It has been a goal of Guillermo Del Toro to make a Frankenstein film ever since he was seven. He saw the 1931 Universal studios classic, read the book and the fire was lit. Many years, and an attempt in the mid noughties, later he has finally achieved it – thanks in part to the deep pockets of Netflix.
We meet Victor Frankenstein in the North Pole, being hunted down by an enraged monster who will stop at nothing to get his hands on him. What follows is how they got there, with Victor played by a tormented Oscar Isaac, who after the neglect and cruelty at the hands of his surgeon father – an overbearing and cold Charles Dance – wants to better him and beat death. He does this with the help of a wealthy arms dealer Heinrich Harlander – Christopher Waltz in full Inglorious Basterds mode – and creates the titular lifeform.
Everyone knows this story like the back of their hand, but Del Toro makes it his own, first giving us Victor’s version of events and then the monsters. It is a gripping parable of the relationship between father and son, creator and the created that touches on capitalism, greed, religion, science and unrequited love. The unrequited love is played exquisitely by Mia Goth – who is the aloof yet principled Lady Elizabeth, the wife of Victor’s younger brother William (Felix Kammerer).
The film is done in Del Toros trademark dark and gothic manner with brutalist but beautiful visuals, the abandoned tower where the monster is made is full of oversized, steam punk style technology. It is a palpably violent film as well, with Frankenstein’s monster ripping and tearing life from limb. The creatures gut wrenching brutality, rage and quest for belonging all wrought vividly to life by Jacob Elordi (Saltburn).
Del Toros ambition has been realised, he has moulded Mary Shelley’s the well worn tale in his own gripping, moody and violent image. It is only a shame it never got a proper cinema release.
8/10
