Del Toro breathes new life into Frankenstein

Toro's adaptation of Shelley's classic captures the spirit of the original novel, but tweaks the narrative to make room for his individual mark of creativity. The end product is not only a visual delight to relish but a heartfelt tribute to the classic.

The Oscar-winning director Guillermo del Toro has graced the silver screen with his childhood dream project, Mary Shelley's 200-year-old Gothic tale 'Frankenstein'.

This novel is simultaneously a science fiction, a Gothic horror, and a parable fused together to produce the immortal creation, which is now in the deserving hands of a worthy creator to bring it to live action.

Starring Oscar Isaac as the anatomist, Victor Frankenstein, and Jacob Elordi as his monstrous creation, perhaps the most refreshing addition in the cast was Mia Goth as Elizabeth, who, now in Toro's narrative, received an expanded role.

The story starts when a few sailors stuck in the Arctic discover the wounded body of Victor.  While trying to save him, they encounter an unnatural and beast-like creature with whom they share a violent confrontation. 

When no sailor succeeded in creating a single lasting injury on the beast with their bullets, the captain momentarily got rid of him by making him sink beneath the icy water.

Under care, after regaining consciousness, Victor narrates the story of his turbulent childhood: the loss of his mother, his abusive father, and his relentless pursuit to conquer the unconquerable– death. 

In the end, even though he succeeds, the aftermath of his creation baffles and scares him. He attempts to destroy it by setting everything on fire, but the monster survives and pursues him, leading up to the current state.

It may feel that the story rushes to a hasty conclusion, and Victor's hunt for the monster is not explored well, which was a huge part of the novel. Making the monster bullet-resistant was not exactly the best choice, but even the best of the works have room for disapproval and dismay. What El Toro has done reflects his reverence for the source material and his love for the craft.

However, the greatest shift in the narrative is the introduction of the monster's tale, where he shares his side of the story, unlike the original version. After Victor's abandonment, the monster tries to navigate the world around him and is faced with inexplicable cruelty from humans. 

He learns violence through examples he lived through and language through observation. He struggles to live in a world where he has no place, and death is not an option for him (as he cannot be killed).

This choice by Toro has helped him to garner the audience's sympathy towards the monster, as he portrays him as an innocent child unequipped for the cruel world, unveiling a more humane side of him. 

Eliordi has proven himself worthy of his role as he brought out a certain tenderness in the monster's disposition with his expressive eyes, which heavily contrast with the physical bulk and scars.

Another brilliant tweak in the story is Elizabeth, the counterfoil to Victor. In the novel, her character had little agency or depth, but in this movie, she possessed immense wit, kindness, and the ability to speak her mind. She is not Victor's fiancée but his brother's, with whom he falls in love. Aside from her ethereal appearance, her strong, juxtaposed opinion on the world and her kindness clashed with Victor's temperamental, egoistic nature. 

Mia Goth as Elizabeth balances her delicateness well by pairing it with determination. Toro rectified the vacuum Shelley left in her novel by not introducing a well-written female character.

The movie's distinctive visual style is unmistakably Del Toro's. The film is characterised by its vibrant gothic aesthetic, with dramatic contrasts between steely blues and deep ambers, and intricate motifs of circles. 

It is not only a visual delight but also carries symbolic meaning. The meticulously detailed sets were a luxurious beauty that impedes the energy of horror. The movie was not treated as a period piece but as a young one simply born in another time.

The biggest share of credit for bringing Shelley's character to life goes to Kate Hawley, the costume designer. She built every character with lavish and romantic sensibility, blending historical and modern elements. 

Eliordi's look as a monster was inspired by Renaissance-era marble statues and incorporated natural and anatomical motifs to convey a tragic outlook.  

On the other hand, Victor's loose-fitted shirts and unkempt hair reflect the ambition of a madman in contrast with other men around him who are well-polished and buttoned up. 

Elizabeth, in her elegant gowns, elaborate headpieces, and ornate jewelry, was the splash of whimsy and etherealness this movie desperately needed.

However, it may feel that the story rushes to a hasty conclusion, and Victor's hunt for the monster is not explored well, which was a huge part of the novel. Making the monster bullet-resistant was not exactly the best choice, but even the best of the works have room for disapproval and dismay. What El Toro has done reflects his reverence for the source material and his love for the craft.

He concludes the movie in a hopeful tone with the reconciliation between the creation and the creator set against the backdrop of a rising sun. This movie is an original work of its own, and anyone appreciating a timeless piece would not fail to recognise the significance of this adaptation.