Guillermo del Toro delivers an adaptation of Frankenstein for a new age. Bolstered by powerhouse performances from Oscar Isaac and Jacob Elordi, this adaptation of Mary Shelley’s 1818 gothic novel is definitely not to be missed.
★★★★☆
With a career spanning over three decades, Frankenstein feels like the film that Guillermo del Toro has always wanted to make. From lavish gothic sets to a towering creature, the film features all the hallmarks of a del Toro film, only this time, all of those aspects have been amped up to an 11. Despite the $120 million budget, it feels a film so personal and carefully crafted, that you can’t help but adore the artistry on display.
Based on Mary Shelley’s 1818 novel of the same name, Frankenstein follows the life of Victor Frankenstein (Oscar Isaac), an egotistical scientist, who aims to cheat death by creating life from the scraps of the deceased. What follows is the birth of the Creature (Jacob Elordi), an imperfect creation, which leads to dangerous consequences in Victor’s life.
Shelley’s novel has been adapted many times over the years but del Toro’s vision feels so singular that it still manages to divorce itself from other iterations and stands tall on its own two feet.The structure of Frankenstein is an interesting one. It is split up into two chapters, with the first focusing on Victor’s retelling of his story, and the second providing the Creature’s perspective.
Both Victor’s and the Creature’s stories are about finding acceptance and validation from those around them. They are two sides of the same coin, and this is where del Toro’s script shines. It’s that thematic connection between Victor and the Creature which makes Frankenstein feel like a love letter to the classic novel.
Del Toro sometimes has fondness of unsubtle dialogue, making the characters blurt out how they are feeling in a certain situation, but overall there is still a lot of sincerity here. These are flawed beings craving love, and the directness of these cravings makes them easy to get attached to. In spite of the oblique script, del Toro understands very well that there are various ways to interpret the story of Victor and the Creature, not forcing a certain angle on the viewer.
Oscar Isaac gives a powerful performance as Victor. The scientist’s egotistical nature and obsession with achieving his goals is so well portrayed, his manic nature so genuine, that it immediately becomes a standout of the film.
For the Creature, you have a heartfelt and moving performance from Jacob Elordi who helps bring this monster’s pain and tragedy to life. Even covered in prosthetics and given limited lines, Elordi showcases so much emotion that it’s hard not to want to give the creature a hug. He brings a sense of childlike wonder to this character who is discovering life for the first time, and is what makes so much of his story work.
The rest of the cast is excellent too, with Mia Goth’s Elizabeth Harlander and Christoph Waltz’s Henrich Harlander further enriching the film. David Bradley’s Blind Man also shines through in his limited screentime. However, while Felix Kammere’s William Frankenstein is also a meaningful part of Victor’s story, his presence in the film could have been greater.
But the real star of the show here is del Toro’s eye for direction and sets. Frankenstein is a gorgeous looking film that is begging to be watched on the big screen. Its huge practical sets bring this gothic 19th century to life in a brilliant manner, and when coupled with Dan Laustsen’s vibrant cinematography and Alexandre Desplat’s brilliant score, you get one of the most visually pleasing experiences to come out this year.
The Verdict
Guillermo del Toro’s Frankenstein is a career-defining work. He delivers an exceptionally crafted Gothic escapade that adapts Mary Shelley’s original work with such care and reverence that you can’t help but get swept up in the grandness of it. At its heart, the ultimate catharsis of this story’s tragedy lies in acceptance and validation, and those themes are what make Frankenstein such an enthralling watch.
Words by Rohit Rajput
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