Everyone knows that writer-director Guillermo del Toro wanted to make Frankenstein for many years. It was already such a thematic through-line in so many of his movies (the perceived monsters overshadowed by actual monstrous humans) that maybe it was assumed that he'd managed to get it out of his system, but no. So it's good for us that people gave him over $100M to finally deliver his vision of the classic text. Maybe we will yet get his version of At The Mountains Of Madness.
Bookmarked by scenes set in the Arctic, this gives us Victor's Tale in the first half and then The Creature's Tale in the second, both announced by title cards. Young Victor may be played by Christian Convery, but things really get going when we meet the adult Victor (Oscar Isaac), a man consumed by the idea of conquering death, much to the dismay of many, including his own brother, William (Felix Kammerer). William and Victor aren't exactly close, but William is still excited to have his brother meet his fiancée, Lady Elizabeth Harlander (Mia Goth). This proves to be quite the fateful encounter, almost as fateful as Victor's encounter with Elizabeth's uncle, Henrich Harlander (Christoph Waltz), a wealthy man who wants to fund Victor's experiments. Then it's all body parts and lightning storms until you can cry out "it's alive, it's alive" and we get the creation of a creature (Jacob Elordi). Victor isn't actually prepared for his role as "new father" though, which makes things very difficult, to say the least.
With lovely cinematography from Dan Laustsen, a fine score from Alexandre Desplat, and great use of some well-dressed locations (it's always nice to see even a heavily-disguised Edinburgh onscreen), it's no surprise that Frankenstein is a feast for viewers. It may be a slightly overdone feast, considering the hefty 150-minute runtime and the moments that have a bit too much CGI in the mix, but it's a feast nonetheless. The biggest problem would seem to be that Del Toro is too close to the whole thing, and has been allowed to indulge himself with every decision, for better or worse. This is most obvious during the many times he seems to be pointing at a massive hand-painted sign that says "It's Victor who is the real monster, get it?", as if we haven't been reminding ourselves, and others, of this for many many years now.
Isaac is decent in the role of Victor, enjoyably single-minded and callous, and I am sure the film was helped to find some extra viewers by the moments that have him working feverishly on his creation without any care for the state of his clothing. Goth is a wonderful Elizabeth, and it was canny casting to also have her playing another pivotal role in the earlier scenes of the film. Elordi is the highlight though, giving an interpretation of the creature that shows the full range of his life, from the new-born confusion to his education, from his vulnerability to his rage. Helped by an interesting, if not altogether successful, make up job, Elordi feels as if he's giving his all to portray a definitive take on the creature that manages to feel both very traditional and quite modern. Waltz is used well, Kammerer less so, and there are good scenes for the likes of Lars Mikkelsen, David Bradley, and Charles Dance in supporting roles.
People seem to want to give us the "definitive" Frankenstein every few decades, but it hasn't really happened yet. This is certainly close though. Some scenes use too much digital trickery (let's not mention the imperfect wolves in one key sequence), and Del Toro has a strange way of turning the creature into something like a superhero at times (he's very Incredible Hulk throughout, which I'm sure we've all seen as a modern blend of Frankenstein/Jekyll & Hyde over the years anyway), but the overall feeling is one of care and quality. You know that you're in the hands of someone who really wants this to deliver on all of his promises, even if he unsubtly hammers home one or two of the key messages of the tale. Although, for all of Del Toro's good intentions, ending his own adaptation of Mary Shelley's touchstone text with a quote from Lord Byron is a major mis-step that may leave viewers slightly soured as the end credits roll.
This is very good. And there are some pleasantly surprising bursts of gore and real horror too. It's not great though, perhaps due to the fact that Del Toro put himself under pressure to cram in everything he'd ever envisioned for the project. He has, somewhat ironically, given birth to something that he explored and experimented on for many years. It's not a monstrosity, but I don't think it will ever be as beloved as some of his other "children".
7/10
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