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Guillermo Del Toro, director of hit films such as Shape of Water and Pan's Labyrinth had been wanting to make this film for almost his entire life. Starring big names like Oscar Issac, Jacob Elordi, and Mia Goth, Frankenstein had high expectations for its release. And with parts of the film being filmed in Toronto, TIFF was even more excited to be holding the premier for this gothic film at its 50th festival. The film will have its theatrical release on October 17th, and will then be on Netflix on November 7th.
Much like other Guillermo Del Toro creations, the film is beautiful. With a stunning landscapes and a heavy lean into gothic themes, Frankenstein almost feels like a storybook. Visuals were powerful and left strong impressions, especially on the big screen. There is clear thought and purpose put into the gothic era costumes, and Mia Goth herself has some of the most stunningly eerie outfits and head accessories I’ve ever seen. The film doesn’t shy away from color, and makes use of it in clever symbolic ways.
The film is two and a half hours, and could be considered a rather slow film. Yet, by the end of the film I almost wanted it to be even longer. The story follows multiple extremely interesting perspectives and characters, and keeps you drawn in from beginning to end. And although ”Frankenstein“ is considered horror, the movie was far more emotional and relatable than expected. Guillermo Del Toro had mentioned his own personal connections to the movie, particularly the father-son dynamics, and it shows. Despite the length of the movie I so desperately wanted more, to see some scenes drawn out further and portrayed so beautifully again by the director, but understandably there was only so much that could be squeezed into one film.
Actors Oscar Isaac and Jacob Elordi steal the show with their intense and complex portrayal of the relationship between maker and creation, and is certainly a noteworthy performance. There is also nothing more enjoyable than seeing Oscar Isaac in a complex role again, seeing the breakdowns and conflicts in his character so gut wrenchingly brought to life by his acting. Similarly, I was pleasantly surprised by Jacobs portrayal of the creature, another powerful but conflicting character that draws the audience in as they attempt to figure out who he is and what he will become.
The dramatic dialogue is reminiscent of a play, and can sometimes be a bit much, but it fits well into the theme and era Guillermo Del Toro aims for. Some romantic elements seemed a bit unnecessary, but I respect the director‘s choices to keep true to the original story – Mary Shelley's 1818 novel Frankenstein. The plot itself and message are made very clear, with some symbolism and parallels being a bit too explicit for an audience that may already be able to read between the lines. However, the films clarity does mean it can be enjoyed by a wide range of audiences.
I cannot wait to return to this film when it comes out on streaming services, but would highly recommend viewers to watch in theatre if possible – for the sounds, visuals, and the reactions of those around you as Guillermo Del Toro’s tragedy unfolds.
