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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, 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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