At only eighteen years old, Mary Shelley crafted an original science fiction novel that not only shook the world of publishing, but has had a major staying power in modern culture. Much like the idea of Victor Frankenstein piecing together his own creature, creators have dissected the story over and over again to allow their own vision of the monster to come to life. So, it’s not surprising that Guillermo del Toro, a director famously known for his love of horror, was the latest to tackle Shelley’s tale.
Del Toro’s Frankenstein, in partnership with Netflix, is the most expensive adaptation of the story to date costing approximately $120 million to make. Given that Shelley earned around £41 for the novel, she’s probably rolling over in her grave. However, thanks to del Toro’s love of Gothic horror, this adaptation stays fairly true to the original storyline, albeit with his usual over-the-top flair.
It’s a plot that is so well known, it’s simply repetitive to explore the details in a review, only to say that this adaptation could be one of the best. At two-and-a-half hours, it’s certainly one of the longest versions, but thanks to del Toro’s elaborate production design, viewers are completely swept into this story. Victor Frankenstein (Oscar Isaac) is a manic man on a quest to create eternal life, reanimating dead tissue with the hopes of discovering a way to live even after death. His monster (Jacob Elordi) doesn’t understand why he was brought into existence and why a sense of cruelty seems to coat the world around him. It’s a tale of creator and creation, begging the question of who really is the true “monster” of the story. Broken into two halves, one from the creator’s perspective and one from the monster’s, viewers get a complete picture of the tale and can make their judgements accordingly.
While the main players are certainly Frankenstein and his monster, this reimagining brings in a full cast of supporting characters that all execute their roles spectacularly. Christoph Waltz plays benefactor Harlander, whose reasoning for funding Frankenstein is shrouded in secrecy. He manages to be both charming and threatening, in classic Waltz style, while Mia Goth as Frankenstein’s sister-in-law seems to be basically born to play this role. After all, her roles seem to mirror her last name and this one is no different.
And as much as their performances shine, it’s the elaborate costumes that truly transport the viewer into this Gothic world. Each character has such a unique personal look, including the monster himself, obviously, that you’re completely enthralled by their movements and motives as they play out on screen. From the opening scene until the end credits, del Toro delivers a world so visually intoxicating, you can’t help but be swept into it.
While Frankenstein has long been considered a Gothic horror, it seems more appropriate to classify it first and foremost as a tragedy. Yes, it’s gory in its matter of creation, but the story really highlights the question of ethics and playing God. Del Toro’s version is achingly emotional and excruciatingly frustrating, playing on dichotomies that will have audiences debating. Who has the right to create life? What are the dangers of holding unchecked power? Does fate or free will determine your destiny? How does loss of companionship, of innocence of identity change someone?
Like all del Toro films, Frankenstein seamlessly blends the nature of beauty and brutality. It’s much more than a “monster” movie and del Toro isn’t afraid to make the audience uncomfortable, both visually and in the messages those scenes hope to evoke. This isn’t a groundbreaking adaptation, and it certainly won’t be the last, but it’s one that would definitely make Shelley proud.
Frankenstein is currently playing in theaters, but will be out on Netflix November 7. (Contractually it has to have a theatrical release to be eligible for the Academy Awards, but this is a movie worth seeing on the big screen if possible.)
