Frankenstein

It is simply impossible to not adore Guillermo del Toro’s Frankenstein. The auteur has always been a master of his craft; each of his projects are visual treats for the eyes, and his latest is no different. When I first saw the trailer at Netflix Tudum, I was admittedly a bit skeptical about how Dan Laustsen’s cinematography would pair with the visual effects. In that initial footage, Frankenstein looked a little too cartoony, almost like something pulled from a video game nearly a decade ago. But in the full context of the film playing out on the big screen, both Lausten’s cinematography and the film's visual effects totally work for what del Toro was going for. It all comes together contributing to this one-of-a-kind vibe that only he can craft. Frankenstein is one of the most visually luscious films I’ve seen all year, and that is largely thanks to how much of a perfectionist the man at the helm has become over the course of his career. Del Toro is someone who has routinely fine-tuned every detail in such a way that you are mesmerized by what is unfolding in front of your eyes no matter what. Whether you are witnessing a grand moment of action, a suspenseful sequence, or a quieter emotional exchange, you are constantly in awe and amazed at every corner.

This sense of wonder extends to Frankenstein’s immaculate production design. Frankenstein’s castle is mind-boggling from the first moment it appears on-screen; the exterior alone is impossible to wrap your head around. But once we go inside those halls and see the basement where the monster resides, along with the examination rooms, words fail to describe just how much my jaw dropped. From the various manors we visit to the ship that anchors the story, every location is filled with so much intricate detail from top to bottom.

My admiration for the craftwork also extends to the period-accurate costumes, which characterizes our cast intricately, and the makeup department, which is in top form here. Jacob Elordi is basically unrecognizable in this movie, which is a testament both to the wretch’s one-of-a-kind, layered design and Elordi’s superb physicality. How does one even spark with the idea for something like this? It just works so well and is so memorable.

On the subject of Elordi… what a performance. The humanity he brings to this character, despite the wretch’s inability to speak in the first half of the story, is so stunning. We watch the creature learn to function in real time; the way he crawls on the ground in the basement dungeon, the way he reacts to a leaf that is gifted to him, and even how he studies the ripples in water from the footsteps all feels so natural yet otherworldly. Elordi’s performance grows beautifully over the runtime as he learns about the beauties and hardships of life, makes friendships, communicates with others, and discovers how to exist as an individual in the world. Is this the kind of performance the Academy typically goes out of their way to nominate? Not really. But with the Netflix machine behind it, I desperately hope he receives an extensive campaign, as every bit of awards buzz he has received is deserved.

Also deserving of praise is Oscar Isaac’s turn as the iconic Victor Frankenstein. I have seen far less conversation around his performance, but he is fantastic here. He makes Victor’s ambition and curiosity tangible early on, and as he recounts his life, we feel every emotion his character does at every story beat. For instance, his wonder after his experiment exceeds is contagious. However, as the story unfolds in new directions, we see his anger build as he ultimately falls victim to his own creation. Isaac does a wonderful job of portraying both sides of Victor Frankenstein: a man with a tenacious drive to achieve greatness willing to do whatever it takes to succeed and a man who becomes deranged by how consumed he has become in this chase. 

Frankenstein is a film I cannot wait to rewatch, and I hope Netflix follows through in giving it a proper theatrical release. I am lucky to live in Philadelphia, a city which is currently showing Frankenstein in a few indie theaters, but this is a spectacle that deserves to be seen on a big screen, with a great sound system and a packed, engaged audience. Whether it’s in the next few weeks or later in the year in the heat of awards season, Frankenstein deserves to play in a PLF. Once that is announced, I know I will be there. I hope you all will be too.

9/10