THE STORY -A brilliant but egotistical scientist brings a creature to life in a monstrous experiment that ultimately leads to the undoing of both the creator and his tragic creation.
THE CAST – Oscar Isaac, Jacob Elordi, Christoph Waltz, Mia Goth, Felix Kammerer, Charles Dance, David Bradley, Lars Mikkelsen & Christian Convery
THE TEAM – Guillermo del Toro (Director/Writer)
THE RUNNING TIME – 149 Minutes
There is always a temptation to return to the classics. Old pieces of literature and mythological tales will always carry with them a strong foundation of intrigue. No matter how much the world evolves, and our relationship to moral structures may shift, there is a fundamental perspective that these works retain, which continues to make them relevant through reinterpretation. You can tell that Guillermo del Toro has had an affinity for these kinds of stories, at least the fables that reveal a dark truth about the human condition, or even a spark of hope that can ignite from such tormented views of humanity. It’s what led to finding childlike wonder in the age of warring destruction, as seen in films like “The Devil’s Backbone” and “Pan’s Labyrinth.” The blossoming romance against bleak carnage in “Crimson Peak” and “The Shape of Water.” Even somewhat disposable fare like “Pacific Rim” has a rousing message of unifying strength set against its blockbuster spectacle. With such reverence for this thematic analysis, it’s no wonder that Mary Shelley’s commentary about the fight between redemption and damnation of the soul would attract del Toro. “Frankenstein” seems like it should be a match made in heaven. But what he chooses to highlight from this material ends up being a mostly laborious trek, whose crafts can barely keep it afloat.
Many may think they know the story, given its numerous adaptations. This one hems closer to the published source material, keeping the framing device of Victor Frankenstein (Oscar Isaac) crossing paths with an arctic expedition as some kind of monstrous creature chases him. While aboard, he regails the crew of his origin, speaking of his family history and education, and his obsession with conquering death ever since the passing of his mother (Mia Goth). While studying abroad, his interests capture the attention of an industrial capitalist by the name of Harlander (Christoph Waltz), who agrees to fund his scientific explorations as a means to conquer death itself. Proximity to this man also introduces his niece, Elizabeth (also played by Goth), who is engaged to his younger brother. Their relationship is combative with a friendly undertone, but a distraction from Victor’s real work. But once he has brought the monster (Jacob Elordi) to life, he is disgusted with creation and vows to destroy it. However, death does not come so easily to this creature. He traverses his own odyssey, eventually to cross paths with his creator once again to seek some form of retribution.
No del Toro production is ever lacking in impressive crafts, and surely that is the case here as well. It’s a little rough at first, as what is meant to be the barren frozen tundra never feels like an actual outdoor location. However, that artifice dissipates when the towering sets make more of a pronounced appearance. It’s a mesmerizing display of production design, especially the old tower, which is reformatted to become Victor’s laboratory. The giant contraptions that generate electricity are massive in scale, effectively conveying the grandiosity of this ambitious vision. The costumes are flamboyant and distinct, especially all the flowing gowns that Elizabeth trails into every scene. The makeup that especially gives detail to the monstrous creation is tactfully and uniquely designed. Dan Lausten’s cinematography has featured more striking compositions in previous collaborations, but the moody lighting remains appealing. Alexandre Desplat’s score is an unusual composition, conveying the epic nature of the production while occasionally indulging in a whimsical flair that is at odds with the darker tones of the story. Although it may be a slightly mixed showcase, the overall aesthetics are still beautifully detailed and well-designed.
But that only gets you so far, and del Toro’s method of adaptation leaves this narrative with a confused sense of tone and unearned catharsis. Victor’s drive to conquer death, for instance, is meant to be established by his mother’s passing, with whom he had a much stronger bond than with his domineering father. Yet, Goth’s time as this character is so brief that whatever impact she should have made on her young son seems minimal in comparison to how fundamental it is for his continuing journey. The lightning storm that breathes life into Victor’s creation arrives so quickly, and their first interaction, which should be one of joyful and curious discovery, is oddly muted and reserved. Most sinfully, the emotional revelations that underline the resonant themes of defining humanity between the two beings at the center of this tale arrive after a jaunty chase equipped with pithy retorts. The tonal construction is wildly inconsistent, but more importantly, the storytelling is just tedious and sluggish.
Weirdly, this adaptation feels both bloated and abridged. Keeping the framing device, in which characters stick, recalling their stories in front of a captive audience, makes for a narrative that is constrictive, downright absurd at times; as such, the pacing must adhere to the back-and-forth transportation of the setting. Elizabeth, as a character, is established to have a curiosity for the natural world. Still, her immediate attraction to the disfigured man chained beneath this grand home oddly enforces a notion of a sexual connection between them that isn’t naturally established. The excursion the monster undertakes within the forest offers a compelling commentary on the natural world’s proclivity for violence and destruction, despite his best intentions to find some kind of peaceful harmony with his surroundings. But even this is far too extended, with the friendship of the old blind man, played by David Bradley, overstaying its welcome. Del Toro’s script has a bizarre set of priorities, and the results are uneven at best. One yearns to have a deeper understanding of these characters and this environment, but what is served simultaneously is too condensed to be emotionally impactful while also too overstuffed to be consistently engaging.
It’s pretty impressive how Isaac delivers a captivating performance, infusing Victor with a recognizable hunger for knowledge that is obviously meant to mask his corrupted personal ambitions. The fiery speeches he makes are committed but empty proselytizing, and his shattered worldview by the end is a heartbreaking display. Isaac can tap into all those layers and commands the screen whenever he appears. In his own dedicated section, Elordi is also an engrossing figure, particularly with the immense sorrow captured in his distorted facial expressions. With his right eye always seeming to catch an amber reflection, you are drawn to the sadness, despair, and rage that flash across his face. The monster has always been a character with a wide range of interpretations through the years, and Elordi finds his own way to deliver a tender and soulful rendition.
Those two players are the only ones who rise to the level of notable praise, however. Thankfully, Waltz at least isn’t completely phoning it in, but the purpose of his role feels so perfunctory that his ultimate contribution is not especially extraordinary. But it’s a better utilization than Goth, woefully miscast as the aloof and ethereal presence that doesn’t play into her strengths, that indulges in oddity and peculiarity. As the mother, she barely registers. But as Elizabeth, the towering emotional center that is supposed to bond the two central figures, her inclusion feels slight and disaffected. Goth can be a powerful force on screen, but roles like “Pearl” tap into a crazed energy that can’t help but break free in every moment. Even something that is seemingly more subdued in “Emma.” has a quirkiness that makes her uniquely endearing among that ensemble. There is nothing of the sort here, only a thematic idea that is flatly executed to match her banal delivery.
I remember when it was first announced that Tim Burton was directing “Alice in Wonderland,” the sentiment commonly shared was that it was an inevitable collaboration of artist and material, and it was a mystery as to why it had taken so long for it to happen eventually. It turned out that such a pairing was indeed too good to be true. While “Frankenstein” never quite reaches that low artistic depth, it is ultimately a disappointing showcase that never assembles its ideas into a satisfying whole. The storytelling leaves too many motivations unfulfilled while also adhering to a dramatic structure that creates a lethargic pace. Yes, the crafts are incredibly designed, but not every aspect is worthy of exceptional praise. Isaac and Elordi indeed give exceptional performances, but they are the only members of the cast who make a significantly positive impression. Ultimately, the piece collapses under the weight of del Toro’s vision, a muddled collage of tones that consistently underwhelms. It’s a beautiful collage that amounts to a surprisingly arduous execution.
