as the black sheep and his new son, William (Felix Kammerer), as his pride and joy — and also gives reasoning behind his neglectful and abusive tendencies towards the Creature later on.
Christian Convery, who plays young Victor, does a great job at portraying the lead. The only issue with his presence in the film is that young Victor does not bear resemblance to his older self. Casting a young, white actor to portray an ethnic actor — Isaac is Guatemalan — was an interesting choice, and while the kid’s acting was impressive, his physical characteristics were not in line with his older self.
An interesting change in this film is the aging up of William. In the book, William is murdered by the Creature when he’s seven years old as an act of revenge against Victor. In the film, William is older and also engaged to Elizabeth, who in the novel is Victor’s adopted sister and wife.
This switch up completely changes the relationship between Victor and his brother, as William becomes more involved with Victor’s pursuit of creation through Henrich Harlander (Christoph Waltz) — Elizabeth’s uncle and an arms dealer who provides Victor with unlimited resources to complete his project. Harlander’s character also drastically changes the original plot as he does not exist in other adaptations; his introduction removes the isolationism that drives Victor mad.
Victor is brash, argumentative and defensive. He defends his pursuit of life on many occasions, often erratically and irrationally — he is an undefendable character and incredibly hard to like. Del Toro’s reimagination of Victor and Elizabeth’s relationship creates tension within the plot, adding moral complexities to their encounters.
Once the Creature is stitched together, Victor essentially does the same as in the 1931 adaptation, where he aligns the Creature with the lightning strike of a storm, the electricity of which brings him to life. There is some slight variation in when the Creature comes to life that is inconsistent with other screenplays.
Elordi’s portrayal of the Creature is one that has been a long-time coming, even if no one expected it in the first place. His performance has already sparked conversations of Academy Award nominations and — unlike the 1931 film — appears to be in-line with his description in the novel.
The handsome and alluring “monster” is anything but that. He is characterized more so as the victim, explicitly naming Victor as the true monster, something that has always been evident to fans but not said outright. Elordi’s eyes are mesmerizing, peering through the wrappings of the Creature and showing the deep sadness that encapsulates him.
Elordi reveals a softer, more gentle side of the Creature, acting out of self-defense and exhibiting empathy, understanding and intelligence, even if he is not as quick to learn as in other adaptations. He yearns for companionship and to know who he truly is, something Victor abstains from sharing, instead attempting to cover up his existence as a whole.
The Creature’s relationship with the old, blind man shows the true nature of his being — a man who was cursed with an unwanted existence that is inescapable by death.
Through their relationship, the Creature is able to educate himself, learn to read and make headway on finding out who he is.
Goth’s performance as Elizabeth is strong, depicting her as more assertive than submissive alongside her gentle and nurturing nature. A lover of insects and other beings, Elizabeth has a soft spot for the Creature and is one of two characters who show him respect and kindness.
The largest deviation from all adaptations comes with the ending of the film, which truly emphasizes the human that lies beneath the Creature’s stitches.
For lovers of Shelley who were looking for a hyperrealistic adaptation of the classic, that won’t be found in Del Toro’s “Frankenstein.” What can be found, however, is an entertaining and captivating two-and-a-half-hour cautionary tale of the dangers of unchecked ambition — a film that leaves audiences in a disarray of emotions and examines what defines humanity.
Rating: 4.5/5
