• Guillermo del Toro’s Frankenstein Adapts Most Ignored (and Scary) Part of the Book

    Frankenstein, the post-Enlightenment novel written by a teenage girl that invented modern science fiction, has long been Guillermo del Toro’s white whale. The Mexican filmmaker has eyed adapting Mary Shelley’s story of a modern day Prometheus since the 1990s. And now it’s almost here.
    It’s a good feeling for the filmmaker and his admirers… but it also an opportunity of mounting excitement for fans of Shelley, too, since so much of her 1818 masterpiece remains mostly associated with the page in spite of the countless film adaptations based on the story of a man and his monster. And as judged by the first remarkable teaser trailer of Frankenstein introduced by del Toro and stars Oscar Isaac and Mia Goth at Netflix’s Tudum event Saturday night, it’s safe to stay that del Toro is pulling from Shelley directly… including a wrap-around story of hers that is seldom ever attempted on the screen.

    “What manner of creature is that?” a shaken voice whispers in the new Frankenstein trailer. “What manner of devil made him?” We never exactly see what countenance could earn the dehumanizing term “creature” in the trailer, but we feel his presence. He is a silhouette, a shadow—a vengeful wraith—walking across a sheet of ice with the sunset to his back. And he is approaching what is demonstrably a half-mad, frostbitten Victor Frankenstein, who can only say in his frozen delirium “I did.” Victor is the devil who made that.
    For fans of Shelley’s novel, or just those with a good memory of Kenneth Branagh’s now mostly forgotten 1994 adaptation of the book, this framing device should send a chill of anticipation through the spine as giddy as any more familiar promises of gods and monsters. That’s because del Toro is adapting the cruel framing device Shelley used to introduce both Victor and the creature he pursues. Indeed, most of Frankenstein on the page is told in flashback and relayed by our protagonist Victor as a kind of last rites confession as he dies from fever and starvation after years and years of chasing his creation north. Always north.

    Whereas most of the novel takes place actually at the end of the Enlightenment era of the 19th century—the glory days of Mary’s famous philosophical and activist parents—the only “modern” part of the story is to compare the zeal for discovery in Victor with what was only a dawning fascination in the 19th century with discovering the North Pole.
    In the book, Victor’s tale of obsession for greatness causes a captain who has led his men to becoming stuck in the Arctic ice to reflect on the potentially lethal consequences of his ambitions—especially after he meets the Monster who later verifies Victor’s story by mourning over the scientist’s body.
    The framing device is fascinating because of where it places the story in history, but also because it elevates the tragedy of the so-called Monster and his Creator. Who was really hunting who at the end of the world in the North Pole, and who is truly the monster? The Creature did terrible things, but how much of that is Victor’s fault for abandoning his progeny to a lifetime of loneliness hatred, and despair, including by that which gave him life? Both suffer tragic fates in the end in the cold. Unloved and unremembered, except by one sea captain no one will believe.
    While it remains to be seen if del Toro is doing a straight-ahead faithful adaptation of the novel—in fact we can assume he is not since Isaac’s Victor dresses more like a Victorian of the mid-19th century than a contemporary of Voltaire or Thomas Jefferson, and we also know that Burn Gorman appears in the movie as Fritz, a character created by Universal Pictures in the iconic 1931 film adaptation starring Boris Karloff—it is fascinating to see the master filmmaker returning to the source material.
    It also raises questions of just where he will go with Jacob Elordi’s intentionally obscured and hidden Monster. We know from the trailer’s end with the Monster attacking the crew of the North Pole-bound shipthat he has the power of speech. It will be curious indeed to learn if he proves to be a Milton-esque philosopher demon, which is also a largely ignored element of Shelley’s original story.
    Frankenstein is expected to premiere in November on Netflix.
    #guillermo #del #toros #frankenstein #adapts
    Guillermo del Toro’s Frankenstein Adapts Most Ignored (and Scary) Part of the Book
    Frankenstein, the post-Enlightenment novel written by a teenage girl that invented modern science fiction, has long been Guillermo del Toro’s white whale. The Mexican filmmaker has eyed adapting Mary Shelley’s story of a modern day Prometheus since the 1990s. And now it’s almost here. It’s a good feeling for the filmmaker and his admirers… but it also an opportunity of mounting excitement for fans of Shelley, too, since so much of her 1818 masterpiece remains mostly associated with the page in spite of the countless film adaptations based on the story of a man and his monster. And as judged by the first remarkable teaser trailer of Frankenstein introduced by del Toro and stars Oscar Isaac and Mia Goth at Netflix’s Tudum event Saturday night, it’s safe to stay that del Toro is pulling from Shelley directly… including a wrap-around story of hers that is seldom ever attempted on the screen. “What manner of creature is that?” a shaken voice whispers in the new Frankenstein trailer. “What manner of devil made him?” We never exactly see what countenance could earn the dehumanizing term “creature” in the trailer, but we feel his presence. He is a silhouette, a shadow—a vengeful wraith—walking across a sheet of ice with the sunset to his back. And he is approaching what is demonstrably a half-mad, frostbitten Victor Frankenstein, who can only say in his frozen delirium “I did.” Victor is the devil who made that. For fans of Shelley’s novel, or just those with a good memory of Kenneth Branagh’s now mostly forgotten 1994 adaptation of the book, this framing device should send a chill of anticipation through the spine as giddy as any more familiar promises of gods and monsters. That’s because del Toro is adapting the cruel framing device Shelley used to introduce both Victor and the creature he pursues. Indeed, most of Frankenstein on the page is told in flashback and relayed by our protagonist Victor as a kind of last rites confession as he dies from fever and starvation after years and years of chasing his creation north. Always north. Whereas most of the novel takes place actually at the end of the Enlightenment era of the 19th century—the glory days of Mary’s famous philosophical and activist parents—the only “modern” part of the story is to compare the zeal for discovery in Victor with what was only a dawning fascination in the 19th century with discovering the North Pole. In the book, Victor’s tale of obsession for greatness causes a captain who has led his men to becoming stuck in the Arctic ice to reflect on the potentially lethal consequences of his ambitions—especially after he meets the Monster who later verifies Victor’s story by mourning over the scientist’s body. The framing device is fascinating because of where it places the story in history, but also because it elevates the tragedy of the so-called Monster and his Creator. Who was really hunting who at the end of the world in the North Pole, and who is truly the monster? The Creature did terrible things, but how much of that is Victor’s fault for abandoning his progeny to a lifetime of loneliness hatred, and despair, including by that which gave him life? Both suffer tragic fates in the end in the cold. Unloved and unremembered, except by one sea captain no one will believe. While it remains to be seen if del Toro is doing a straight-ahead faithful adaptation of the novel—in fact we can assume he is not since Isaac’s Victor dresses more like a Victorian of the mid-19th century than a contemporary of Voltaire or Thomas Jefferson, and we also know that Burn Gorman appears in the movie as Fritz, a character created by Universal Pictures in the iconic 1931 film adaptation starring Boris Karloff—it is fascinating to see the master filmmaker returning to the source material. It also raises questions of just where he will go with Jacob Elordi’s intentionally obscured and hidden Monster. We know from the trailer’s end with the Monster attacking the crew of the North Pole-bound shipthat he has the power of speech. It will be curious indeed to learn if he proves to be a Milton-esque philosopher demon, which is also a largely ignored element of Shelley’s original story. Frankenstein is expected to premiere in November on Netflix. #guillermo #del #toros #frankenstein #adapts
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    Guillermo del Toro’s Frankenstein Adapts Most Ignored (and Scary) Part of the Book
    Frankenstein, the post-Enlightenment novel written by a teenage girl that invented modern science fiction, has long been Guillermo del Toro’s white whale. The Mexican filmmaker has eyed adapting Mary Shelley’s story of a modern day Prometheus since the 1990s. And now it’s almost here. It’s a good feeling for the filmmaker and his admirers… but it also an opportunity of mounting excitement for fans of Shelley, too, since so much of her 1818 masterpiece remains mostly associated with the page in spite of the countless film adaptations based on the story of a man and his monster. And as judged by the first remarkable teaser trailer of Frankenstein introduced by del Toro and stars Oscar Isaac and Mia Goth at Netflix’s Tudum event Saturday night, it’s safe to stay that del Toro is pulling from Shelley directly… including a wrap-around story of hers that is seldom ever attempted on the screen. “What manner of creature is that?” a shaken voice whispers in the new Frankenstein trailer. “What manner of devil made him?” We never exactly see what countenance could earn the dehumanizing term “creature” in the trailer, but we feel his presence. He is a silhouette, a shadow—a vengeful wraith—walking across a sheet of ice with the sunset to his back. And he is approaching what is demonstrably a half-mad, frostbitten Victor Frankenstein (Oscar Isaac), who can only say in his frozen delirium “I did.” Victor is the devil who made that. For fans of Shelley’s novel, or just those with a good memory of Kenneth Branagh’s now mostly forgotten 1994 adaptation of the book, this framing device should send a chill of anticipation through the spine as giddy as any more familiar promises of gods and monsters. That’s because del Toro is adapting the cruel framing device Shelley used to introduce both Victor and the creature he pursues. Indeed, most of Frankenstein on the page is told in flashback and relayed by our protagonist Victor as a kind of last rites confession as he dies from fever and starvation after years and years of chasing his creation north. Always north. Whereas most of the novel takes place actually at the end of the Enlightenment era of the 19th century—the glory days of Mary’s famous philosophical and activist parents—the only “modern” part of the story is to compare the zeal for discovery in Victor with what was only a dawning fascination in the 19th century with discovering the North Pole (a feat that wouldn’t actually be accomplished until the early 20th century). In the book, Victor’s tale of obsession for greatness causes a captain who has led his men to becoming stuck in the Arctic ice to reflect on the potentially lethal consequences of his ambitions—especially after he meets the Monster who later verifies Victor’s story by mourning over the scientist’s body. The framing device is fascinating because of where it places the story in history, but also because it elevates the tragedy of the so-called Monster and his Creator. Who was really hunting who at the end of the world in the North Pole, and who is truly the monster? The Creature did terrible things, but how much of that is Victor’s fault for abandoning his progeny to a lifetime of loneliness hatred, and despair, including by that which gave him life? Both suffer tragic fates in the end in the cold. Unloved and unremembered, except by one sea captain no one will believe. While it remains to be seen if del Toro is doing a straight-ahead faithful adaptation of the novel—in fact we can assume he is not since Isaac’s Victor dresses more like a Victorian of the mid-19th century than a contemporary of Voltaire or Thomas Jefferson, and we also know that Burn Gorman appears in the movie as Fritz, a character created by Universal Pictures in the iconic 1931 film adaptation starring Boris Karloff—it is fascinating to see the master filmmaker returning to the source material. It also raises questions of just where he will go with Jacob Elordi’s intentionally obscured and hidden Monster. We know from the trailer’s end with the Monster attacking the crew of the North Pole-bound ship (a beat also, we might add, is not in the novel) that he has the power of speech. It will be curious indeed to learn if he proves to be a Milton-esque philosopher demon, which is also a largely ignored element of Shelley’s original story. Frankenstein is expected to premiere in November on Netflix.
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  • Trailer: Guillermo Del Toro’s ‘Frankenstein’ Finally Comes Alive

    Guillermo del Toro keeps transforming old classics for Netflix. He previously directed his vision of the animated favorite Pinocchio; now he’s tackling one of the most famous horror tales of all time: Mary Shelley’s Frankenstein.For del Toro, this has been a dream project for many years — or maybe decades. He’s been talking about it publicly since at least the 2000s, and after several stabs at the project fell through at various other studios, he finally got to make his dream a reality at Netflix, who funded his version of the Gothic horror classic with an impressive cast that includes Oscar Isaac as Victor Frankenstein, Mia Goth, Christoph Waltz, and Jacob Elordi as Frankenstein’s Monster. The parallels between Victor Frankenstein pursuing his quixotic dreams of creating life, and del Toro’s own endless quest to create his cinematic vision are already getting me extremely excited for this film. Who doesn’t love a good horror allegory for the act of moviemaking itself?The first trailer for the film confirms that GDT’s Frankenstein will premiere later this year on Netflix. It also confirms that this thing looks like pure unfiltered del Toro Gothic horror. Check out the trailer below to see for yourself:READ MORE: The Best Movie Trailers of the Last 10 YearsHere is the film’s official synopsis:Oscar-winning director Guillermo del Toro adapts Mary Shelley’s classic tale of Victor Frankenstein, a brilliant but egotistical scientist who brings a creature to life in a monstrous experiment that ultimately leads to the undoing of both the creator and his tragic creation.Guillermo del Toro’s Frankenstein premieres on Netflix in November. Suddenly I am extremely hungry for a pretzel shaped like Frankenstein’s Monster’s head.Get our free mobile appThe Best Horror Movies of the Last 10 YearsThese modern horror movies are sure to keep you up at night. Gallery Credit: Emma Stefansky
    #trailer #guillermo #del #toros #frankenstein
    Trailer: Guillermo Del Toro’s ‘Frankenstein’ Finally Comes Alive
    Guillermo del Toro keeps transforming old classics for Netflix. He previously directed his vision of the animated favorite Pinocchio; now he’s tackling one of the most famous horror tales of all time: Mary Shelley’s Frankenstein.For del Toro, this has been a dream project for many years — or maybe decades. He’s been talking about it publicly since at least the 2000s, and after several stabs at the project fell through at various other studios, he finally got to make his dream a reality at Netflix, who funded his version of the Gothic horror classic with an impressive cast that includes Oscar Isaac as Victor Frankenstein, Mia Goth, Christoph Waltz, and Jacob Elordi as Frankenstein’s Monster. The parallels between Victor Frankenstein pursuing his quixotic dreams of creating life, and del Toro’s own endless quest to create his cinematic vision are already getting me extremely excited for this film. Who doesn’t love a good horror allegory for the act of moviemaking itself?The first trailer for the film confirms that GDT’s Frankenstein will premiere later this year on Netflix. It also confirms that this thing looks like pure unfiltered del Toro Gothic horror. Check out the trailer below to see for yourself:READ MORE: The Best Movie Trailers of the Last 10 YearsHere is the film’s official synopsis:Oscar-winning director Guillermo del Toro adapts Mary Shelley’s classic tale of Victor Frankenstein, a brilliant but egotistical scientist who brings a creature to life in a monstrous experiment that ultimately leads to the undoing of both the creator and his tragic creation.Guillermo del Toro’s Frankenstein premieres on Netflix in November. Suddenly I am extremely hungry for a pretzel shaped like Frankenstein’s Monster’s head.Get our free mobile appThe Best Horror Movies of the Last 10 YearsThese modern horror movies are sure to keep you up at night. Gallery Credit: Emma Stefansky #trailer #guillermo #del #toros #frankenstein
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    Trailer: Guillermo Del Toro’s ‘Frankenstein’ Finally Comes Alive
    Guillermo del Toro keeps transforming old classics for Netflix. He previously directed his vision of the animated favorite Pinocchio; now he’s tackling one of the most famous horror tales of all time: Mary Shelley’s Frankenstein.For del Toro, this has been a dream project for many years — or maybe decades. He’s been talking about it publicly since at least the 2000s, and after several stabs at the project fell through at various other studios, he finally got to make his dream a reality at Netflix, who funded his version of the Gothic horror classic with an impressive cast that includes Oscar Isaac as Victor Frankenstein, Mia Goth, Christoph Waltz, and Jacob Elordi as Frankenstein’s Monster. The parallels between Victor Frankenstein pursuing his quixotic dreams of creating life, and del Toro’s own endless quest to create his cinematic vision are already getting me extremely excited for this film. Who doesn’t love a good horror allegory for the act of moviemaking itself?The first trailer for the film confirms that GDT’s Frankenstein will premiere later this year on Netflix. It also confirms that this thing looks like pure unfiltered del Toro Gothic horror. Check out the trailer below to see for yourself:READ MORE: The Best Movie Trailers of the Last 10 YearsHere is the film’s official synopsis:Oscar-winning director Guillermo del Toro adapts Mary Shelley’s classic tale of Victor Frankenstein, a brilliant but egotistical scientist who brings a creature to life in a monstrous experiment that ultimately leads to the undoing of both the creator and his tragic creation.Guillermo del Toro’s Frankenstein premieres on Netflix in November. Suddenly I am extremely hungry for a pretzel shaped like Frankenstein’s Monster’s head.Get our free mobile appThe Best Horror Movies of the Last 10 Years (2015-2024)These modern horror movies are sure to keep you up at night. Gallery Credit: Emma Stefansky
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