In the wake of Robert Eggers’ extremely successful “Nosferatu” adaptation gaining popularity at the beginning of the year, fans of the horror genre have acquired a taste for successful revisitations of classics. This fall, acclaimed director Guillermo del Toro, the visionary behind “Crimson Peak”, “Hellboy” and “Pinocchio”, tackled another staple in the horror genre — Mary Shelley’s “Frankenstein”.
This is not the first time that Frankenstein has been retold, with many filmgoers tired of remakes and desiring new and original stories; it’s understandable why some may be hesitant to see it in theaters or even watch it in the comfort of their own homes on Netflix.
Despite walking an already worn path, del Toro’s “Frankenstein” strikes closer to the heart of Shelley’s original tale than any other filmmaker has. While prior adaptations of “Frankenstein” have seemingly made it a goal to shock viewers with the terror of a lumbering, deformed and unintelligent creature, this film departs from the older precedents and turns to the spirit of the source material directly.
Del Toro has spoken at length regarding how near and dear the story of Frankenstein was to him throughout his life, both as a human being and in his journey as a filmmaker. Because of this, it’s no surprise that his adaptation comes with a clear sense of a deep understanding of the original text, its characters and themes.
Del Toro methodically lays Shelley’s original story open for a modern audience with a narrative that is successful enough not to be overshadowed by the impressive visuals or star-studded cast, including Mia Goth and Jacob Elordi.
There are several notable departures from the original plot. While Elizabeth was previously Victor’s fiancée (and cousin) in the novel, she is instead his brother William’s fiancée in the film.
This choice adds a layer of inaccessibility to the love and life that Victor pines for, while also adding additional depth to the character of Elizabeth, exploring her wants and desires. Furthermore, the director’s choice to cast Goth in the dual roles of Elizabeth and Victor’s mother adds another level of symbolism to her interactions with [Victor] Frankenstein and The Creature.
In another large narrative change, William has been aged up to be closer to Victor’s age, as opposed to the novel, where he is a toddler. This older version of William combines two significant figures in Victor’s life, his best friend and his little brother, into one. This not only cuts out the need for introducing another character, but also underscores the importance of Victor’s relationship with his only brother. While such large revisions to the story could initially appear as a turn-off to viewers, in this case, the changes are made with clear forethought to how they will enhance and complement the narrative rather than confusing it.
Each change is deliberate, thought out and measured against the story that the novel tells. It’s rare to see an adaptation so conscientious of source material that departures from the plot do not seem like a misunderstanding of the author’s initial intentions.
The only thing working against the film’s success is pacing. A majority of the runtime focuses on the story of creation, while the second half of the film plays catch-up, squeezing a substantial amount of action into a less-than-ideal period of time. Because of this, viewers miss out on much of the emotional buildup to the climax of the plot that the novel spends careful time crafting. A seven-hour-long “Frankenstein” isn’t feasible at the box office, but the story just isn’t the same without the care put into the second act.
Despite its pacing, “Frankenstein” is nothing short of a beautiful, tender and electric masterpiece. Packaged in del Toro’s signature meticulous style, he repeatedly underscores the care with which he has adapted it. While many creative liberties were taken and a few major departures from the novel’s plot, each thoughtful change deliberately enhances the narrative.
Faithful to the heart of the story, its commentaries on scientific advancements, and what it means to be human, make del Toro’s “Frankenstein” an instant modern gothic classic.
