The feature film directorial debut from Sam Ashurst, who is arguably best known recently for both A Little More Flesh and A Little More Flesh II, what you have here is, as you might expect, an interpretation of the classic Frankenstein tale. Although a different way to relate the events of that landmark sci-fi horror, those involved really underline the superb quote “intelligence is knowing that Frankenstein isn’t the monster, wisdom is knowing that Frankenstein is the monster.”
Starring James Swanton in the titular role, essentially delivering an extended monologue that he used to perform as a one-man show, with the emphasis more on the words and the performance than any cinematic bells and whistles. Which isn’t to say that Ashurst adds nothing to the whole experience, but I will get to that soon enough. Telling his tale, the creature is able to fully expound upon his experience as a singular creation, inspiring fear in a father figure who then rejected him, leaving him abandoned, confused, and angry.
Released in a very limited edition (as has been the case with everything directed by Ashurst so far), Frankenstein’s Creature is probably one of the more niche movies that I have reviewed, and the fact that I own it is something that can allow me to talk about it with an ever-so-slight air of smugness underlining everything. Because I liked this.
It could easily be argued that this isn’t a fully satisfying filmic experience. It’s a stage work, a bit of theatre that just happened to be filmed. On the one hand. But Ashurst DOES complement the material with his approach. Although the focus remains Swanton and the small set (one small section of an abandoned building), visuals run in the background, as if projected there, that help to show the journey of the creature and affect the overall atmosphere (e.g. some flowing ice water adds a chill viewers can feel working into their bones). There are also one or two moments that superimpose a close-up of Swanton’s on top of his ongoing performance, giving viewers a chance to fully appreciate the unnerving, Conrad Veidt, facial make-up.
I think it’s fair to warn most viewers though. Despite the great work from Ashurst, this is deliberately all about the dialogue being delivered by Swanton. It is a powerhouse performance, and Ashurst shows great restraint in not feeling the need to meddle with it. The Pyramid Texts is the only other film I can think of that feels similar to this, and if you ever managed to see that masterpiece then you should already know whether or not you will find this worth your time.
I didn’t absolutely love this, unlike the aforementioned The Pyramid Texts, but I certainly liked, and admired, it. It’s a real treat to see a classic horror archetype reworked so brilliantly, and with equal helpings of passion and intelligence.
7/10
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