Frankenstein Review

Numerous filmmakers have taken a crack at Frankenstein, from Terence Fisher to Kenneth Branagh. In almost a century, none have come close to topping what James Whale accomplished with his two Universal films. If any living filmmaker can touch 1931’s Frankenstein and Bride of Frankenstein, it’s Guillermo del Toro. Much like when Peter Jackson remade King Kong, del Toro’s Frankenstein might go down as the definitive version of a classic. It’s longer than it needs to be, with a first act that takes its time. Whatever flaws the film has, though, are overshadowed by its production values, atmosphere, and beating heart.

Del Toro is tailor-made for this material. Not merely because he’s a master of Gothic horror, but because del Toro identifies with monsters. The film might be named after Victor Frankenstein, played here by Oscar Isaac. However, Del Toro is clearly more invested in the Creature’s point of view. Although Andrew Garfield was originally attached to play the Creature, scheduling conflicts led to his exit. While Garfield likely would’ve given a strong performance, size matters with a role like this. The 6′ 5″ Jacob Elordi has the build to play Frankenstein’s monster, escaping behind the Oscar-worthy makeup effects. Beyond his phenomenal physical work, Elordi gives the Creature a soul.

The screenplay also gives the Creature a thoughtful mind, staying truer to Mary Shelley’s initial version of the character. He isn’t quick to learn, however. This frustrates Victor, who raises the Creature with cruelty and impatience. Where Victor values the brain above all else, Mia Goth’s Elizabeth gets through to the Creature with her heart. Anyone who has seen the X trilogy, particularly Pearl, knows that Goth is a gifted actress. When Elizabeth first appears, though, I feared Goth would be saddled with a thankless love interest role. Elizabeth has no chemistry with Victor or his brother William (Felix Kammerer), whom she’s engaged to. We realize that this is intentional once Elizabeth lays eyes on the imprisoned Creature.

She doesn’t scream or avert her eyes. Elizabeth doesn’t see a monster. She sees a lost soul who needs empathy, something that his father never showed him. It shouldn’t come as a surprise that del Toro gives the Creature a tender love story. This is the same director who made The Shape of Water, after all. While Goth and Elordi’s quiet scenes are among the film’s best, the most powerful section is shared between the Creature and a blind man he befriends. David Bradley, a del Toro regular, gives another exceptional performance as the nurturing father that the Creature never had. Moments like this, coupled with the astounding production and costume design, show potential for the greatest Frankenstein movie ever.

There are just a few things holding the film back. Some are more minor, such as underwhelming CGI and underused supporting players like Christoph Waltz. The biggest issue, though, is Dr. Frankenstein himself. The always-reliable Isaac throws himself into the role, but Victor’s character development can be clumsy. He rashly shifts between wanting to create and destroy life without much reason, building to a resolution that doesn’t feel entirely earned on his part. You don’t get the sense that del Toro was eager about making a Victor Frankenstein movie. He wanted to make a Frankenstein’s monster movie. That said, Elordi’s performance deserves to be in the same league as Boris Karloff’s. Their portrayals are very different, but that’s what makes del Toro’s Frankenstein stand out. Whenever Elordi is on screen, it’s alive… even if they never say that line here.