Guillermo del Toro was made for this.
The latest movie from the visionary director is right up his alley, from the story itself to the aesthetic. The film is of course an adaptation of the 1818 Mary Shelley novel. In del Toro’s take, Oscar Isaac portrays Baron Victor Frankenstein. The movie picks up with the doctor in the cold wilderness of the North Pole. There, he’s found by a Danish Naval crew from a nearby ship.
It’s to the captain of that ship (Lars Mikkelsen) that he tells his story. He describes how he had a vision of stopping death after his mother’s passing, which led him into a career of medicine and science. Then from there, how it led him to bringing the Creature (Jacob Elordi) to life
The “Frankenstein” story has been adapted to the screen many times over the last century-plus. One of, if not the most, notable movies, “Frankenstein” from 1931, turns 100 soon. So, what more can you bring to a 200-year-old book that’s been adapted into a plethora of flicks? Leave it to del Toro to breathe fresh life in the famous monster story.
The familiar aspects are all here, from the elaborate science laboratory to the tragic existence of the creature. Yet it all feels renewed. It’s the same story, but a new experience. One element making the film work is how it unfolds. The audience is told the story, both from the perspective of Frankenstein and the Creature.
It makes for an insightful recounting of events over two halves, with a pair of bookends, rather than a more traditional three-act structure. It plays to the movie’s advantage, as it allows for the build-up of two character arcs. One is for Frankenstein, who’s devolving in a tragic spiral, while the Creature evolves with self-actualization.
Similar to del Toro’s 2017 film “The Shape of Water,” his latest film also benefits from the blending of genres. The movie is very much a refined dramatic period piece, while also absolutely being a morbid monster movie. These aspects mix seamlessly resulting in a film that feels all too human and real, while also embracing fantasy and science fiction.
Perhaps the strongest aspect of “Frankenstein,” though, is how it looks. This film is absolutely stunning visually, with phenomenal cinematography that’s complimented by fantastic set and costume design. Del Toro clearly wanted to to capture it all, too, as there are several moments where the camera is softly moving, showing all of the detail.
The appreciation del Toro has for the genre is apparent in every shot. Frankenstein’s lab is perfect in appearance, there are scenes that are macabre and graphic, plus moments of intense violence. Yet it’s all done with a high level of art and craftsmanship. There’s a beauty to it all.
The acting is quite powerful, too. Oscar Isaac is impressive as Frankenstein, showing his transition from a confident, if not somewhat strange young man to a person losing his grip on control who becomes haunted by his actions. Elordi is also impressive as the Creature in a role that requires a lot physicality.
Mia Goth is strong in her role as well, playing a character who has important connections with several main figures and Christoph Waltz is good as usual. Credit also should go to David Bradley who plays a character who’s critical to the Creature’s development.
“Frankenstein” is a really impressive entry from del Toro, another example of his prowess as a creator. While the final bookend of the film seems to wrap things up a bit too neatly, the journey to get there is well worth it.
Perhaps it doesn’t have too much new to say versus other adaptations (humanity in a standoff with mortality, science crossing lines and inherent violence in man), but the way it says it is good, making it a winner, 4.6 out of 5.
Matthew Liedke on Film 