[NoHo Arts District, CA] – This month’s movie and TV reviews by Mike Peros look at Guillermo del Toro’s Frankenstein.
Loss of humanity and what constitutes evil are at the core of Guillermo del Toro’s Frankenstein is a compelling cinematic creation in every way. It combines arresting visuals, superb performances and an intelligent script to depict a tale which has been told many times, in many ways, but rarely with this much artistry. In del Toro’s version (he wrote and directed, this being very much a passion project), the filmmaker has chosen to stay fairly faithful to the story. The time period has been advanced to the 1850s (the better to utilize scientific and social elements of the period), but the storyline, in its broader aspects, shows fidelity to the spirit of the tale.
Doctor Victor Frankenstein (a sterling, driven Oscar Isaac) is still obsessed, both with creating life and proving his worth to himself and to his late father (Charles Dance). There is an unholy alliance with a supposedly altruistic benefactor (Christoph Waltz) whose niece is Elizabeth (yes, the Elizabeth that Victor is engaged to in the novel—only in a notable deviation from the original, this Elizabeth is engaged to Frankenstein’s brother William. After some obstacles (manmade and natural), Victor succeeds, and with Jacob Elordi as the Creature (abetted by make-up and certain special effects), it is a memorable Creature indeed. His strength supersedes previous incarnations (as shown in a pulse-pounding opening sequence, but his humanity is even more pronounced here.
As in the book, the Creature finds some humans (especially a blind man) who are able to relate to him, but the triumph of this version is that the viewer feels how much this very articulate Creature wants to connect with others—but is doomed to be forever on the outside looking in. In Elordi’s hands, the agony and alienation is palpable, as is Isaac’s portrayal of a man of science—but not necessarily honor or humanity, in both his behavior toward the Creature and his “loved ones.” As Elizabeth (and as the young Victor’s mother), Mia Goth radiates wit and compassion. The three-act structure works here and builds to a powerful ending (even if it’s not entirely like the book). Frankenstein is on Netflix but still in theaters. Well worth seeing either way.
Want more tv and movie reviews? Check out Mik Peros’ One Battle After Another, Roofman and Blue Moon reviews>>