Benjamin Epstein
Staff Writer
Guillermo del Toro and “Frankenstein” are a match made in heaven. Of course, a director known for his sympathetic monsters would want to tell one of the original sympathetic monster stories. “Frankenstein” is one of the most Guillermo del Toro films that Guillermo del Toro has ever made, showcasing his biggest strengths and flaws as a creator.
To start, the production design is as immaculate as one would expect from a del Toro film. The sets look absolutely marvelous; every building’s interior has its own unique vibe that perfectly fits with the tone of the story. The sets were created by Shane Vieau, who also designed the sets for previous del Toro films like “Crimson Peak,” “The Shape of Water,” and “Nightmare Alley,” with this film having a similar level of attention to detail. The costumes by Kate Hawley (another frequent del Toro collaborator) are also a lot of fun, with Mia Goth’s symbolic-heavy red dress being a standout. Together, this builds a wonderful, moody atmosphere.
Guillermo del Toro’s direction really allows these great environments to soak in, with a lot of big, expansive shots. Unfortunately, the directing often focuses much more on the environments rather than the actual characters. The camera is far away from them, putting distance between them and the viewer. It means that a lot of the story’s potential intimacy is gone.
However, with many of the Guillermo del Toro films I’ve seen, my main problems lie with the script, and this film is no different. It’s awkwardly paced, with an unnecessarily long introduction and a climax that comes way too quickly (but to be fair, this is arguably also true of the book).
Many of the side characters feel underdeveloped, especially Elizabeth Harlander (played by Mia Goth), whose connection with the Creature feels sudden and whose resolution as a character comes out of nowhere. We never really learn why she has an interest in the Creature, nor do we ever actually get her true perspective on Victor or her husband. She’s certainly a fun character, and the way she serves as the only one challenging Victor for much of the story is interesting, but it feels like there could have been more time spent exploring her.
Another important character, Henrich Harlander, played by Christoph Waltz, also has a character ending that feels very sudden, with no real buildup. He also lacks any real depth despite being a fun character to witness. Captain Anderson, played by Lars Mikkelsen, is in a similar boat (pun intended), with the film depicting his final actions as a sign of a character arc despite us never really seeing him going through one. We’re also never given a reason to care about him or his crew, so his final decision rings hollow. The film definitely tries to give the side characters some depth, but it doesn’t give them enough time, so it still feels like they’re little more than scenery to support our main two characters.
Thankfully, those two main characters, Victor Frankenstein and the Creature, are very compelling. Their relationship is very interesting, with Victor being drawn to create the Creature due to his father’s abuse towards him, only for Victor himself to act like his father towards the Creature. What makes Victor so engrossing is that he’s equal parts despicable and sympathetic. On one hand, he’s someone whose extreme jealousy and obsession with perfection leads him to use others in his life like chess pieces. However, his obsession stems from a place of trauma, and he does seem to legitimately care for the people in his life, even if that care comes second to his own ambitions.
The film also makes a significant change to the book by having Victor originally care for his creation, yet only to grow angry with the Creature’s imperfections. This simultaneously makes Victor a lot more human and a lot more habitable. He really is a great protagonist, and Oscar Isaac plays him with a lot of melodrama and a real crazed energy.
The Creature, however, is the true star of the show. The entire segment of the film focusing on him in the woods with the old man is classic del Toro, with equal parts wonder and tragedy, all wrapped up in a huge amount of pathos. The injustice of it all stings, and you just want to wrap the Creature up in a big old hug.
Del Toro understands why Frankenstein’s monster has been such a captivating creature, how many people can relate to the isolation, the feeling that you are inherently different, and the daddy issues. And the writing of the monster is elevated by Jacob Elordi’s one-of-a-kind performance, with every movement being so surreal yet so natural. Whenever the creation is on screen, the film is mesmerizing.
The relationship between Victor and the Creature feels very real and reminiscent of actual parental conflicts, and it leads to quite the cathartic ending.
Despite my complaints, I still found a lot to appreciate in this film. It’s got a stacked cast, it has a lot to say about parenthood and abuse, and it’s very pleasing on the eyes. At the end of the day, I think that del Toro is a really great director of vibes, and this film has vibes up the wazoo, being a very gothic and ghoulish journey. If you’re a fan of his work, I’d recommend it.